Welcome back, **James McMurtry**! After a four-year hiatus since his last album, *The Horses and The Hounds*, fans have eagerly awaited this masterful storyteller’s return. McMurtry’s latest work, *The Black Dog and The Wandering Boy*, is a compelling collection of songs that delve into personal reflections, family narratives, tales of outlaw bravado, and sharp political commentary. Let’s explore what makes this album a standout in his celebrated discography.
The Artistic Journey of James McMurtry
James McMurtry’s **perspective on songwriting** is as captivating as his tunes. He candidly shares, “A song can come from anywhere, but the main inspiration is fear. Specifically, fear of irrelevance.” It’s evident that McMurtry hasn’t been lounging around during his time away; instead, he has been actively touring and honing his craft. Now, with a refreshed slate of songs and the esteemed **Don Dixon** at the production helm—who previously collaborated with McMurtry on *Where’d You Hide the Body?*—this album offers a powerful sonic experience.
A Collaborative Effort with Subtle Brilliance
While promotional materials celebrate an impressive array of guest artists such as **Sarah Jarosz**, **Charlie Sexton**, **Bonnie Whitmore**, and **Bukka Allen**, it’s the core team—comprised of **Tim Holt** on guitar, **Cornbread** on bass, **Daren Hess** on drums, and harmony vocalist **BettySoo**—that truly propels the album. McMurtry, often underrated as both a guitarist and vocalist, truly shines across the ten original tracks, demonstrating his prowess and storytelling abilities.
Track Highlights
Rocking into the Narrative: “Laredo (Small Dark Something)”
The album kicks off with **“Laredo (Small Dark Something)”**, an evocative track penned by Jon Dee Graham. This gritty rocker’s imagery of **“living in a motel named ‘MOTEL’ out on Refinery Road”** paints a vivid picture of despair and resilience, reminiscent of McMurtry’s own remarkable tracks like *Levelland* and *Too Long in the Wasteland*.
The Weight of Aging: “South Texas Lawman”
Moving to **“South Texas Lawman,”** McMurtry showcases his knack for character-driven songwriting. With lyrics that reflect on aging and surrender, the refrain **“I can’t stand getting old, it don’t fit me”** resonates deeply. This track exemplifies McMurtry’s ability to weave personal woes into universal truths.
The Color of Night: A Harrowing Tale
**“The Color of Night”** features blistering guitar work from Holt, narrating a gripping fight that leaves the protagonist grappling with his senses, culminating in the stark imagery of a 60-watt bulb illuminating a cinder block wall. This song emphasizes McMurtry’s unique flair for combining poignant storytelling with compelling musical arrangements.
Thematic Depth: Aging and Protest
Aging in “Pinocchio in Vegas”
In **“Pinocchio in Vegas,”** aided by Jarosz’s banjo, McMurtry explores the bitter complexity of aging with a touch of humor, capturing the struggle many face: **“He’s had to learn to be an asshole/just like everybody else.”** This track balances melancholy with wit, making it a memorable listen.
Social Commentary with “Second Sons of Second Sons”
In true McMurtry fashion, **“Second Sons of Second Sons”** serves as both a tribute and critique of overlooked laborers and societal constructs. The verse **“Sons of the second sons, products of genocide”** resonates as a biting commentary on the current political climate, showcasing his skill for writing non-preachy yet impactful protest songs.
Further Political Reflection: “Annie”
The politically charged track **“Annie”** takes a hard look at the **“younger Bush”**, critiquing his leadership during pivotal moments, such as the Trade Center bombing. McMurtry’s ability to blend personal narrative with broader societal issues is a hallmark of this album.
Balancing Light and Dark: A Musical Exploration
Musical Journeys in “Back to Coeur d’Alene” and “Sailing Away”
Amidst heavier themes, McMurtry offers a couple of lighter tracks. **“Back to Coeur d’Alene”** humorously contrasts the life of a working musician with the struggles of Hollywood upstarts. In **“Sailing Away,”** he navigates the challenges of touring, juxtaposing the chaos of life on the road with the desire for stability. This track, which even name-drops **Jason Isbell**, showcases the frustrations that come with life in the limelight.
A Tribute to Influences: “Broken Freedom Song”
Wrapping up *The Black Dog and The Wandering Boy* is a heartfelt cover of **“Broken Freedom Song”** by McMurtry’s idol **Kris Kristofferson**. This tribute underscores the profound impact of musical influences on McMurtry’s life and artistry.
Conclusion: A Captivating Return
In *The Black Dog and The Wandering Boy*, **James McMurtry** delivers a resonant blend of personal storytelling, sharp witticisms, and social critique, ensuring that fans and new listeners alike can dive deep into his world. With a seasoned team behind him and poignant lyrics that echo the complexities of life, this album is a testament to why he remains a vital voice in contemporary music. With each song, McMurtry invites us not just to listen, but to reflect and engage with the narratives that shape our understanding of society and ourselves.
Explore the full album on [YouTube](https://www.youtube.com/watch?v=E9KiZGmqUSw) and let the journey begin!
