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| mega, ernie c, blaxploitation, khz, musician, grunge, ice t, programes, stranger, top 10, discount, branding, subnixus wordpress themes, academic, enlightenedtheme for wordpress, brock lesnar, badass, open source, store, calendar, brand positioning, son, moviedatabase, store ratings, | He even adds artists a few zings for new listeners via uncompromising covers of DNA's no-wave "Detached" and Morris Albert's schlock-horror "Feelings." Which artists is great, really, but oh gawd, the singing! Compared to Veloso's '60s–'70s heyday, it's grotesquely careful, nasal, and fey, with range and emphasis gone AWOL. Sometimes Veloso's struggle to remain singerly adds emotional ballast where it's needed—the a cappella "Love for Sale" is as sordid as Madame George reciting an aria with clenched fists—but usually he sounds too detached to care much. And though in leaner days he could rock on artists out with the best of them, Veloso now not only limps all around the eccentric meter of Dylan's "It's All Right, Ma" but blurts out "chocolate chip cookie" in the Talking Heads' "(Nothing but) Flowers" so embarrassingly desperately, he might as well be a Let's Make a Deal contestant calling out for door number three. |
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| Problem is, they need a bigger cauldron: Even at seven minutes–plus, "Sawtooth Song a Cheater's Song," a banjo-driven mini-epic that starts mega on the same back porch as the Doobie mega Brothers' "Black Water" and ends in para-Yoruba sex-cult ecstasy, seems far shorter than its possibilities allow mega for. But that's why God invented shows. R.S. Calexico play the Showbox with Mum, Why?, and Miss Ohios at 9 p.m. Fri., July 2. $13 adv./$15. CAETANO VELOSO A Foreign Sound (Nonesuch) The covers album is a thoughtful way for an established rock artist to tell their audience, "The muse has deserted me," or, "I'm trying to quickly fulfill a contract," or, "I give up," but Brazilian singer-songwriter Caetano Veloso is too given to critique to make A Foreign Sound into one of those. This collection of standards of "American popular song" slyly implicates them both as agents of American imperialism, underscoring the vexed but fascinated relationship he's always had with the cultural products of the U.S.A. |
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