The Black Dog and the Wandering Boy: James McMurtry is telling America’s story

by

I’d be open about it: Writing an impartial review for a James McMurtry album might be challenging for me, given my strong admiration for him as a storyteller. For years, he’s been considered one of the finest in the USA, and that hasn’t changed over the past couple of decades. Unlike his father, Larry, who was renowned for his long-form fiction writing in the latter half of the 20th century, James expresses his artistry primarily through songs.

2021’s “The Horses and the Hounds” was nothing short of extraordinary for me, a testament to his unparalleled talent. While it may not have reached the virtuosic heights of some of his earlier works, it more than made up for it with its cohesive blend of humor, tragedy, poignancy, and insight. Few albums can match its depth and versatility.

Four years have passed since “The Horses and the Hounds”, but McMurtry is back with his eleventh studio album, titled “The Black Dog and the Wandering Boy“. Once more, he demonstrates why his tales resonate deeply with the troubled spirit of America in a way that no one else can.

James McMurtry delivers another devastating portrait of current times

In his most recent album, the singer/songwriter from Texas begins and ends with covers, which is unusual for him since he last included a cover in an album back in 2005’s “Childish Things”. However, he has collaborated on the writing of several songs on more recent albums, but they all carry his unique style.

Don’t fret about it. The covers you mentioned blend perfectly. “Laredo (Small Dark Something)” by Jon Dee Graham starts things off with a wave of guitar distortion, sharing stories of the despair caused by addiction. This establishes the mood. McMurtry seems to understand the tough times we are experiencing right now.

He frames it with a Kris Kristofferson cover, a songwriter who laid the groundwork for artists like McMurtry about half a century ago. More recently, McMurtry has been performing “Broken Freedom Song” in his shows, and it makes for a fitting, weary finale that also offers a glimmer of optimism – or perhaps, broken hope.

Between the played songs, McMurtry takes center stage, delivering impactful portraits such as “South Texas Lawmen.” This piece revolves around an old-fashioned character, who hunts quail from horseback and is unfaithful to both his spouses, expressing frustration with how the world has evolved.

The song “The Color of Night” repeatedly questions the resilience of older generations, who seem overwhelmed by the speed of change, due to McMurtry’s exceptional talent in creating melodies. This track unveils one of his true musical secrets.

At the start, the melody echoes the final track “Blackberry Winter” from the album “The Horses and the Hounds,”, and towards the end, the beat is reused from the song “Hurricane Party” released in 2008.

Much like numerous esteemed authors preceding him, McMurtry skillfully breathes life into familiar concepts, making them feel refreshingly novel.

A contemporary hit, “Pinocchio in Vegas,” is another intricate sketch that few other songwriters might conceive. Yet, the underlying theme of grappling with our current historical juncture persists. Moreover, the wit and conciseness of the lyrics continue to be remarkable.

When the truth emerged, Pinocchio found himself in a difficult situation. Lawyers took advantage of this, as is often their custom. They initially attempted to extort a fortune’s worth of gold from him. Due to copyright disputes, he had to take legal action against Walt Disney. He didn’t receive as much as he desired, but more than they were willing to give. Both parties are resentful, and both will have to deal with the consequences.

McMurtry keeps delivering powerful tracks, ranging from the heart-wrenching “Annie,” which is a deeply personal account of 9/11 and a fierce critique of the then-president – to the groovier “Back to Coeur d’Alene.

As the culmination, there’s a track that will be synonymous with this album, similar to how “We Can’t Make it Here” became emblematic of “Childish Things“, and “Choctaw Bingo” casts a shadow over “Saint Mary of the Woods“.

For quite some time, I’ve been bringing “Sons of the Second Sons” to life on stage. Each time I introduce it, I explain that this song dissects how the European tradition of primogeniture laid the groundwork for the societal dynamics we find ourselves grappling with in 2025 America – a claim I back up through its powerful lyrics and melody.

McMurtry is known for openly expressing his political views, and during the time Texas banned drag shows, he boldly addressed the issue by dressing up to voice his opinion. However, he’s never shown such obvious discontent as he does now.

As a descendant of the common folk, born from the ashes of a tragic past, I find myself meticulously preparing my weapons – not out of malice, but righteousness and justification. We are the salt of this blessed land, finally liberated and in pursuit of guidance, seeking a new master to lead us forward.

I’ve listened to McMurtry perform that song solo a few times, but his album version features a full band, making the message even more impactful. In “The Black Dog and the Wandering Boy,” McMurtry often shares the stage with Betty Soo, adding harmonies, while Tim Holt plays the guitar, and Cornbread handles the bass, with Daren Hess on drums for the rhythm.

Additionally, he often welcomes musicians such as Sarah Jarosz (playing the banjo), Bukka Allen (the accordion), and Charlie Sexton (skilled on the guitar), to add depth to his music.

Essentially, I believe the latest album fails to match the depth of emotional expression present in McMurtry’s previous work. There seems to be a sense of disillusionment or frustration with the world today reflected in his music. However, there isn’t a single track that falls short. Since he transitioned from pursuing pop stardom and instead started telling stories about American people and American life, he has never produced a subpar song.

The Black Dog and the Wandering Boy” upholds the same tradition, featuring ten tracks, each carrying a deep emotional resonance.

Read More

2025-06-24 19:00