WARREN HAYNES : DREAMS & SONGS

WARREN HAYNES : DREAMS & SONGS - A SYMPHONIC JOURNEY WITH THE ASHEVILLE SYMPHONY ORCHESTRA

Disc One (67:28)

Dreams & Songs (Part 1)
Dreams
Banks Of The Deep End
Spots Of Time
Broken Promised Land
Thorazine Shuffle
It Makes No Difference
Terrapin Station > Slipknot! > Terrapin Station

Disc Two (61:49)

Raven Black Night > Silent Scream > Raven Black Night
Just Another Rider
Black Peter
Instrumental Illness
One
Shakedown Street
Whipping Post
Dreams & Songs (Reprise)

Label : Provogue

Venue : Thomas Wolfe Auditorium, Asheville, North Carolina, USA

Recording Date : March 16 & 17, 2019

Release Date : September 18, 2026

Review (Proper Music) : Warren Haynes has made a career of defying expectations. For more than three decades, this Grammy-winning US bandleader and roots master has outrun genre, classification and comfort zone, journeying between the acclaimed solo work with his own name on the marquee, his storied jam-band Gov't Mule, and America's fabled rock 'n' roll institutions from the Allman Brothers Band to the Grateful Dead. To represent this lifetime of roots and branches in a single project, while tearing down and reimagining his songbook with bold orchestral arrangements, acknowledges Haynes, was a daunting prospect that nonetheless exerted an irresistible pull. Now, the resulting live album - Dreams & Songs, released September 18, 2026 - is a living document of 2019's one-of-a-kind concert at the Thomas Wolfe Auditorium, with a visceral mix by the legendary Bob Clearmountain capturing the thrilling collision between Haynes' lineup of seasoned rock 'n' roll improvisers and the 64-piece Asheville Symphony Orchestra.

Review (Blues Rock Review) : The Grammy Award-winning vocalist, songwriter, guitar legend, producer, and Gov’t Mule frontman Warren Haynes is releasing his long-awaited new album Dreams & Songs: A Symphonic Journey, on September 18th via Evil Teen Records and Provogue / Artone Label Group. Recorded in 2019 at the Thomas Wolfe Auditorium in Haynes’ hometown of Asheville, NC, this live album features 16 tracks performed by Warren, his line-up of seasoned rock n’ roll improvisers, and a breath-taking 64-piece Asheville Symphony Orchestra. The record begins with a statement of it being a live performance – you can hear the symphonic orchestra tuning their instruments, and the crowd murmur that turns into applause of anticipation. This mammoth blues rock symphony starts with a mellow and introspective “Dreams and Songs (Part 1)”. It becomes immediately apparent that the recording and production quality is unmatched, especially considering it’s a live recording. Every instrument shines through in this beautiful arrangement, and Haynes delivers the emotion with his signature smooth vocals. Sticking to the theme, “Dreams” follows. Starting with a horns section, followed by a percussion ensemble solo, before the strings join and invite the band to the party. Beautiful build up eventually leads into a jazzy sax solo and fusion-style guitar solo. Warren then turns to an absolute classic, “Banks of the Deep End”. The crowd reaction to the first few notes of the iconic riff made it obvious just how much of a fan favourite this song is. The vocal harmonies in the chorus are heavenly, while the orchestra adds depth to an already dramatic bridge section in this tune. Drums and percussion introduce “Spots of Time” as the setlist gradually increases tempo and intensity. Warren pours his heart and soul into that guitar solo, and so does Greg Osby on saxophone. The guitar tone in “Broken Promised Land” is so, so rich and warm. The dynamics are unbelievable in this rendition too. The orchestra can help build such tension, and then diminishes just like that, letting the soloist shine. Hats off to the arrangers as well as all the musicians making it happen on stage. Special mention to Haynes’ vocal delivery on this one. Jaw-dropping! “Thorazine Shuffle” fires the crowd right up, and presents a perfect platform for every performer to introduce themselves, with solo sections aplenty. The drum solo is something else though, must-hear! The lovely rendition of “Makes No Difference” brings that true southern vibe with those vocal harmonies in the chorus. Joni Mitchell Celebrates U.s. Citizenship After Decades In America, Joining Fellow Canadian Musicians A cheeky groove and a fiery drum fill paves the way for The Grateful Dead tune “Terrapin Station”, a progressive rock classic that culminates with huge orchestral sections; it’s a symphony of its own. “Raven Black Night” follows, as atmospheric, mysterious and dark as the title suggests. The electric organ solo is the absolute highlight of this track that truly represents movie soundtrack material with its extensive use of dynamic contrasts and exotic scales. As you can imagine, the orchestra only adds to it. Brightening up the mood is a funky, bluesy “Just Another Rider”. Warren Haynes once again showcases his blues guitar mastery in this one. Insane feel, technique, and tone. “Black Peter” feels like a somewhat disturbing ballroom dancing number. This Grateful Dead tune is ideal for such a big orchestra, with all the instruments adding different shades to the picture. A swinging rhythm kicks off “Instrumental Illness,” the jazzy tune that features those signature Allman Brothers guitar harmonies. A laidback version of U2’s “One” follows, with lovely strings section adding a wonderfully cosy texture to the rendition. A wah-drenched riff accompanied by the horns in unison then introduces “Shakedown Street”. Another Allman Brothers classic follows in “Whipping Post,” sending the crowd delirious, before the grand finale of “Dreams and Songs (Reprise)” marking a true full circle moment for this journey that ends in a long ovation. Dreams & Songs: A Symphonic Journey is a unique voyage through Warren Haynes’ 30+ year catalogue, that includes his solo work as well as music from Gov’t Mule, Allman Brothers Band, and The Dead. The whole performance feels like a jam session at times, but don’t be fooled, these tunes were meticulously arranged for the orchestra and so well-rehearsed. It’s the sheer musicianship and instrumental mastery that make it all sound so effortless and whimsical at times. What started out as a bold take on some of the cult classics, ended up becoming one of the highlight fixtures of the musical calendar, as Dreams & Songs A Symphonic Experience took a life of its own following its 2019 debut.

Review (Rock And Blues Muse) : It started with Jerry Garcia. More specifically, on a tribute show to the deceased Grateful Dead icon with a band playing his songs accompanied by a full orchestra. As Gov’t Mule’s originator, member of the Allman Brothers Band and someone who contributed to both the Dead and offshoot bassist Phil Lesh’s group, Warren Haynes guested on that 2015 concert. It got him thinking about how to create something similar; a summation of sorts with key songs associated with acts he contributed to over his extensive career. That became reality when in 2019, Haynes, with handpicked backing musicians and supporting singers, employed the 64-piece Asheville Symphony Orchestra to support him for two concerts in his hometown of Asheville, North Carolina. “I wanted…to reflect what I’d been up to these last 30-odd years…represented in a way that’s completely unique,” he explains in the promotional notes. Along with co-producer Don Was and veteran mixer Bob Clearmountain, the shows were recorded, although it has taken seven years for the final product titled ‘Dreams & Songs’ (Evil Teen, out Sept. 18) to appear. Haynes didn’t want this major project to get lost in the confusion of a post-COVID world, or compete with Gov’t Mule’s output. Titled after Mule’s track from 2017s ‘Revolution Come…Revolution Go,’ this sprawling two-hour package reimagines classics, and a few lesser known selections, from Haynes’ association with the Allmans (“Dreams,” Whipping Post,” “Instrumental Illness,” and “Just Another Rider,” the latter a co-write with Gregg Allman), the Grateful Dead (“Black Peter, “ Terrapin Station,” and “Shakedown Street”), and his decades-long run with Mule (“Banks of the Deep End,” “Raven Black Night,” “Thorazine Shuffle”). He also covers rootsy favorites such as The Band’s “It Makes No Difference,” and U2’s “One” along with his own “Spots of Time” and “Broken Promised Land” from solo sets. Haynes employed a talented team of veteran arrangers to craft specific orchestrations, the heart of this concept. Each delivered a slightly different, but appropriately lush and occasionally edgy slant. Most importantly they (mostly) achieve the sensitive balance between Hayne’s gritty, soulful vocals, his band’s improvisational talents and the stricter sheet music notation for the symphony players. There’s a lot of music here;much of it ballad oriented yet, due to the setting, seldom subtle. That’s not an issue. If you’re going the symphonic route, it’s bound to expand and enhance the repertoire, not strip it down. On the shimmering “Broken Promised Land,” a backing female vocalist sings wonderful, intense, wordless improvised scatting similar to that of Clare Torry’s iconic input on Pink Floyd’s “Great Gig in the Sky.” It’s the disc’s most “whoah” moment. But there are plenty more. The tracks are generally long. An 11 minute “Dreams” opens with regal horns leading into the strings underlying the ominous, if lovely, walking bass line. An extended sax solo from Greg Osby takes the arrangement into a jazz improvisation we’ve never before experienced. There is also twelve minutes of the Dead’s already epic, proggy “Terrapin Station” (slightly shorter than the original), and eleven more of the Allman’s late period exploratory “Instrumental Illness” which shifts from jazz to blues to rock. It’s enhanced by refined orchestrations, putting an exclamation point before solos from keyboardist John Medeski and Haynes’ stuttering/gliding guitar, reminiscent of Duane’s imaginative, fiery tones. Other highlights are ten gripping minutes of the magnificent sizzling fuse burning under “Thorazine Shuffle.” It’s a terrific choice as the strings pluck out the repeating riff, enhancing its already chilling, trance-like melody. The Neil Young-inflected lick driving “The Banks of the Deep End” blends with the orchestra on that mid-tempo Mule selection, taking it to a new level. And, for as many times as Haynes has played “Whipping Post, this quarter-hour exploration inserts swirling strings into the tune’s inherent drama, further punching up its intensity. While we’d love a DVD, there’s plenty unravel and marvel at in just the audio. You’ll be returning to it often to more fully absorb and appreciate the intricacies in the orchestra’s input;how it enhances Hayne’s songs and his outfit’s stunning performance. Clearmountains’ expert knob-twiddling encourages us to lower the lights, turn up the volume and transport to the auditorium as Haynes and the symphony take us on an unforgettable journey bringing heft, imagination, and dignified sophistication to his already impressive work.

Review (Glide Magazine) : Warren Haynes‘ Dreams & Songs: A Symphonic Journey makes words like “expansive” and “sweeping” seem small when you consider all aspects of this majestic work. The scale is almost beyond comprehension for a rock album, although linking up with an orchestra is certainly not novel. This is a live show recorded in Haynes’ hometown of Asheville, NC, in 2019, co-produced by Haynes and Don Was. Beyond the scale, it’s the detail with which Haynes approached the 16-track project, well over two hours of music. He recruited a team of orchestral arrangers for each song, arrangers who have worked with megastars such as Adele, Barbra Streisand, Aretha Franklin, Sting, Joni Mitchell, and Stevie Wonder, to name a few. These arrangers are David Campbell, Jim Gray, Tom Matta, Vince Mendoza, Sean O’Loughlin, and Chris Walden. The legendary Bob Clearmountain mixed. Their arrangements are for well-known songs from the Allman Brothers, The Grateful Dead, The Band, Gov’t Mule, and Haynes’s own solo work, performed by a core band of rock, blues, and jazz improvisers, including bassist Oteil Burbridge, drummer Jeff Sipe, keyboardist John Medeski, and saxophonist Greg Osby. Edwin McCain and Jasmine Muhammad sing background vocals in a to-die-for set list. Haynes bookends the set with “Dreams and Songs,” a mellow tune that highlights the orchestra and Haynes’ earthy vocals as the audience settles in, anticipating what follows. The fanfare-like intro of Gregg Allman’s “Dreams” doesn’t elicit immediate audience recognition, a tune Haynes (having sung it countless times) handles with aplomb before yielding to Osby for a sweaty tenor improvisation, before launching his own spiraling guitar solo. The stomping “Banks of the Deep End” is a Gov’t Mule fan favorite, imbued here by Medeski’s B3 and the background vocalists. “Spots of Time” is from Haynes’ third solo album, 2015’s Ashes and Dust, largely performed with Railroad Earth. The song is about the impermanence of memory but shines mostly on the strength of Haynes’ stretched-out, trill-filled guitar excursion. “Broken Promise Land” is from Haynes’ politically charged 1993 Tales of Ordinary Madness. Haynes sings his lines with requisite angst. Haynes turned to Medeski for the arrangement of Gov’t Mule’s “Thorazine Shuffle” from their 1998 Dose. Haynes cites it as the most unique arrangement on the album due to the countermelodies and layers of sound he didn’t expect, from both the keys and the orchestra, as it winds through a series of dynamics that represent some of the best orchestral sequences, along with impressive kit work from Sipe. The other Gov’t Mule entries are “Raven Black Night’ (also from Dose) and “Instrumental Illness” from their 1995 debut. The latter offers fascinating unison passages and interplay between Medeski, Osby, and Haynes, as the orchestra swells behind them. “Just Another Rider” is, of course, a staple in Haynes’ shows, here a feature for Medeski, Burbridge, and Osby, Haynes notwithstanding. Another familiar song that takes on a new shape is The Band’s “It Makes No Difference,” a challenging one to sing, as no version can really stand up to Rick Danko’s vocals. They transform it into a glowing hymn, with Haynes putting his own soul into the vocal as the orchestra and background vocalists carry the melody. Fortunately, they steer away from the classic Robertson solo leading into Garth Hudson’s memorable saxophone outro. That would have crossed the sacred line. Instead, Medeski takes us to church on the B3. Perhaps the biggest surprise is Haynes’ take on The Dead’s “Black Peter,” a tune that was sung with such despair by Jerry Garcia. It takes some adjusting to the larger-than-life orchestral sound on what was primarily an acoustic song. And, as much as Haynes tries to get to the core of the song, we can’t help but wish Garcia were singing instead. On the other hand, the treatments of “Terrapin Station” and “Shakedown Street” hit much closer to the mark. U2’s “One” is another that Haynes has been performing live for years. Finally, the inclusion of “Whipping Post” is a no-brainer, a tune Haynes has performed countless times. At over 12 minutes, it is the program’s longest track. It’s so familiar to all of us that it is rather startling to hear the orchestra accents. Medeski stretches out first, followed by Haynes, who at times sounds like two guitars, before reaching the climactic riff. One can argue whether the orchestral arrangements enhance or mar the songs, but they do consistently open new vistas and reshape them. There should be no arguments about the musical quality of the overall performance, however. Haynes has delivered a creatively monstrous work.