CD1:
01 – Man in Motion
02 – River’s Gonna Rise
03 – Sick of My Shadow
04 – A Friend to You
05 – On a Real Lonely Night
06 – Invisible
07 – Take a Bullet		play
08 – Hattiesburg Hustle
09 – Everyday Will Be Like A Holiday

CD2:
01 – Frozen Fear		play
02 – Dreaming The Same Dream
03 – Pretzel Logic
04 – Fire In The Kitchen
05 – A Change is Gonna Come
06 – Spanish Castle Magic
07 – WHB Intro
08 – Tear Me Down
09 – Your Wildest Dreams
10 – Soulshine

Line-up:
Warren Haynes - Guitar/Vocals
Alecia Chakour - Vocals/Tambourine
Nigel Hall - Keyboards/Vocals
Ron Holloway - Tenor Saxophone
Ron Johnson - Bass
Terrence Higgins - Drums
Grooveline Horns
Ian McLagan – Keyboards

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 older brothers who listened to Otis Redding, Wilson Pickett, and Smokey Robinson, while young 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 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.

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 as their guitarist. 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."

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.

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. --- Mark Deming, All Music Guide

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1 	Is It Me Or You 
2 	Coal Tattoo 
3 	Blue Maiden's Tale 	
4 	Company Man 	
5 	New Year's Eve 	
6 	Beat Down The Dust 	
7 	Glory Road 	
8 	Gold Dust Woman    (Featuring – Grace Potter)
9 	Stranded In Self-Pity 	
10 	Wanderlust 	
11 	Spots Of Time 	
12 	Hallelujah Boulevard 	
13 	Word On The Wind

Acoustic Guitar, Electric Guitar, Slide Guitar, Vocals – Warren Haynes
Acoustic Guitar – Todd Sheaffer (tracks: 13)
Acoustic Guitar, Steel Guitar, Banjo, Clarinet – Andy Goessling
Drums – Carey Harmon
Fiddle – Tim Carbone
Harmony Vocals – Todd Sheaffer
Mandolin, Bouzouki, Piano – John Skehan 

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. ---Thom Jurek, AllMusic Review

Na program albumu składa się aż trzynaście utworów. Są to rzeczy zarówno premierowe, jak i znane od lat, kompozycje własne oraz covery. Łączy je jedno - są to utwory bardzo bliskie sercu Haynesa. Jak sam powiedział w jednym z wywiadów, niekoniecznie pasowały one do płyt The Allman Brothers Band czy Gov’t Mule (chociaż niektóre z nich były wykonywane przez te zespoły podczas koncertów) ale są to utwory, które kocha. Piosenki te nie miały dotychczas swojego domu i Warren postanowił im ten dom zbudować. Od siebie dodam, że jest to "dom" przecudnej urody.

Płyta wypełniona jest delikatną i klimatyczną muzyką z pogranicza folku, country i rocka. Prawie wszystkie utwory wywodzą się wprost z amerykańskiej tradycji muzycznej, chociaż jest jeden wyjątek. Za sprawą "Stranded In Self-pity" przenosimy się do Europy a ściślej rzecz ujmując do Paryża. Utwór przywołuje lekkie skojarzenia z tym co robili Stéphane Grappelli i Django Reinhardt. Wyróżnia się również "Spots Of Time", gdyż jest to rozpędzone jam-bandowe granie w stylu The Allman Brothers Band z wykorzystaniem niezbyt mocno zelektryfikowanego instrumentarium. Grubo ponad osiem minut muzycznego misterium i magii. Tym razem gitara Warrena w jazzowym brzmieniu, również solo skrzypiec nie są tak folkowe jak w innych utworach z krążka.

Ballada "Halleluyah Boulevard" niesie z kolei ze sobą olbrzymi ładunek emocji zwłaszcza w sferze wokalnej. Nie mogę nie wspomnieć o "Gold Dust Woman". Utwór z repertuaru Fleetwood Mac, w oryginale zaśpiewany przez Stevie Nicks w interpretacji z "Ashes & Dust", doczekał się damsko-męskiego duetu. Warrenowi Haynesowi towarzyszy zjawiskowa Grace Potter. Inny przyjemny duecik słychać w "Wanderlust". Tym razem z pomocą przychodzi Shawn Colvin. Wspólnie stworzyli przecudnej urody harmonie wokalne o wyraźnie countrowym posmaku. Dodatkowym smaczkiem jest kilka harmonijkowych fraz dodanych przez Mickeya Raphalla.

Wszystko zostało przepięknie zaaranżowane. Niepodzielnie królują instrumenty akustyczne. Nawet elektryczne brzmią bardzo subtelnie nie burząc klimatu. Najlepszym przykładem są partie zagrane slidem przez Haynesa. Przepięknie komponują się ze skrzypcami, mandoliną, banjo czy kontrabasem. Gęsto jest od solówek, w większości krótkich, pojawiających się na zmianę. Nie jest tak jak zazwyczaj, że najpierw gra jeden instrumentalista, a kiedy kończy, kto inny daje popis swoich umiejętności. Solówki przeplatają się ze sobą, czasem się na siebie nakładają - kiedy jeden instrument kończy drugi zaczyna, potem wraca i tak na zmianę. Bezapelacyjnie dobrze im się grało, bo utwory zostały przyjemnie rozciągnięte do siedmiu, ośmiu minut, słucha się ich z zapartym tchem i bez cienie znudzenia. Trudno jest mi sobie wyobrazić, co też będzie się działo podczas koncertowego wykonania tych numerów. To dopiero będzie jazda! Zupełnie odrębnym tematem jest Warren Haynes jako wokalista. Nie znajduję słów aby to opisać. Cisną mi się pod klawisze same górnolotne i pełne zachwytu określenia. Nie jestem w stanie wskazać innego gitarzysty, który zarówno jako instrumentalista jak i wokalista osiągnął taką doskonałość.

W nagraniu płyty Warrenowi pomagał zespół Railroad Earth oraz grono zacnych gości. Wśród nich koledzy z The Allman Brothers: Oteil Burbridge i Marc Quinones. Za każdym razem kiedy słucham tego albumu przepełnia mnie ogromna wewnętrzna radość i lekkość granicząca z błogostanem. Niesamowicie uspokajająco i kojąco działa na mnie muzyka Warrena Haynesa z "Ashes & Dust". To po prostu osiemdziesięciominutowa terapia. ---Robert Trusiak, magazyngitarzysta.pl

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