Old Salt Union – Where The Dogs Don’t Bite
Compass Records – 16 August 2019
Belleville, Illinois-based contemporary roots-bluegrass-Americana five-piece Old Salt Union formed back in 2014, and Where The Dogs Don’t Bite is already their fourth album. But they only really came to anyone’s notice with their eponymous third, probably because it was their first for the prestigious Compass label. That label’s co-founder Alison Brown has once again been engaged to produce the new record, and it bears all the hallmarks of a professional job, with a clean, crisp and well-focused soundscape. There’s also been a lineup change since album three, in that Graham Curry has replaced Rob Kindle as the band’s guitarist.
I also noticed a bit of a sea-change in the band dynamic, in that Where The Dogs Don’t Bite has a smoother, less rugged, even more assured ambience, with possibly a more defined sense of direction too. Hard to pinpoint exactly though, I know, but I think there’s been a reining-back of the element of abandon from the earlier record, in that the new batch of compositions may seem perhaps a touch more serious, albeit without losing the general good-time vibe.
As far as the new disc’s menu goes, this time around it’s self-penned material all the way – no covers. The ten tracks are split into four apiece by bassist Jesse Farrar (who happens to be the nephew of Son Volt’s Jay Farrar) and mandolinist Justin Wallace, with one by Graham (Heartbroke And Lonesome, on which he takes the vocal lead) and the lone instrumental by violin/viola player John Brighton.
And although at times the listener feels the band are taking some chances with styles and moods, there’s still lots to like with Old Salt Union – as the opening track (God You Don’t Need) demonstrates. Here a lyrical Latin-flavoured guitar intro ushers in a fast-driven bluegrass tempo, against which Jesse sets up and maintains a relaxed long-hewn vocal line. After this impressive opening gambit it’s over to Justin for a pair of contrasting tracks – the swinging Tell Me So with its beautifully relaxed, unhurried delivery and well-matched vocal parts (including a nice guest contribution from the band’s label-mate Bobby Osborne), then the more laid-back tempo sets in for Hurt Somebody which contains some sensitive fiddle fills.
It’s back to Jesse then for the fuller-textured easy-rollin’ Ebb And Flow before the hell-for-leather instrumental interlude of the gypsy-swing-flavoured Johann‘s Breakdown, leading fiddle and mandolin for the tricky melody and bringing constant playing and judicious little solos from all concerned. Promised Land and Holding On then employ an even richer backdrop, with John forming a mini-string section to bolster the effect of the vocal harmonies. Although not the strongest track, the disc’s title song, with its uneasy, curiously patchy and slightly layered ambience – is left until last.
Alison Brown’s expert production brings out the best in the band and plays to their strengths. Their penchant for economic soloing is a recurring feature of the playing too, and although I feel Ryan Murphey’s banjo is a touch under-used generally, on the occasions when he does get to grab the limelight (as on Heartbroke And Lonesome) he shines.
On balance Where The Dogs Don’t Bite is a more rounded effort production- and execution-wise than its predecessors. It will be interesting to see what they do next.