Million Voices Whisper is the fourth solo album and first in almost a decade for Warren Haynes, yet it’s been stewing in Haynes’ head for his entire career. It goes back to his days as a youngster listening to his favorite soul singers. It’s rich with his definitive guitar playing throughout, whether on lead or slide. Yet to further that vibe (yes, that ABB one), Derek Trucks joins Haynes on three tracks, the first time together in the studio since dissolving that iconic band. At the core is his band, John Medeski, longtime drummer Terence Higgins (Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott, who shares duties with former Mule bassist Andy Hess, while Haynes also taps Jamey Johnson and Lukas Nelson.
Opener “These Changes,” co-written with Trucks, is about someone doing whatever he needs to do to salvage a rocky relationship as Haynes’ soulful pipes float over Medeski’s B3, with Haynes and Trucks trading Allman-esque guitar licks to cap off the final two minutes. The punchy “Go Down Swinging,” co-written with Johnson, features a horn section and carries a swagger, replete with a teeming B3 solo from Medeski. Haynes’ convicted vocal. bluesy guitar, and Medeski’s swirling organ build to a monstrous crescendo in “You Ain’t Above Me.” Haynes leads with a positive vibe on the first single, “This LIfe As We Know It,” with stellar support from singer Williams.
“Day of Reckoning,” co-written with Nelson, features the three voices of Haynes, Nelson, and Johnson in a rallying call for change, perhaps with the upcoming Election in mind, or maybe just as a nod to the protest songs in the ‘60s and ‘70s. The album gets its title in these lyrics – “Million voices whisper, getting louder when they sing/Million spirits waiting on a day of reckoning.” The bonus track has an extended version, the second part of a medley that begins with CSNY’s “Find the Cost of Freedom.” Standout “Real, Real Love” features one of Haynes’ most potent vocal leads and more guitar dueling with Trucks. It’s a song Gregg Allman began writing but never finished. Haynes and Allman co-wrote so many ABB songs in that relaunched version of the band that Haynes sings with Gregg in mind.
Sonics shift to wah-wah-driven funk on the defiant “Lies, Lies, Lies>Monkey Dance>Lies, Lies, Lies,” at least to these ears a misstep relative to the rest of the material, redeemed somewhat by Medeski’s aggressive organ work. The funk-driven “Terrified” is of the same ilk, but mercifully, it is two minutes shorter and does offer a strenuous guitar workout. Haynes is allowed at least two that fall in foul territory when half a dozen or more land squarely in the bleachers.
The horn adorned “From Here On Out” returns us to the intertwining of soul and blues rock that colors most of the album, with a terrific spiraling guitar solo, setting the stage for another standout, “Till The Sun Comes Shining Through.” The latter is a soul ballad featuring Haynes with solid backing vocals and his soaring slide guitar. Yes, Haynes is the author of the ABB chestnut “Soulshine,” the vibe of which runs to the core of this one. Haynes joins forces with Trucks on the rollicking closer, “Hall of Future Saints,” as the two axemen take us to guitar heaven with a Bo Diddley-like beat that courses through a nine-and-a-half minute jam that likely extends much further in live performance. Somehow, if you were to ask someone to name guitar heroes, Haynes’ name would probably not be mentioned in the top five. Wherever you want to put him, he belongs near the top, and yes, he’ll be in the future Hall of Guitar Greats when his last note is played. This is the passionate record Haynes has long wanted to make, and it may well be his best solo effort.
