Ashley McBryde Presents: Lindeville

McBryde’s new album is a collaboration. It really is a tour de force. The title Lindeville needs explaining and to lift her PR it was ‘Inspired by the writing methods of legendary Nashville songwriter Dennis Linde (Goodbye Earl, Burning Love, Bubba Shot the Jukebox), Ashley McBryde set out with a group of her favourite co-writers to work up a project they had no intention of ever recording or releasing.’ And this is what came from that week-long exercise in a rural cabin outside Nashville. 

Lyrically this is an album where you hang onto every word and musically it’s straight country with the songwriters finding excellent tunes whether sad, upbeat or amusing. A nod must go to John Osborne for his arrangements, sounds and the accomplished band that played throughout.

Her collaborators are several but include Brandy Clark, Aaron Ratiere and Brothers Osborne. Each track is a complete gem and occasionally interspersed with some 30 second joke adverts for the businesses in ‘Lindeville’ such as the diner, pawn shop and funeral parlour; if you were doubting this was a lot of fun then lyrics like ‘The cheapest destination / For two for one cremations / Forkem family funeral home’ may convince you, especially when sung à las Andrew Sisters! Brenda Put Your Bra On is a hilarious short story. The neighbour’s husband is messing with the babysitter and after being caught in flagrante delicto the wife’s now dismantling the siren of his desire. This rumpus has become a spectator sport and Brenda is urged to join the viewing albeit with her own support in place. It’s a near funky rock rhythm with McBryde, Caylee Hammack and Pillbox Patti replicating beautifully bitchy trailer park trash personas. Some of the lyrics are virtually unprintable, brilliant!

If this is earthy then the whole album is based on small town strugglers whether they’re the architects of their own downfall or simply victims. The Brothers Osborne’s Play Ball has the best of sentimental country lyrics: a lonely good man who has little but bad luck helping others and maintaining a positive attitude against all the odds. Clark sings If These Dogs Could Talk where she introduces the trailer park’s pooches and the infidelity, drug deals, discrimination and secrets that they discretely observe – ‘If these dogs could talk / They’d sure tell on you / We’re all lucky barkin’ is all they can do / They dig up your secrets, they know all your trash’. 

Benjy Davis takes on Gospel Night At The Strip Club; his plaintive vocals create a form of prayer vibe as he paints a picture of those in the club and their human frailties seemingly existing rather than much else. It’s lower than downbeat but the pathos and empathy for the characters he describes is profound and captivating. The collection of females who work on the album come together to sing Bonfire At Tina’s. It’s an anthemic song where McBryde leads Hammock, Clark and Pillbox Patti in a call and response about the injustices small town women suffer – ‘Got cheated on – light it up / Don’t get paid enough – light it up / Don’t get laid enough – light it up / You got a joint – light it up’. Spine tingling. After the earnest craftsmanship of these songwriters creating magic there’s an easy piece of alchemy when they take on the Everly Brother’s When Will I Be Loved with a joyous ‘get up on your feet’ arrangement.

One of the best albums I’ve heard this year.

Kameron Marlowe – We Were Cowboys

Kameron Marlowe, an excellent writing team and two accomplished producers have concocted a fabulous Bro-country debut with many memorable tracks. Marlowe’s terrific voice, despite his tender years at 25, is full of allure, expression and carries you along with his stories about growing up, heartbreak and small towns. His path from car parts salesman to a recording studio with Dan Huff involved some appearances on The Voice, where his vocal prowess was recognized. His talent also includes songwriting; he wrote his first single, Giving You Up, and co-wrote another nine songs on this album. (Brad Hall produced the earlier released single and EP’s swept up and added to this album.)

The title track is a cracking starter but Country Boy’s Prayer is even better; delicious couplets like ‘And I know I’ve left you hangin’ / Like that cross around my rear view’. At a stroke without explanation we know he’s a God fearing boy full of regret and probably driving a truck. Similarly Steady Heart – “When you mix my calloused ways with her sweet touch / She’s a candlelight in all my dark” is top-drawer wordsmithery. Humour can also be found, Granny’s Got A Garden (For G’maw Jan), is an affectionate portrait of his grand mother who reaches for weed  “When her back gets to hurtin’ / You might smell somethin’ burnin’ / It’s a different kinda sowin’ / More than just tomatoes she’s growing”.

The surge in quality that comes with the hiring of top songwriters and producers is immeasurable. Dan Huff’s worked with many country and rock acts and what he brings to his work is a selection of sounds. His rock band backing has genuinely interesting guitar breaks and funky rhythm patterns as opposed to the rock torpor purveyed by session men of slappy snare drums and recycled screeching guitar passages. In addition there are many acoustic moments and even some slide and fiddle, Fool Me Again starts gently and the band, when it arrives, is dialed down. Marlowe has a voice that needs complementing not accompanying. Runnin’ Out On You follows the same pattern: just drink up that voice. Sublime. Marlowe does completely rock out on the closer Long Way Down with a girly chorus and no pretence at country. 

Marlowe could be massive. It takes small but important differences to go from run-of-the-mill to stellar (and move away from the Bro-country crowd.) Marlowe has it all.