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Some artists hide behind the scrim of creative license, contending that even the bloodiest confessions are the mere fabric of fictional conceit. Names are changed to protect the guilty. Catastrophic experiences are shared by imaginary characters. And everything else is coincidental. Bob Dylan, in his memoir, implied that his classic Blood on the Tracks , widely assumed to be about his divorce, was in fact based on Chekhov.
It took less than half a pint of Belgian wheat beer to get the skinny from Shannon McArdle. Her wheaty refreshment nearly depleted, she was more than ready to spill. One day her husband of two years, Tim Bracy, with whom she had performed since as a member of the indie-rock outfit the Mendoza Line, up and left.
To add injury to insult, McArdle was tripped on her way into a subway one day, took a plunge down the stairs, and was rushed to an emergency room. Luckily, it was only two herniated discs, not a broken back. Recording Summer of the Whore became a process of emotional exorcism and redemption. And, despite its provocative title, less an anthem to abandon than a rueful reminiscence. The idea came when Ms.
McArdle, 31, and former Mendoza Line drummer Adam Gold, likewise newly single, began collaborating on tracks she had quickly written in the wake of the break-up. McArdle, a native of Albany, Georgia who fell in with the Mendoza Line while attending the University of Georgia in Athens in the late s, had a definitively Southern lilt to her voice and sat with a certain poise that would befit, say, a schoolteacher.
