WARREN HAYNES FEATURING RAILROAD EARTH
''ASHES & DUST (DELUXE EDITION), DISC TWO''
JULY 24 2015
104:23
DISC ONE (79:06)
1 Is It Me or You 05:14
2 Coal Tattoo (Ed Wheeler) 07:23
3 Blue Maiden's Tale 07:25
4 Company Man 04:47
5 New Year's Eve 04:38
6 Stranded in Self-Pity (Larry Rhodes) 06:36
7 Glory Road (Raymond Sisk) 05:58
8 Gold Dust Woman (Stevie Nicks) 06:22
9 Beat Down the Dust 04:55
10 Wanderlust 04:48
11 Spots of Time (Warren Haynes, Phil Lesh) 08:23
12 Hallelujah Boulevard 05:43
13 Word On the Wind (Warren Haynes, Todd Sheaffer) 06:45
Tracks By Warren Haynes, Except As Indicated
DISC TWO (25:17)
1 Company Man (Demo) 04:51
2 New Year's Eve (Demo) 04:18
3 Glory Road (Demo) 04:38
4 Wanderlust (Demo) 05:02
5 Hallelujah Boulevard (Live from 12282008) 06:25
Andrew Altman/Bass Guitar, Bass (Upright)
Oteil Burbridge/Bass Guitar
Tim Carbone/Fiddle
Shawn Colvin/Vocal Harmony
Andy Goessling/Banjo, Clarinet, Guitar (Acoustic), National Steel Guitar
Carey Harmon/Drums
Warren Haynes/Guitar (Acoustic), Guitar (Electric), Slide Guitar, Vocals
Grace Potter/Featured Artist, Vocals
Marc Quiñones/Drums, Percussion
Mickey Raphael/Harmonica
Todd Sheaffer/Guitar (Acoustic), Vocal Harmony
John Skehan/Bouzouki, Mandolin, Piano
ABOUT THE ALBUM
By Doug Collette, www.glidemagazine.com
Warren Haynes has done more than his share of musical exploration during the course of his career. From working with outlaw country artist David Allen Coe he joined Dickey Betts’ Pattern Disruptive band which led directly to his extended tenure with The Allman Brothers during which time he formed Gov’t Mule, now a twenty year plus enterprise. During that time he’s collaborated with Phil Lesh as well as the rest of the surviving members of the Grateful Dead as well as John Scofield. And that doesn’t take into account Haynes’ 2011 R& B centered solo outing Man in Motion.
Yet he’s never delved into the acoustic-based likes of Ashes & Dust, recorded with Railroad Earth Still, this nouveau bluegrass/folk music is immediately recognizable as Haynes’ own on the initial cut, “Is It Me or Is It You,” and equally so on his cover of Billy Ed Wheeler’s “Coal Tattoo.” The alternately mournful and sprightly fiddle of Tim Carbone, in combination with mandolin from John Skehan, effectively offsets the wan tone of both tracks and even more so in contrast with the electric edge of the guitarist’s slide work. Subdued arrangements like that of “Blue Maiden’s Tale” are fully fleshed out with the playing of the aforementioned duo and the rest of Railroad Earth, who have so thoroughly bonded with Haynes, the musicians are now integrated as a single septet.
The unit’s interactions as on “Company Man” are effortlessly fluid, and they impart authenticity to this material, most of which was composed by the leader of the sessions. The lyrics display a keen, soulful introspection which only enhances Haynes’ ability to identify with such character portraits as “Hallelujah Boulevard.” And whether it’s the comparatively upbeat barroom mood of “Stranded in Self Pity” or the resonant melancholy in “New Year’s Eve,” the nuances of atmosphere are as evident in the vocals of Haynes as in the arrangements, never more so than in those moment when the phrasing of his otherwise guttural voice turns soft and sleek.
Perhaps as a combination of encouragement and affirmation of such restrained delivery, female vocalists make distinct contributions to Ashes & Dust. Shawn Colvin’s background vocals on “Wanderlust” sound like a mirror image of the lead singing, while Haynes’ harmonizing with Grace Potter on Stevie Nicks’ “Gold Dust Woman” renders successful an idea that, on paper, might not seem to work; the careful mesh of their voices allows for deep feeling to permeate the famous tune, so much so they make the track their own. Yet the most notable aspect of this cut, apart from its abiding association with Fleetwood Mac, is that it rests comfortably within the dozen that surround it.
Produced by Warren Haynes himself, Ashes & Dust evinces as much artistic courage as curiosity, a combination of virtues reflected in his openness to supporting the players and singers around him, remaining justifiably confident in his own abilities. Meanwhile, his own personality still manifests itself vividly on this album, especially on the more extended tracks “Word On The Wind” and “Spots of Time”(distinguished by the presence of former Allman Brothers Oteil Burbridge on bass and Marc Quinones on percussion), where the detail of engineer Jim Scott’s expert sound mix magnifies the continuity of the recording with this man’s previous work and that of his collaborating partners. Comparable to the extraordinary skill of great actors and actresses whose public personae disappear as they render a role, it’s easy to forget exactly who you’re hearing on this record, and just luxuriate in the purity of expression.
REVIEW/AMG
by Thom Jurek
When Warren Haynes released the rocking soul and gospel set Man in Motion in 2011, it was the fulfillment of a dream, to write and record songs that reflected the early influence of those sounds on his musical development with an all-star band. Ashes & Dust is another side of his story. Growing up in Asheville, North Carolina, Haynes was equally exposed to bluegrass, mountain folk music, and country gospel. Their influence is plentiful here, on originals and covers alike. He's chosen New Jersey's endlessly inventive roots music ensemble Railroad Earth this time out. Haynes uses electric guitars here; they are part and parcel of a largely acoustic tapestry that can loosely be called Americana. He wrote or co-wrote eight of these 13 tunes. Among the highlights is "Company Man," a song that's been around for more than a decade in his own shows. It was inspired by his father's hard-wrought life and work experiences; though it is ultimately triumphant, the song's narrative poignantly details struggle. John Skehan's mandolin, Andy Goessling's banjo and strummed acoustic, and Tim Carbone's fiddle swirl around Haynes' stinging electric break, which adds drama to his lyric. The cover of Billy Edd Wheeler's classic "Coal Tattoo" (he's the songwriter and visual artist who wrote "Jackson" for Johnny Cash) weds Appalachian mountain music to the electric blues with Haynes slide cutting through the banjo and mandolin. Shawn Colvin and Mickey Raphael assist on the road-weary country-rock of "Wanderlust." "Stranded in Self-Pity" is a jazzy rag blues with a honky tonk piano underscoring Haynes' wily electric guitar, Carbone's fiddle, and Skehan's clarinet solo. One can hear the influences of Levon Helm and T-Bone Wolk on the track, which is only fitting. He planned this record seven years ago and they were both supposed to play on it. The only misstep here is the cover of Fleetwood Mac's "Gold Dust Woman," with Grace Potter almost mimicking songwriter Stevie Nicks' role. It's such a straight arrangement that it adds virtually nothing. "Spots of Time" is the set's longest cut at over eight minutes, co-written with Phil Lesh. It is one of two tracks here to feature drums and percussion by Marc Quiñones. It's a loping, breezy rocker with a gorgeous extended jazz guitar solo; it would have been right at home in the Grateful Dead's catalog. Closer "Word on the Wind" is an excellent update -- even reinvention -- of Southern rock; it exists in a space where Marshall Tucker, Crazy Horse, and the (Joe Walsh era) James Gang all melt into one another. While Ashes & Dust doesn't really add anything "new" to Haynes' musical profile -- fans already knew this was here -- there are some fine benchmarks: his singing has never used such a range of dynamics before; for once he lets the song dictate his expression. Others are tight songwriting and arranging craft -- especially when fleshed out by the almost limitless creativity of Railroad Earth. Ashes & Dust is a worthy and welcome addition to Haynes' catalog.
BIOGRAPHY/AMG
by Mark Deming
Warren Haynes is a generation-spanning guitar hero; he wasn't out of grade school when some of his best-known collaborators were at the peak of their fame, but he's earned a powerful reputation for his fiery guitar work, steeped in blues and Southern rock traditions, and has distinguished himself as a songwriter, bandleader, and solo artist as well as a gifted sideman. Haynes was born in Asheville, North Carolina on April 9, 1960 and he developed a taste for soul and R&B at an early age, from his older brothers who listened to Otis Redding, Wilson Pickett, and Smokey Robinson. Warren would spend hours singing along with their records. When he was 12, Haynes got his first guitar, and by 14 he was playing parties and sitting in with the house band at a local pizza parlor. Haynes became a serious Eric Clapton fan, and studying his work led him deeper into the classic blues sounds that had influenced the British guitar hero.
In his late teens, after short stays in a number of local bands, Haynes landed a gig with a group called Ricochet, and began playing North Carolina clubs on a regular basis. One evening, Mickey Hayes, who played bass for outlaw country star David Allan Coe, caught Ricochet and was impressed with the band's lead guitarist, and when Coe's guitarist dropped out of the group shortly afterwards, Hayes recommended Haynes for the gig. Haynes played with Coe from 1980 to 1984, touring frequently and appearing on three of Coe's albums, before Haynes moved on to a band of his own, Rich Hippies, with Hayes on bass.
Pattern Disruptive
After a short spell with blues journeymen the Nighthawks, in 1988 Haynes was invited to join the band of former Allman Brothers guitarist Dickey Betts, who had met Haynes through their mutual friend Coe; Haynes appeared on Betts' album Pattern Disruptive. In 1989, Betts and Gregg Allman re-formed the Allman Brothers Band, and Haynes was brought aboard to join Betts in the band's twin-guitar team. Haynes spent eight years touring and recording with the Allman Brothers, and in 1991 formed the first edition of the Warren Haynes Band to play gigs during his time off from the Allmans; in 1993 Haynes also cut his first solo album, Tales of Ordinary Madness, which was produced by Chuck Leavell. Haynes had also been working on his songwriting, which brought him a solid payday in 1990 when Garth Brooks had a hit single with a tune Haynes co-wrote, "Two of a Kind, Working on a Full House."
The Deep End, Vol. 1
In 1994, Haynes broke up the Warren Haynes Band and formed Gov't Mule, a power trio featuring Allman Brothers bassist Allen Woody and drummer Matt Abts; they released their self-titled debut album in 1995. In 1997, Haynes left the Allman Brothers to make Gov't Mule his first priority, but the trio was sidelined in 2000 by the death of Allen Woody, and Haynes soon rejoined the Allman Brothers Band. For a while, Haynes and Abts kept Gov't Mule going as a two-piece, playing acoustic shows in duo format and recording a pair of albums, 2001's The Deep End, Vol. 1 and 2002's The Deep End, Vol. 2, in which a variety of well-known bassists and guest artists sat in with Haynes and Abts. In 2003, Gov't Mule once again had a steady lineup as bassist Andy Hess and keyboardist Danny Louis joined the group.
Man in Motion
Meanwhile, in between dates with the Allmans and Gov't Mule, Haynes had been playing with Grateful Dead bassist Phil Lesh in his solo group Phil Lesh & Friends, and in 2004, when the surviving members of the Grateful Dead began touring as the Dead, Haynes was recruited to play guitar on their first road trip; he was brought back for the Dead's 2009 tour. Haynes also re-formed the Warren Haynes Band for various one-off shows, and Gov't Mule continued on with bassist Jorgen Carlsson after Andy Hess left the band. During his downtime from the Allman Brothers and Gov't Mule, Haynes kept busy playing on-stage and in the studio with a remarkable variety of artists, from Blues Traveler and Dave Matthews to Son Seals and John Mayall (and even guesting on a Corrosion of Conformity session). In 2011, Haynes looked back at his roots in Southern soul with his album Man in Motion, recorded for the reactivated Stax label and featuring accompaniment from Ian McLagan, Ivan Neville, and George Porter, Jr. This was followed by a triple-disc (two-CD-plus-DVD) Live at the Moody Theater in 2012.
Ashes & Dust
Haynes continued to tour and host his Christmas Jam, and he guested on records by James Cotton, the Howlin' Brothers, and the Lee Boys. He also remained a member of the Allman Brothers Band through their final show at the Beacon Theater in October 2014. His Evil Teen label released several archival recordings by Gov't Mule in early 2015. Later in the year, he issued his next proper studio recording, Ashes & Dust, an Americana date. Haynes selected New Jersey newgrass outfit Railroad Earth as his backing band for the session. The album also featured a duet with Grace Potter on a cover of Fleetwood Mac's "Gold Dust Woman."
WEBSITE
TO THE TOP
''ASHES & DUST (DELUXE EDITION), DISC TWO''
JULY 24 2015
104:23
DISC ONE (79:06)
1 Is It Me or You 05:14
2 Coal Tattoo (Ed Wheeler) 07:23
3 Blue Maiden's Tale 07:25
4 Company Man 04:47
5 New Year's Eve 04:38
6 Stranded in Self-Pity (Larry Rhodes) 06:36
7 Glory Road (Raymond Sisk) 05:58
8 Gold Dust Woman (Stevie Nicks) 06:22
9 Beat Down the Dust 04:55
10 Wanderlust 04:48
11 Spots of Time (Warren Haynes, Phil Lesh) 08:23
12 Hallelujah Boulevard 05:43
13 Word On the Wind (Warren Haynes, Todd Sheaffer) 06:45
Tracks By Warren Haynes, Except As Indicated
DISC TWO (25:17)
1 Company Man (Demo) 04:51
2 New Year's Eve (Demo) 04:18
3 Glory Road (Demo) 04:38
4 Wanderlust (Demo) 05:02
5 Hallelujah Boulevard (Live from 12282008) 06:25
Andrew Altman/Bass Guitar, Bass (Upright)
Oteil Burbridge/Bass Guitar
Tim Carbone/Fiddle
Shawn Colvin/Vocal Harmony
Andy Goessling/Banjo, Clarinet, Guitar (Acoustic), National Steel Guitar
Carey Harmon/Drums
Warren Haynes/Guitar (Acoustic), Guitar (Electric), Slide Guitar, Vocals
Grace Potter/Featured Artist, Vocals
Marc Quiñones/Drums, Percussion
Mickey Raphael/Harmonica
Todd Sheaffer/Guitar (Acoustic), Vocal Harmony
John Skehan/Bouzouki, Mandolin, Piano
ABOUT THE ALBUM
By Doug Collette, www.glidemagazine.com
Warren Haynes has done more than his share of musical exploration during the course of his career. From working with outlaw country artist David Allen Coe he joined Dickey Betts’ Pattern Disruptive band which led directly to his extended tenure with The Allman Brothers during which time he formed Gov’t Mule, now a twenty year plus enterprise. During that time he’s collaborated with Phil Lesh as well as the rest of the surviving members of the Grateful Dead as well as John Scofield. And that doesn’t take into account Haynes’ 2011 R& B centered solo outing Man in Motion.
Yet he’s never delved into the acoustic-based likes of Ashes & Dust, recorded with Railroad Earth Still, this nouveau bluegrass/folk music is immediately recognizable as Haynes’ own on the initial cut, “Is It Me or Is It You,” and equally so on his cover of Billy Ed Wheeler’s “Coal Tattoo.” The alternately mournful and sprightly fiddle of Tim Carbone, in combination with mandolin from John Skehan, effectively offsets the wan tone of both tracks and even more so in contrast with the electric edge of the guitarist’s slide work. Subdued arrangements like that of “Blue Maiden’s Tale” are fully fleshed out with the playing of the aforementioned duo and the rest of Railroad Earth, who have so thoroughly bonded with Haynes, the musicians are now integrated as a single septet.
The unit’s interactions as on “Company Man” are effortlessly fluid, and they impart authenticity to this material, most of which was composed by the leader of the sessions. The lyrics display a keen, soulful introspection which only enhances Haynes’ ability to identify with such character portraits as “Hallelujah Boulevard.” And whether it’s the comparatively upbeat barroom mood of “Stranded in Self Pity” or the resonant melancholy in “New Year’s Eve,” the nuances of atmosphere are as evident in the vocals of Haynes as in the arrangements, never more so than in those moment when the phrasing of his otherwise guttural voice turns soft and sleek.
Perhaps as a combination of encouragement and affirmation of such restrained delivery, female vocalists make distinct contributions to Ashes & Dust. Shawn Colvin’s background vocals on “Wanderlust” sound like a mirror image of the lead singing, while Haynes’ harmonizing with Grace Potter on Stevie Nicks’ “Gold Dust Woman” renders successful an idea that, on paper, might not seem to work; the careful mesh of their voices allows for deep feeling to permeate the famous tune, so much so they make the track their own. Yet the most notable aspect of this cut, apart from its abiding association with Fleetwood Mac, is that it rests comfortably within the dozen that surround it.
Produced by Warren Haynes himself, Ashes & Dust evinces as much artistic courage as curiosity, a combination of virtues reflected in his openness to supporting the players and singers around him, remaining justifiably confident in his own abilities. Meanwhile, his own personality still manifests itself vividly on this album, especially on the more extended tracks “Word On The Wind” and “Spots of Time”(distinguished by the presence of former Allman Brothers Oteil Burbridge on bass and Marc Quinones on percussion), where the detail of engineer Jim Scott’s expert sound mix magnifies the continuity of the recording with this man’s previous work and that of his collaborating partners. Comparable to the extraordinary skill of great actors and actresses whose public personae disappear as they render a role, it’s easy to forget exactly who you’re hearing on this record, and just luxuriate in the purity of expression.
REVIEW/AMG
by Thom Jurek
When Warren Haynes released the rocking soul and gospel set Man in Motion in 2011, it was the fulfillment of a dream, to write and record songs that reflected the early influence of those sounds on his musical development with an all-star band. Ashes & Dust is another side of his story. Growing up in Asheville, North Carolina, Haynes was equally exposed to bluegrass, mountain folk music, and country gospel. Their influence is plentiful here, on originals and covers alike. He's chosen New Jersey's endlessly inventive roots music ensemble Railroad Earth this time out. Haynes uses electric guitars here; they are part and parcel of a largely acoustic tapestry that can loosely be called Americana. He wrote or co-wrote eight of these 13 tunes. Among the highlights is "Company Man," a song that's been around for more than a decade in his own shows. It was inspired by his father's hard-wrought life and work experiences; though it is ultimately triumphant, the song's narrative poignantly details struggle. John Skehan's mandolin, Andy Goessling's banjo and strummed acoustic, and Tim Carbone's fiddle swirl around Haynes' stinging electric break, which adds drama to his lyric. The cover of Billy Edd Wheeler's classic "Coal Tattoo" (he's the songwriter and visual artist who wrote "Jackson" for Johnny Cash) weds Appalachian mountain music to the electric blues with Haynes slide cutting through the banjo and mandolin. Shawn Colvin and Mickey Raphael assist on the road-weary country-rock of "Wanderlust." "Stranded in Self-Pity" is a jazzy rag blues with a honky tonk piano underscoring Haynes' wily electric guitar, Carbone's fiddle, and Skehan's clarinet solo. One can hear the influences of Levon Helm and T-Bone Wolk on the track, which is only fitting. He planned this record seven years ago and they were both supposed to play on it. The only misstep here is the cover of Fleetwood Mac's "Gold Dust Woman," with Grace Potter almost mimicking songwriter Stevie Nicks' role. It's such a straight arrangement that it adds virtually nothing. "Spots of Time" is the set's longest cut at over eight minutes, co-written with Phil Lesh. It is one of two tracks here to feature drums and percussion by Marc Quiñones. It's a loping, breezy rocker with a gorgeous extended jazz guitar solo; it would have been right at home in the Grateful Dead's catalog. Closer "Word on the Wind" is an excellent update -- even reinvention -- of Southern rock; it exists in a space where Marshall Tucker, Crazy Horse, and the (Joe Walsh era) James Gang all melt into one another. While Ashes & Dust doesn't really add anything "new" to Haynes' musical profile -- fans already knew this was here -- there are some fine benchmarks: his singing has never used such a range of dynamics before; for once he lets the song dictate his expression. Others are tight songwriting and arranging craft -- especially when fleshed out by the almost limitless creativity of Railroad Earth. Ashes & Dust is a worthy and welcome addition to Haynes' catalog.
BIOGRAPHY/AMG
by Mark Deming
Warren Haynes is a generation-spanning guitar hero; he wasn't out of grade school when some of his best-known collaborators were at the peak of their fame, but he's earned a powerful reputation for his fiery guitar work, steeped in blues and Southern rock traditions, and has distinguished himself as a songwriter, bandleader, and solo artist as well as a gifted sideman. Haynes was born in Asheville, North Carolina on April 9, 1960 and he developed a taste for soul and R&B at an early age, from his older brothers who listened to Otis Redding, Wilson Pickett, and Smokey Robinson. Warren would spend hours singing along with their records. When he was 12, Haynes got his first guitar, and by 14 he was playing parties and sitting in with the house band at a local pizza parlor. Haynes became a serious Eric Clapton fan, and studying his work led him deeper into the classic blues sounds that had influenced the British guitar hero.
In his late teens, after short stays in a number of local bands, Haynes landed a gig with a group called Ricochet, and began playing North Carolina clubs on a regular basis. One evening, Mickey Hayes, who played bass for outlaw country star David Allan Coe, caught Ricochet and was impressed with the band's lead guitarist, and when Coe's guitarist dropped out of the group shortly afterwards, Hayes recommended Haynes for the gig. Haynes played with Coe from 1980 to 1984, touring frequently and appearing on three of Coe's albums, before Haynes moved on to a band of his own, Rich Hippies, with Hayes on bass.
Pattern Disruptive
After a short spell with blues journeymen the Nighthawks, in 1988 Haynes was invited to join the band of former Allman Brothers guitarist Dickey Betts, who had met Haynes through their mutual friend Coe; Haynes appeared on Betts' album Pattern Disruptive. In 1989, Betts and Gregg Allman re-formed the Allman Brothers Band, and Haynes was brought aboard to join Betts in the band's twin-guitar team. Haynes spent eight years touring and recording with the Allman Brothers, and in 1991 formed the first edition of the Warren Haynes Band to play gigs during his time off from the Allmans; in 1993 Haynes also cut his first solo album, Tales of Ordinary Madness, which was produced by Chuck Leavell. Haynes had also been working on his songwriting, which brought him a solid payday in 1990 when Garth Brooks had a hit single with a tune Haynes co-wrote, "Two of a Kind, Working on a Full House."
The Deep End, Vol. 1
In 1994, Haynes broke up the Warren Haynes Band and formed Gov't Mule, a power trio featuring Allman Brothers bassist Allen Woody and drummer Matt Abts; they released their self-titled debut album in 1995. In 1997, Haynes left the Allman Brothers to make Gov't Mule his first priority, but the trio was sidelined in 2000 by the death of Allen Woody, and Haynes soon rejoined the Allman Brothers Band. For a while, Haynes and Abts kept Gov't Mule going as a two-piece, playing acoustic shows in duo format and recording a pair of albums, 2001's The Deep End, Vol. 1 and 2002's The Deep End, Vol. 2, in which a variety of well-known bassists and guest artists sat in with Haynes and Abts. In 2003, Gov't Mule once again had a steady lineup as bassist Andy Hess and keyboardist Danny Louis joined the group.
Man in Motion
Meanwhile, in between dates with the Allmans and Gov't Mule, Haynes had been playing with Grateful Dead bassist Phil Lesh in his solo group Phil Lesh & Friends, and in 2004, when the surviving members of the Grateful Dead began touring as the Dead, Haynes was recruited to play guitar on their first road trip; he was brought back for the Dead's 2009 tour. Haynes also re-formed the Warren Haynes Band for various one-off shows, and Gov't Mule continued on with bassist Jorgen Carlsson after Andy Hess left the band. During his downtime from the Allman Brothers and Gov't Mule, Haynes kept busy playing on-stage and in the studio with a remarkable variety of artists, from Blues Traveler and Dave Matthews to Son Seals and John Mayall (and even guesting on a Corrosion of Conformity session). In 2011, Haynes looked back at his roots in Southern soul with his album Man in Motion, recorded for the reactivated Stax label and featuring accompaniment from Ian McLagan, Ivan Neville, and George Porter, Jr. This was followed by a triple-disc (two-CD-plus-DVD) Live at the Moody Theater in 2012.
Ashes & Dust
Haynes continued to tour and host his Christmas Jam, and he guested on records by James Cotton, the Howlin' Brothers, and the Lee Boys. He also remained a member of the Allman Brothers Band through their final show at the Beacon Theater in October 2014. His Evil Teen label released several archival recordings by Gov't Mule in early 2015. Later in the year, he issued his next proper studio recording, Ashes & Dust, an Americana date. Haynes selected New Jersey newgrass outfit Railroad Earth as his backing band for the session. The album also featured a duet with Grace Potter on a cover of Fleetwood Mac's "Gold Dust Woman."
WEBSITE
TO THE TOP
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