James McMurtry – ‘The Black Dog and the Wandering Boy’ album review: The reaffirmation of roots rock legend
THE SKINNY: It was in 1989 that Texan songwriter James McMurtry unveiled his debut album, and the land that he calls home has changed a lot over the course of those 36 intervening years.
The United States has provided McMurtry with a consistent source of songwriting inspiration, and he has routinely used his platform to highlight the injustice, political corruption, and societal issues which has plagued his home nation. His latest offering, The Black Dog and the Wandering Boy, is certainly no exception to this rule, and it feels particularly impactful in the wake of recent images coming out of cities like Los Angeles.
Reaffirming the roots rock credentials that McMurtry has spent years perfecting, The Black Dog and the Wandering Boy sees the Texas-born musician take on a wealth of different topics, from the chequered history of his beloved nation to the aftermath of the 9/11 attacks. Each of these issues is dealt with through seemingly simplistic, blues, folk, and roots-oriented efforts which hide unsuspectingly complex messages beneath the surface. ‘South Texas Lawman’, for instance, might seem, upon initial glance, like a standard folk affair, but it actually gives quite a nuanced take on the position of law enforcement in modern-day America, highlighting the regressive attitudes held by many a troubled wannabe John Wayne.
Although some tracks included on the album have been kicking around in the songwriter’s live sets for years, each inclusion on this record feels fresh and strikingly relevant to the modern situation in America today. ‘Sons Of The Second Sons’, for instance, takes direct aim at the Trump administration and its dangerous policies, while also harking back to the troubled history of the United States, built on genocide and slavery. McMurtry certainly doesn’t pull any punches on the album, yet it still feels like quite a patriotic album, determined to wrangle back the freedom and liberty that is being increasingly stripped away from citizens in the US.
Despite the album’s unavoidably American leanings, there is a lot to be gained here from an international perspective, too. Not only does it capture the spirit of American resistance at this time, but aside from anything else, it also features some incredibly strong songwriting efforts which foster something of a universal appeal. It is virtually impossible to denounce McMurtry or his writing talents, and, in that sense, The Black Dog and the Wandering Boy is one of his strongest efforts in years.
For fans of: Battered old pick-up trucks, flannel shirts, and workers’ rights.
A concluding comment from a member of the National Guard: “Kids need something to listen to while getting teargassed, I guess.”
The Black Dog and the Wandering Boy track by track:
Release Date: June 20th | Producer: James McMurtry and Don Dixon | Label: New West Records
‘Laredo’: McMurtry wastes absolutely no time in establishing the mood and motivations behind this record. Centred around the Texan city of Laredo, which lies on the US-Mexico border, the song has been rattling around in McMurtry’s live sets for a number of years now, but it arrives on this record with a renewed sense of relevance. [4/5]
‘South Texas Lawman’: American lawmen make headlines on a fairly regular basis at present, and rarely for positive reasons. For this effort, McMurtry paints a complex, nuanced image of a typical Texas lawman, detailing alcoholism, adultrey, and a yearning for the ‘good old days’ when you could beat someone half to death and get away with it without so much as a slap on the wrist (some things never change). [3.5/5]
‘The Color Of Night’: An easy-going five-minute epic which only seems to become more compelling and impactful as it progresses, ‘The Color Of Night’ is an excellent encapsulation of the unique power in McMurtry’s songwriting talents. [4/5]
‘Pinocchio In Vegas’: Although this compelling exploration of masculinity, maturity, and going astray features some of the most profound moments on this album, and its orchestral backing lends it an incredibly impactful atmosphere, I find it difficult to get past the lyric “His dick grows when he lies.” [3.5/5]
‘Annie’: With supporting vocals from Texan singer-songwriter Sarah Jarosz, the mid-point of the album details the events and aftermath of 9/11, including heavy criticism of McMurtry’s old adversary, George W. Bush. [3/5]
‘The Black Dog And The Wandering Boy’: Expectedly, the album’s title track is a definite high point on the track listing, reaffirming McMurtry’s extensive songwriting talents and featuring enough captivating riffs to fill another entire album with. [4/5]
‘Back To Coeur D’Alene’: Focused on the Idaho city of Coeur D’Alene, this is one of the most unavoidably American tracks on this record, with lyrics detailing ‘Camaros’ and ‘freeways’, among other typically star-spangled imagery. [3/5]
‘Sons Of The Second Sons’: An ode to the complex and most often dark history of the United States, which doesn’t shy away from its roots in genocide and racism. Like many of the songs on this album, this seems particularly pertinent when coupled with recent news footage of fascist foot soldiers on the streets of Los Angeles. [4/5]
‘Sailing Away’: As the album draws to a gradual close, McMurtry continues the self-reflective, melancholic, yet often rousingly romanticised atmosphere which has been expertly fostered throughout the track listing. [3.5/5]
‘Broken Freedom Song’: The songwriter leaves listeners on an inspiring tale of freedom and loss which evokes the revolutionary spirit of McMurtry’s writing, and offers American audiences with more than enough motivation to fight for the future of their at-risk nation. [4/5]
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