Dusty Trails and Double Deals: Dallas Burrow Maps the Modern Outlaw’s Territory in ‘The Way The West Was Won’
By Christian Lamitschka for Country Music News International Magazine
Artist Spotlight: Dallas Burrow
Dallas Burrow is a Texas-born Americana singer-songwriter steeped in the rich tradition of his home state’s storytelling heroes, including Townes Van Zandt, Guy Clark, and Billy Joe Shaver. Burrow’s connection to this lineage is personal; his father was a musician who shared a legendary “blood brother” pact with Van Zandt. After years as a self-described “gypsy” and “vagabond,” Burrow found grounding and sobriety, which brought a new clarity and depth to his writing. His music is defined by a deep, authoritative baritone voice (often compared to Waylon Jennings or Johnny Cash) and a commitment to exploring the American rural identity through the lens of classic country, folk, and blues. Produced by the Grammy-winning Lloyd Maines, The Way The West Was Won is Burrow’s ultimate tribute to the mythology and the harsh realities of the trail-riding life.
Album Review: The Way The West Was Won (2025)
The Way The West Was Won is a sprawling, 12-track epic that succeeds in being both a love letter to the romanticized Wild West and a clear-eyed commentary on the modern struggles of freedom, addiction, and belonging. Burrow doesn’t just sing cowboy songs; he inhabits the characters—the gambler, the lawman, the lover, and the wanderer. The production by Lloyd Maines is pristine yet warm, perfectly framing Burrow’s gravelly vocals with an array of traditional instruments: fiddle, dobro, accordion, and nylon-string guitar, creating a sound that is traditional but never dusty. The album is elevated by key vocal collaborations with Americana stalwarts Ray Wylie Hubbard, Kelly Willis, and Jim Lauderdale.
Track-by-Track Analysis
1. “Read ‘Em and Weep” (feat. Ray Wylie Hubbard)
The album kicks off with a rollicking knife-fight of a song. Featuring Texas legend Ray Wylie Hubbard, the track establishes an immediate outlaw energy, driven by a sharp fiddle line and Maines’ dobro. The song is a boastful gambler’s credo, setting the stage in a smoky, high-stakes saloon. The pairing of Burrow’s steady baritone with Hubbard’s signature, gnarly growl is near-perfect, a masterclass in Texas country storytelling.
2. “Colorado Bound” (feat. Kelly Willis)
A stunning, melancholic ballad that serves as the emotional heart of the first half. The track is a finger-picked acoustic number where the protagonist mourns and yearns for a departing lover heading west for the mountains. Kelly Willis provides beautiful, pristine harmony vocals, softening Burrow’s tone and adding a layer of heartbreaking nostalgia to the tale of lost love and the desire for a fresh start.
3. “Disappearing Ink”
This narrative track captures the frustration of a nomad constantly on the ramble, living a life where plans and identities fade quickly, as if written in “disappearing ink.” With Brian Beken on fiddle and Lloyd Maines contributing banjo, the song evokes a John Prine or John Hartford-esque mélange—compelling, narrative storytelling filtered through roots music.
4. “Justice In The West”
A traditionally shined-up piece that returns to the lore of the Old West. Told from the first-person perspective of an old Texas lawman, the song uses classic lyrical clichés of the Western genre effectively, exploring themes of duty and the harsh, often brutal nature of frontier law. The track is underscored by the mournful sound of Terri Hendrix’s harmonica, adding authenticity to the lawman’s solitary tale.
5. “Black Rock Desert Blues”
A standout track with a distinctive Spanish flavor. The music is an acoustic gallop through the sun, strengthened by a steer-stomping bass line, acoustic guitar, and haunting accordion runs by Bukka Allen. The deep, upbeat melody is reminiscent of Townes Van Zandt, crafting a cinematic “murder ballad” narrative set against the stark backdrop of the desert.
6. “Tornado”
This song features one of the album’s most striking and imaginative lyrical narratives. Burrow personifies a powerful, destructive force, singing: “Well, my name it is Tornado, I come form New Orleans / I am a black stallion, Ridden by a black cowboy.” The arrangement is elevated by mariachi horns and a flamenco-like acoustic guitar foundation, lending it a dramatic, mythic quality that Johnny Cash might have appreciated.
7. “The Way The West Was Won” (feat. Jim Lauderdale)
The official title track arrives as a call to action. Burrow groans, “Saddle up the ponies and we headed out west, if we leave town before sun up that’s best.” With Jim Lauderdale joining on vocals, the song is a direct homage to the pioneers and their quest for gold and hope, capturing the rugged optimism and pioneering spirit that defines the Western myth.
8. “Indian Song”
A powerful and respectful nod to Native American history. This totally acoustic track is deeply contemplative, with Maines even contributing flute to create an atmospheric, reflective soundscape. Burrow sings, acknowledging the spirits and history of the plains: “Cochise was a proud red man, Who once roamed these plains / Got run off by long knives, The settlers and the trains.” It provides necessary historical context and sorrow to the album’s theme.
9. “Livin’ For Today”
A philosophical moment about appreciating the present, this track steps away from the historical narratives and focuses on personal gratitude. With Katie Shore back on fiddle, the song is a sturdy, mid-tempo reminder that “Time is of the essence / It’s always running out,” urging the listener to grab the good while it’s here.
10. “When The Cowboy Rides” (feat. Jim Lauderdale)
Jim Lauderdale returns for an up-tempo, celebratory track infused with a lively, revolving rhythm. The song is infectious and radio-friendly, capturing the exhilaration and movement of the cowboy lifestyle. The duet harmonizes perfectly on lines like, “Everything, it ebbs and flows / The river rises, and to the sea it goes,” marrying the cowboy’s journey to the natural cycles of life.
11. “The High Low”
Perhaps the most purely joyous and dynamic track on the album. This song is an ode to the simple pleasures of the working man’s Friday night release. It features a fantastic singalong chorus with its signature “Hidy hidy hidy hi / Hodie hodie hodie ho.” Brian Beken’s spirited fiddle adds a layer of fun, creating a high-energy track that demands a smile.
12. “Cowboy’s Prayer”
The album ends with a graceful, earnest benediction. With Bukka Allen’s accordion and Beken’s fiddle providing a quiet, hymn-like backdrop, Burrow croons a deeply personal and spiritual wish for peace at the end of the trail. It is a reflective and comforting final bow, perfectly sealing the cinematic narrative and providing a sense of resolution and homecoming.