The Black Dog and The Wandering Boy

When his father died in 2021, James McMurtry went through his effects and discovered a rough pencil sketch of himself as a child. “I knew it was of me, but I didn’t realize who drew it. I had to ask my stepmom, and she said it looked like Ken Kesey’s work back in the ‘60s.” The Merry Pranksters—Kesey’s roving band of hippie activists and creators—stopped by often to visit Larry McMurtry, his wife Faye, and his very young son James. He held on to that drawing as he worked on a new album, The Black Dog and the Wandering Boy, his eleventh. It’s a collection of rough-hewn story-songs and richly drawn character sketches that have elements of Americana—rolling guitars, barroom harmonies, traces of banjo and harmonica—but sound too sly and smart for such a generalized category. Funny and sad often in the same breath, it adds a new chapter to a long career that has enjoyed a recent resurgence as younger songwriters like Sarah Jarosz (who plays on the new album) and Jason Isbell (who took McMurtry on tour) cite him as a formative influence. McMurtry’s characters face similar realizations, although theirs are harder, sadder, and arrive at the end of life rather than the beginning. Sometimes they find life savers, like a calling or a fond memory; sometimes they drown, like that South Texas lawman. Even the songwriter himself doesn’t always know what will happen or what will inspire him. “You follow the words where they lead. If you can get a character, maybe you can get a story. If you can set it to a verse-chorus structure, maybe you can get a song."