“I don’t do autobiography. My songs are made up,” says James McMurtry. But there’s more of the Texas songwriter in his superb new album ‘The Horses and The Hounds’ than he may admit.
It’s more accurate to call McMurtry a formalist, a verse writer whose moving tales of downtrodden fishermen, lusty late middle-age loners, and stubborn “equestrian women,” as he calls them, originate not from any grand, novelistic sense of the human condition but, rather, the sounds of words and syllable counts and rhyme schemes. McMurtry is the type of songwriter who, in interviews, uses the word “meter” a lot. “I’m a fiction writer,” he says.
Such command is most evident on songs like “Jackie,” a haunting story with a gut-punch plot twist that came to McMurtry only after he grew attached to a particular phrase of words he had jotted down. McMurtry couldn’t resist the double rhyme, so much so that he ended up re-writing the entire arc of the song’s titular protagonist.
When it comes to his writing, McMurtry can be painstakingly thoughtful, going to great lengths to ensure every detail, syllable and writing credit is communicated effectively and equitably. After writing “Decent Man,” he sent a letter to Berry asking the Kentucky novelist if he’d like to share a writing credit on the song . He asked his friend and fellow Austinite Alejandro Escovedo to check over the lyrics he sings in Spanish on the heartbreaking ballad “Vaquero.
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