CD REVIEWS
By Michael Swanger scenescribe@mchsi.com
Shelley Short
“A Cave, A Canoo”
Hush Records
Portland, Ore., based singer-songwriter-guitarist Shelley Short grew up in a wood-heated home full of books, records and big personalities, so it comes as no surprise that her records are thoughtful, entertaining and somewhat eclectic. Her latest creative album, “A Cave, A Canoo,” builds upon her reputation for having one of the more promising and distinct voices in the Americana genre, while utilizing classical and art-rock influences [think Iris DeMent meets Lou Reed]. The 10 tranquil tunes on “A Cave, A Canoo” gently flow from one to another in an almost circular way that gives the listener a sense of familiarity thanks to their languid tempos and Short’s dreamy, emotive vocals. Though some of her peers possess a similar vocal range, few have Short’s ability to seamlessly contrast high and low notes without starkly disrupting the feeling of the song. CV
(Shelley Short performs at 8 p.m., Thursday, Sept. 10 at Ames Progressive Space.)
Various artists
“Chicago Blues: A Living History”
Raisin’ Music
Covering the hallowed music of blues legends and unique stylists like Howlin’ Wolf, Sonny Boy Williamson, Muddy Waters and Magic Sam is risky business, as evidenced by the generations of musicians who have failed to live up to the lofty standards set by such masters. So it was with some trepidation that I opened “Chicago Blues: A Living History,” despite the fact that its lineup included some of the Windy City’s best living traditionalists, including Billy Boy Arnold, John Primer, Billy Branch and Lurrie Bell. But from the first track, Arnold’s rendition of John Lee Williamson’s “My Little Machine,” to Mike Avery’s interpretation of Lowell Fulson’s “Three O’clock Blues,” to Primer’s Wolf-like “Moanin’ at Midnight,” through Bell’s frenetic finale cover of Buddy Guy’s “Damn Right, I’ve Got the Blues,” this two-disc set entertained and made me appreciate the masters and their talented disciples all over again. CV
