Track Dogs – Fire on the Rails
Mondegreen Records – 24 January 2020
If you read my festival diary from Costa Del Folk Ibiza last year, you’ll be in no doubt as to the high regard I have for Track Dogs as a live band; their shows are stunningly good. I’m sure we can all think of bands whose energetic live performances don’t translate well into studio recordings, but I’m delighted to say, Track Dogs is most certainly not one of them. Their new album, Fire on the Rails, delivers just as much pleasure as their live shows. They tackle their music with as much energy in the studio as they do on stage, and then, listening to the album, you can take your time digesting the lyrics, allowing them to nestle into your brain. And Track Dogs’ songs are well worth that investment of your time, an upbeat, highly danceable rhythm may lie over lyrics that give you plenty to think about. But even when songs are dealing with less weighty issues, poetry and wordplays abound, just waiting to be savoured. The fold-out enclosed with the CD gives not only full lyrics but also the chord tabs.
The album opens with Love & War, the song beginning sparsely, just Garrett Wall’s voice and the simplest of guitar backing, lyrics alluding to the collateral damage of war – civilian deaths, survivors driven from their homes. As the song moves on to the first chorus, “Is it true what they say? I don’t know any more. Put your hand on your heart and tell me. All is fair in love and war”, strings swell behind the voice. This is the first of several backing elements to join in, eventually giving the song one of the fullest arrangements on the album. Before the second verse, an instrumental break changes the mood entirely, kicking off with a rapid rhythm tapped out on a doumbek by percussion meister, Robbie K. Jones, along with Track Dogs’ trademark trumpet from Howard Brown. Fiddle breaks announce the arrival of Phil Beer, Lisa Gutkin and Fergal Scahill, the first of several big-name guest musicians who’ve contributed to the album. The string arrangement on this and a couple of other tracks is courtesy of Nashville’s Eli Bishop. This one track epitomises Track Dogs, a combination of adventurous instrumental arrangements, top-rate musicianship, tight vocals and lyrics with a punch. Love & War is classic Track Dogs, and the remaining nine tracks keep up both the standard and the momentum.
Garrett Wall takes the lead vocal on most songs, but the man who hides behind that most magnificent of beards, Robbie, leads on I’ve Needed You. The lyrics find imaginative ways to illustrate how you may know exactly what you’ll need, long before meeting the love of your life. Robbie also leads on Dragonfly’s Castle, another love song, is Robbie shaping up to be the quiet romantic of the band? Certainly “quiet” doesn’t fit. There’s a catchy melody to go with the lyrics and, so far, I’d say this is destined to be my earworm of the album. The track also features another guest, Danny Erker on mandolin. Garrett hands over vocals on just one other track with Howard taking the lead on And The Piano Sings, a tribute to Freddy Mercury. The fourth Track Dog, Dave Mooney has the primary rôle of providing the bass line with an occasional mandolin part but he also, very effectively, adds his voice when required.
One of the great strengths of Track Dog’s music is the eclectic mix of genres they so successfully blend. It’s hardly surprising in a band combining the musical roots of two Irishmen, one Englishman and one American. But it’s notable, with this album, how intimately intertwined those influences have become. It’s far easier to identify it as the “Track Dogs sound” than it is to tease apart individual elements. An exception to this, though, is Don’t Delay, a song firmly grounded in an Americana vibe thanks to its banjo led backing. The banjo track is provided by another guest, Ashley Campbell, daughter of country great Glen Campbell.
The album closes with All Clapped Out, revealing a very different aspect of the band. Having put aside their instruments, they set up a hand-clapping rhythm that builds in complexity as the track progresses, eventually adding foot-stomping. Over it, Garrett sings lyrics that once more has the band pricking our consciences, reminding us that the homeless on our streets are not so different from ourselves. The song’s chorus simply repeats the title, combining all four voices, a stirring and compelling conclusion to the album.
The album was recorded, mixed and mastered in the band’s home city of Madrid by Germán Gutiérrez and the band themselves, using the facilities of Playground Studio, in particular, their refurbished Studer A80 16 track tape machine. Their last three albums have been recorded with this studio and producer. Clearly, they’ve found a spiritual home from home, and the quality of this latest recording is testament to that.
Track Dog’s profile in the UK has blossomed rapidly over the last 18 months, and it’s bound to get another massive boost from this album. If you’re already familiar with the band, the album will be just what you’ve been hoping for, confirmation that their sound and their song writing is maturing like a fine wine. If you’re still to discover the Track Dogs sound, take the plunge and get this album, the quality of the songs and the vibrant energy of the music will earn them plenty of new friends, make sure you’re among them. With an eleven date UK tour starting in Bath on February 14 the timing of its release couldn’t be better, I just hope they bring enough stock over with them.
Tour dates can be found here: http://trackdogsmusic.com/shows/