For such a prolific artist, Warren Haynes has released surprisingly few solo records and, of those, three are live releases, so this album, ‘Ashes and dust’, comes with a fair degree of anticipation. Ably backed by Railroad Earth, Warren indulges in a sound that is rich in folkish whimsy and blue grass beauty, and his wonderfully worn voice sits at the heart of it all. Miles away from Gov’t Mule or the Allman Brothers band, ‘Ashes and dust’ features songs written over a span of thirty years, and it is a perfect example of its creator stretching beyond the confines of his full-time bands to deliver a laid-back, singer-songwriter vibe that is richly rewarding.
The album opens with the beautifully nostalgic ‘Is it me or you’, which melds folkish fiddle with aching, Gilmour-esque guitar work for a work of vaguely progressive, folk-infused wonder. It’s a lovely start to the album and a good sign of what’s to come, with ‘Coal tattoo’ keeping to the same vein of uniquely American folk, conjuring images of a windswept journey in an open-topped car through the heartlands of America. There are two aspects here of note. The first are the melodies that sit at the heart of each and every song. Wonderfully realised, they draw the listener in and wrap them in a fine gossamer that caresses and cajoles. They are wonderful and they speak of Warren’s wealth of experience when it comes to penning memorable songs. The second aspect is the amazing arrangements, developed by Warren and Railroad Earth. Each song is replete with lovely flourishes whether it be gently echoing guitar or the vivid sound of the violin and each song shimmer with richly rippled layers which handsomely reward the multiple listens necessary to unpick them all. The lengthy ‘blue maiden’s tale’ sits somewhere between the Levellers, Steve Thorne and Neil Young as Warren recounts an apocryphal story mired in the very genuine sense of tragedy inspired by soldiers leaving their maidens behind as they head to war. In contrast, ‘Company man’ is the foot-stomping tale of a man who spends his life working on the lower rungs of a company with all the limited rewards such a position might imply. It’s a heart breaking tale of modern society as the man’s simple life crumbles before his very eyes. Another lonely lament, ‘New year’s eve’ sees the narrator quietly ruminating on his sense of loneliness and isolation over a glass of whiskey despite not being able to remember his friends’ names. It’s a heart breaking tale set to a suitably gorgeous melody, played with sensitivity and insight.
The album takes a bluesier turn with the wonderful ‘stranded in self-pity’, a toe-tapping piece that sets Honkey-tonk piano against Warren’s gritty guitar and the faster tempo does much to dispel the sad atmosphere of the previous track. ‘Glory road’ is a slow waltz, drifting through the open fields of an America long gone and then Grace Potter joins Warren for a stunning take on ‘gold dust woman’, one of the finest moments on Fleetwood Mac’s gazillion-selling ‘rumours’ album. Retaining the darkness of the original, but reframing it as an atmospheric folk workout is the work of genius and it sounds amazing, Warren adding his own stamp to the track whilst reminding the listener that for all the Mac’s faults, their legacy on modern music remains unassailable. ‘Beat down the dust’ is a high energy piece underscored by some wonderful percussion, the effect not dissimilar to the inventive arrangements Joe Bonamassa recently employed on his ‘live in Vienna’ album. ‘Wanderlust’ is, as its title might imply, a gently worded desire to keep on moving, the music harking back to Neil Young’s debut album with its harmonica line and countrified guitar. ‘Spots of time’ has a dark, psychedelic atmosphere all its own thanks to the rolling percussion and rippling lead guitar work whilst ‘hallelujah boulevard’ is a work of hazy, progressive beauty that shimmers in the golden light of the early evening with its gently distorted guitar and Warren’s powerful vocals. The album ends with ‘word on the wind’, a gorgeous work that offers up desolate guitars as the album slowly dissoloves to dust.
‘Ashes and dust’ is a beautiful work, but it is also a very sad work. The tales here are of underdogs ground down, bar hounds trapped in their own memories and lovelorn ladies, and the music evokes a dark and compelling sense of nostalgia that is impossible to shake off. It’s a lovely album, heart-felt and stunningly arranged, but you have to be in the right mood to fully appreciate its charms. Exquisitely beautiful, ‘ashes and dust packs a powerful emotional punch and it highlights once and for all just how talented Warren Haynes is. You’re unlikely to hear a more genuine labour of love all year, and there is no question that ‘ashes and dust’ is the most bleakly beautiful piece of work Warren has yet put his name to.
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