Introduction
As you`re about to see, doom metal legend Scott “Wino” Weinrich has a discography a mile long. Most fans of his music tend to like all, or most, of the bands and albums he’s been involved with over the years. Being a fan myself, I would have to agree, and it is for this reason that most of the reviews here are generally pretty positive. Some albums are better than others, but Wino has maintained a consistently high quality to his work - there are no turkeys or commercial sellouts.
I included items like singles that are long out of print (OOP), as the advent of Ebay has meant that many of these items are popping up again, and it is worth knowing what is on them before you bid (plus, many tracks have later been re-recorded, or have ended up on other, more easily obtainable releases - it can get confusing!). There are also a handful of bootlegs out there, mostly featuring early Obsessed demo/live material – these come from the same dubious source I mentioned in the Pentagram Buyer’s Guide. In short, don’t waste your money on them. They are shoddily-packaged, overpriced, and have low quality sound.
If you are just dipping your toes into Wino’s discography, hopefully this Buyer’s Guide will help you determine the key releases with which to start off with; if you are a more seasoned listener, maybe this will help fill in a few holes in your collection. For interested newbies who don’t feel like sifting their way through this article, I would recommend the following records from each of his most well known bands:
Saint Vitus – Born Too Late
The Obsessed – Lunar Womb
Spirit Caravan – Jug Fulla Sun
The Hidden Hand – Mother Teacher Destroyer
I think it’s fair to say that these albums would be widely considered his best. If you like these albums, read on…
Saint Vitus
(1985 - 1991)
Born Too Late
(SST, 1987)
After two phenomenal albums (and one EP) of primitive, sludgy, groundbreaking doom metal, Wino steps up to the Vitus vocal mic following the departure of original singer, Scott Reagers. Opinion remains split to this day amongst Vitus fans, as to who was the better singer, but Wino’s soulful baritone is certainly nothing like Reagers’ eccentric theatrical approach. There have long been rumours that Reagers’ vocals for this album were wiped and replaced with Wino’s, but tapes have never surfaced. From what I have read in interviews with Wino, he rehearsed with the band for some time before entering the studio, so it seems unlikely that a Reagers-sung Born Too Late was already in the can. On to the album...
It is Vitus who is probably the most responsible for slooooowing metal down to a crawling pace that was almost unheard of in the thrash-obsessed mid-80s - even moreso than Trouble, Pentagram, or Witchfinder General, who were all much more uptempo. Born Too Late continues this trend, with only the rockin’ ode to LSD, “Clear Windowpane,” and “H.A.A.G.” rising above the slothful pace of the rest of the album. Such single-mindedness could be a recipe for monotonous boredom, but Vitus had catchy songs no matter the pace, and most importantly, the sincerity of their convictions to carry them through. Songs of alienation, alcoholism, depression continue to hit a nerve with listeners to this day, and the defiant title track has since become an anthem for both Vitus and doom metal in general.
To young ears in 2008, this recording may sound under-produced and garage-y; remember, Vitus were on a punk label, SST, and their records sounded like that. But the music is undeniably HEAVY, both in execution and in feeling, and twenty years later, Born Too Late stands as one of the best and most influential albums in doom metal. If you’re looking to delve into Vitus, this is the one.
Thirsty and Miserable
(EP SST, 1987, also available on Born Too Late CD)
A short, three song EP, featuring “Look Behind You” (a track that was recorded earlier with Reagers – seek out The Blasting Concept Vol.1, an SST comp), and a slowed-down cover of Black Flag’s “Thirsty and Miserable.” Vitus toured with Flag in the mid-`80s, and often found themselves most appreciated within punk circles of the time, so it is not surprising that they would salute Black Flag here (even if SST did rip them off, as they would soon find out…)
Mournful Cries
(SST, 1988)
Saint Vitus is quite often referred to as one of “Wino’s bands”; really, if Vitus was anyone’s band, it was guitarist David Chandler’s. Wino was a big part of the band’s sound, but by most accounts, Chandler wrote the majority of the music and called the shots. However, Mournful Cries is the Vitus release with the most input from Wino, as he submits two of his own tracks, “Bitter Truth” and “Looking Glass,” and plays lead guitar alongside Chandler on both. Wino also contributes lead breaks to “Dragon Time,” with his frenetic, note-dense style contrasting nicely with Chandler’s wobbly wah-wah freakouts. Song-wise, this is probably not quite as memorable as Born Too Late, but if you like Vitus, you’ll like Mournful Cries.
V
(Hellhound, 1990; reissued Roadrunner Records, 1994 and Southern Lord, 2004)
Tired of indifferent American audiences and an apathetic record label, Vitus signed with Germany’s Hellhound Records and is shocked to discover that they have rabid cult following in Europe. V is probably the second best Wino-era Vitus release; it maintains the trademark fuzzy Vitus sound, but thickens the production ever so slightly. I would also consider this release to be where Wino really hits his stride as a vocalist, as he sounds especially impassioned on cuts like “I Bleed Black” and the punky “Angry Man.” Wino contributes “Ice Monkey,” for which a video was shot, as well as the unusual acoustic number “When Emotion Dies” (featuring female vocals and Chandler’s spoken word – some don’t like it, but I think it works). V is the last studio album with Wino, before he resurrected The Obsessed.
Southern Lord’s reissue also features a 30 minute video of Vitus’s first gig with Wino in 1986, and this footage alone makes the reissue worth buying. Rough (vocals are a bit overpowered by the sludge), but awesome footage of Vitus tearing through five classics, with Chandler’s unorthodox lead playing and charismatic stage personality stealing the show.
Live
(Hellhound, 1991; reissued Southern Lord, 2005)
If Vitus’s studio albums never seemed to sound quite as heavy as you knew the band really was, this double live album should rectify things for you. Chandler’s guitar benefits especially, as the band trudges through selections from their entire discography. Wino’s vocals are rougher than the studio albums, but still powerful. The Southern Lord reissue contains a lot more live pictures than the original, but leaves out the interview featured inside the original Hellhound version. A solid live album, but I’d say to start with the studio albums.
Heavier Than Thou
(SST, 1991)
A compilation thrown together on the cheap by SST. Two LPs worth of Vitus, with ten tracks from the Wino years, four from the Reagers era, and no rarities, pictures, or liner notes (besides the bare minimum of credits). But I have to say, this CD (along with a used record store score of the Hallow’s Victim LP) was the only Vitus I could find back in 1992, and it sure did the trick at the time. For completists only.
Saint Vitus Reunion DVD
(Claude & Elmo, 2007)
Pro-shot from multiple camera angles in 2003, this limited edition (1000 hand numbered copies) is a great souvenir of the one and only Vitus reunion show in America (there was one other in Germany). Vitus plays all the classics and sounds great, although the sound quality is a tad muddy. Part of the problem could be the incessant crowd noise present during the performance – couldn’t this have been mixed down? And for that matter, couldn’t people stop fucking chatting while they’re playing? Still, I guess it does kinda make you feel like you’re there (and I wish I had been). Griping aside, the hardcore Vitus fan will dig this.
Saint Vitus Compilation Appearances
Program Annihilator Vol. 2
(SST, 1988)
“The Creeps” and “Bitter Truth” appear from Mournful Cries on this SST sampler.
Dark Passages
(Rise Above, 1990)
Classic doom metal compilation featuring Vitus’s ”I Bleed Black.”
Let There Be Doom II
(Southern Lord, 2004)
“I Bleed Black” from the V reissue is featured on this Southern Lord promo CD.
The Obsessed
(1978 - 1985; 1991 - 1995)
Sodden Jackal 7”
(Invictus, 1983)
Wino’s debut release, and still one of my favorite works of his. This independently issued single feature three very raw tracks, each getting progressively faster, from the low B-tuned pure doom of “Sodden Jackal,” though the mid-paced “Iron and Stone” (covered by the Foo Fighters… sorry, never heard it, so I can’t offer an opinion), to the short punk blast of “Indestroy.” Awesome. This can thankfully be found now on Incarnate (or try Ebay for the original).
The Obsessed
(Hellhound, 1989; reissued Tollota Records, 2000, with bonus live tracks)
This album was my introduction to The Obsessed, and coming to it as a Vitus fan, I was quite surprised at how “rock” it was! And indeed, The Obsessed definitely is as much a hard rock band as they are a doom metal band, with tracks like “Freedom” or “Tombstone Highway” being quite upbeat. The doom is still integral, as “River of Soul” and others show, but not to the same extent as Vitus. This was recorded in 1985, near the end of The Obsessed’s initial run, before Wino joined Vitus, and could’ve quite possibly ended up as a Metal Blade release. Around this time, The Obsessed appeared on Metal Massacre VI (see below), but Brian Slagel declined to follow this up with a full length. The drums sound a little stiff and mid-`80s-ish, but that’s really the only complaint I could have about this excellent release. Out of print as of this writing, but the 2000 reissue (with a concert from 1984 added) on Tolotta shouldn’t be too hard to track down.
Lunar Womb
(Hellhound, 1991; reissued MeteorCity, 2006)
For a long time, this was the Holy Grail for Wino fans, as this legendary record had been out of print since the early `90`s until Meteorcity reissued it in 2006. The newly reformed Obsessed now features an entirely different lineup than the early `80`s Obsessed, with Greg Rogers (drums) and Scott Reeder (bass) now accompanying Wino. Lunar Womb is a much more energetic-sounding record that the self-titled, and it is considered by many to be the best Obsessed album. Again, this album has doomy overtones in older Obsessed numbers from the early `80`s, such as “Endless Circles” or the magnificent “Hiding Mask,” but it is balanced by faster tunes, such as the Reeder-sung “Bardo” and the Motorhead-sounding punk tune, “No Blame” (most of Wino’s albums feature at least one fast, punky number). Lunar Womb’s classic status is deserved, and I would recommend it as an excellent introduction to Wino’s work.
The Church Within
(Columbia, 1994)
In the grungy days of the early `90`s, major labels briefly began to take chances again, and this corporate confusion led to some decidedly non-commercial signings such as The Melvins, the Columbia/Earache partnership, and The Obsessed. Of course, none lasted very long, and The Obsessed’s story is sadly one of the shortest. Thankfully, The Church Within is no sellout, with The Obsessed delivering another top-notch album (armed with new bassist, Guy Pinhas, as Scott Reeder had since departed for Kyuss), this being decidedly darker and heavier than the previous two releases. A video was shot for “Streetside,” a more mid-tempo rocker, but apart from this video, Columbia did bugger all to promote them, and The Obsessed was dropped later that year due to both poor sales, and an unwillingness to alter their sound. The Church Within has not been reissued, but there are a lot of them floating around out there. Stoner fans tend to favor Lunar Womb, while doomheads prefer The Church Within, so choose according to your tastes.
Streetside/Blind Lightning
(Columbia promo CD single, 1994)
Both tracks taken from The Church Within.
To Protect and To Serve/Mental Kingdom
(Columbia promo CD single, 1994)
Non-LP’er “Mental Kingdom” (a track from the early `80`s Obsessed repertoire) turned up on the Incarnate compilation.
The Obsessed Documentary
(Columbia promo VHS, 1994)
This is a very entertaining 27 minute promo-only documentary that was given out to the press and other industry types who probably wouldn’t truly appreciate it. However, it is easily found on YouTube, and definitely worth watching. Lots of testimony here from Wino’s more high profile admirers, such as Henry Rollins, Ian MacKaye, and Phil Anselmo, as well as doom notables like Lee Dorrian and future Spirit Caravan bassist Dave Sherman. Strangely, there’s not much interview footage with the man himself, but there is lots of tantalizing live clips, even going as far back as a high school gig in 1978!
Altamont Nation 7”
(Bongload, 1995)
After being dumped by the bright lights at Columbia for refusing to go commercial, The Obsessed’s final release would be this killer 7”. Their take on the Eric Burden-penned “Inside Looking Out” wipes the floor with the Grand Funk Railroad version – Wino’s voice just drips with conviction here. This single later turned up on the rarities compilation Incarnate. Side A is labeled .38 (actually 33 1/3), and side B is .45; I can remember my local university radio station trying to rig their turntable to play this at 38 rpm, he he he…
Incarnate
(Southern Lord, 1999; reissued 2004)
This worthy addendum to The Obsessed’s legacy compiles odds and ends, such as 7” releases and compilation appearances (noted elsewhere in this article), as well as unreleased demos from the early `90`s. Several songs that never made it on to “official” Obsessed albums are included, though some were later recorded with Spirit Caravan.
The CD reissue in 2004 features several extra songs from The Church Within-era demos, as well as the “Streetside” video (the double vinyl includes two live cuts not found on either of the CD issues…confused? It’s just the usual record label ploy to get you to buy it twice). An essential purchase for the devoted, as much of this material is available nowhere else, and/or long out of print.
The Obsessed/Mystick Krewe of Clearlight 7”
(Southern Lord, 2003)
Both bands do Skynyrd covers, with the live in the studio jam of “On the Hunt” (featuring The Melvins’ Dale Crover on second drums) being taken from the Incarnate release.
The Obsessed Compilation Appearances
Metal Massacre VI
(Metal Blade, 1985)
Obsessed standard “Concrete Cancer” appears here, and it sticks out like a sore thumb amongst all the thrash metal of the day. This is a different version than the early ’90`s recording featured on Incarnate.
What The Hell!
(Hellhound sampler, 1992)
Features “Spirit Caravan” and “Skybone”, both recorded with the Lunar Womb lineup. Great tracks and luckily available on Incarnate.
Let There Be Doom II
(Southern Lord, 2004)
“Climate of Despair” from the Incarante reissue is featured on this Southern Lord promo CD.
Spirit Caravan (aka Shine)
(1996 - 2002)
Shine 7”
(Tolotta, 1997)
Following the implosion of The Obsessed, Wino moved back to Maryland from LA, and was coaxed out of semi-retirement by bassist Dave Sherman and drummer Gary Isom (both prominent fixtures of the Maryland doom scene). This 7” features two songs from the Powertime demo – all three songs would be re-recorded for Jug Fulla Sun but would turn up in their original form on The Last Embrace. Shine was soon rechristened Spirit Caravan after a bunch of nobodies with the legal rights to the name threatened to sue.
Jug Fulla Sun
(Tolotta, 1999)
Now on old friend and Fugazi bassist Joe Lally’s Tolotta label, Spirit Caravan’s debut is the first full-length in five years from Wino. Newly clean and sober, the music, lyrics, and imagery emanate a more positive, spiritual vibe, in contrast to the despair of The Church Within. However, the music picks up where The Obsessed left off (if not quite as doomy), with Jug Fulla Sun sporting warm, thick production and a classic batch of songs, resulting in one of Wino’s most loved, and highly regarded albums. A classic. OOP, but available on The Last Embrace.
Dreamwheel EP
(MeteorCity, 1999)
Capitalizing on the buzz of Jug Fulla Sun, this 20 minute, five song EP compliments its predecessor nicely. Very similar to Jug Fulla Sun, and fortunately Dreamwheel sounds just as inspired, so it’s a shame that it is currently out of print.
Spirit Caravan/Sixty Watt Shaman split 7”
(Tee Pee Records, 1999)
Spirit Caravan contribute “Darkness and Longing”, a track later re-recorded for Elusive Truth (this 7” version is also available on The Last Embrace).
Elusive Truth
(Tolotta, 2001)
This album is a bit of a letdown after Dreamwheel and Jug Fulla Sun; it’s not a bad album by any means, but too much of it just kinda plods along. There are some very good tracks here, like the Southern-tinged “Cloudy Mirror,” old Obsessed classic “Sprit Caravan,” and the Sherman-sung “Retroman,” but it falls short of the heights reached by the rest of the Spirit Caravan catalog. As with Jug, this is now available on The Last Embrace.
So Mortal Be 7”
(Tolotta, 2002)
Spirit Caravan’s unexpected swan song sees Wino taking the vocals on side A, and Sherman singing the heavy “Undone Mind” on the flipside (both available on The Last Embrace).
The Last Embrace
(MeteorCity, 2004)
This two-CD epitaph contains almost the entire Spirit Caravan discography, minus Dreamwheel. It also includes the last three songs recorded by Spirit Caravan (found nowhere else), and all three sound stronger than much of Elusive Truth. Jug Fulla Sun and Elusive Truth are contained herein, with slight differences – on Jug, the Powertime demo replaces the three rerecorded versions originally found on Jug, and the 7” version of “Darkness and Longing” and the Rise 13 version of “The Departure” do the same on Elusive Truth.
Spirit Caravan Compilation Appearances
Metal Injection - A Lethal Dose of Metal Mayhem
(Bad Posture, 1998)
“Powertime” from the Shine demo is featured here on this obscure compilation. This version reappears later on The Last Embrace.
Stoned Revolution – The Ultimate Trip
(Rough Trade, 1998)
Spirit Caravan (as Shine) contributes the classic “Lost Sun Dance” from the Shine 7”/Powertime demo on this rare 2LP/single CD comp. Looking back, this is actually quite a good period piece for the stoner rock scene of the late 90s.
Rise 13
(Rise Above, 1999)
“The Departure” is featured; a slow, understated tune re-recorded for Elusive Truth (this comp version now on The Last Embrace).
Sucking the 70s
(Small Stone Records, 2002)
A two CD collection of modern day stoner bands covering `70`s classics. Spirit Caravan offers up a live take on Sabbath’s “Wicked World” (this recording is only available here).
Place of Skulls
(2003)
With Vision
(Southern Lord, 2003)
With Vision is the fruit of a short-lived partnership of Wino and former Pentagram guitarist, Victor Griffin. Old friends since the early `80`s glory days of the Obsessed and Pentagram/Death Row, the two had cut demos before (see Late For an Early Grave), but upon the breakup of Spirit Caravan, Griffin called up Wino and asked him to join Place of Skulls. The combination of living in different states, and the simultaneous formation of The Hidden Hand would ensure that this collaboration would be brief, but luckily they cut this fantastic album of old school doom metal. The two split vocals on lead-off cut, “Last Hit,” but otherwise each sings the songs that they wrote alone. “The Watchers” is one of Wino’s doomiest songs ever, and “Long Lost Grave” ends with a killer jam between Griffin and Wino (and of course, the entire album is a display of guitar wizardry from a these two lifers). Essential for fans of Wino’s doomier works.
Place of Skulls Compilation Appearances
Let There Be Doom II
(Southern Lord, 2004)
While “The Watchers” from With Vision is listed on this Southern Lord promo CD, the track featured is actually “Lost” (also from With Vision).
The Hidden Hand
(2002 - 2007)
Desensitized 7”
(McCarthyism, 2003)
“Desensitized” is one track spread across two sides, with a feedback-laden interlude separating the verses from an ever-evolving instrumental jam. The world’s introduction to The Hidden Hand is a good portent of things to come, and one of their best tracks. This song would be later re-recorded for Mother Teacher Destroyer.
Divine Propaganda
(MeteorCity, 2003)
While still obviously bearing Wino’s musical stamp, The Hidden Hand`s debut indicates that this band is a departure from Spirit Caravan and The Obsessed. Most significantly, the vocal duties are evenly split between Wino and bassist Bruce Falkinburg (whose vocals have been met with mixed reaction at best). Musically, things get simultaneously more progressive/psychedelic and speedier – Falkinburg and the excellently manic drummer Dave Hennesy have chops that match Wino’s, and the drumming especially really propels the band along. Divine Propaganda is also the most overtly political and angry sounding work in Wino’s discography, coming as it does in the aftermath of 9/11 and the onset of the disastrous war in Iraq; indeed, there is even a recommended reading list! Overall, it’s great to hear Wino pushing the boundaries of his established style. While not without its flaws, Divine Propaganda is an urgent, spontaneous-sounding album.
Night Letters split EP with Wooly Mammoth
(MeteorCity, 2004)
Two tracks from each band here, with The Hidden Hand offering a Bruce-sung rocker, and a King Crimson-esque instrumental, “Welcome To Sunshine.”
Mother Teacher Destroyer
(Southern Lord, 2004)
This record is a) the most psychedelic, layered recording bearing Wino’s name, b) the best Hidden Hand album, c) one of Wino’s best albums period, or d) all of the above. As you might guess, I choose d, for this is Wino and co really pushing themselves to come up with a diverse sounding album, and succeeding in spades. Doom, swirling psychedelia, straight-up hard rock, and jammy bits all converge here into 11 concise tracks. The potential that was hinted at on Divine Propaganda comes to fruition on Mother Teacher Destroyer. The 2LP version contains an extra track, “Marginalized.”
Devoid of Colour EP/DVD
(Southern Lord, 2005)
A two-sided disc here, with a short EP on one side, introducing new drummer Evan Tanner, and a 45 minute live DVD on the other. “Vulcan’s Children” is definitely the standout track on the EP. The DVD is a pro-shot live performance in DC, with excellent sound and camera work (the audience seems a bit subdued, though). Interspersed throughout the live tracks are some candid moments; most notably, a visit to Wino’s vegetable garden. This release was limited to 3000 copies, although early editions of The Resurrection of Whiskey Foote did contain a bonus disc of the Devoid of Colour EP (minus the DVD, though).
The Resurrection of Whiskey Foote
(Southern Lord, 2007)
This is a grower, this one. The album starts slowly, with a couple of doomy numbers, all sung by Wino (although Bruce does contribute vocals later on), and picks up the pace as it goes along. A bit of a southern vibe infiltrates the proceedings here, with slide guitar making an appearance on the title track, but overall the mood feels more restrained compared to the previous two full lengths. There are a couple of dud moments (“Broke Dog” being one), but the high points (“Slow Rain”, “Spiritually Bereft”) make this a worthy release, if not quite as good as Mother Teacher Destroyer. As mentioned above, the initial digipack pressing of Whiskey Foote contained a bonus CD featuring the Devoid of Colour EP (minus the DVD). Unfortunately, this album would turn out to be the swan song of The Hidden Hand, as they split suddenly in the summer of 2007, for reasons still unexplained.
The Hidden Hand Compilation Appearances
High Volume: The Stoner Rock Collection
(High Times Record, 2004)
The Hidden Hand offers the Wino-sung “Falconstone,” possibly one of their most intense pieces. It would have fit nicely on Divine Propaganda.
Doom Capital: Maryland DC Heavy Rock Underground
(Crucial Blast Records, 2004)
“Rebellion” is another Wino-sung track that, like “Falconstone,” appears nowhere else besides this release. Incidentally, this is a recommended compilation, as it gives a contemporary glimpse of the rich doom/stoner scene of DC/Maryland/Virginia, an area long known for its high concentration of quality doom metal bands.
Electric Basement Presents… High Voltage Rock
(Electric Basement, 2004)
“Screw The Naysayers” from Divine Propaganda is featured on this two CD compilation.
Miscellaneous Wino Appearances
Note: While I own most of these releases, there are a few that I’ve never heard, hence the brevity of some of the entries here.
Various Artists - Nativity In Black: A Tribute To Black Sabbath
(Columbia, 1994)
Wino joins Bill Ward, Geezer Butler, Rob Halford, and Fight guitarist Brian Tilse for a mid-paced run-through of “The Wizard.” Not bad, but Tilse is inexplicably given lead guitar duties over Wino (major label politics, I’m sure).
Clutch – Pure Rock Fury
(Atlantic, 2001)
Wino and Clutch guitarist Tim Sult trade licks throughout the latter half of the “Red Horse Rainbow.” If you’re a Clutch fan, you’ll like it; if not, this won’t change your mind.
The Mystick Krewe of Clearlight – The Father, the Son and the Holy Smoke split CD with Acid King
(Man`s Ruin Records, 2001)
Wino sings on Clearlight’s two songs here (“Buzzard Hill” and “Veiled”), as well as adding some e-bow guitar to the lengthy, somber jam at the conclusion of “Veiled.” Both tracks are excellent, and Wino’s rich voice fits Clearlight’s loose, organ-inflected heavy southern sound perfectly. On the legendary Man’s Ruin label, and therefore long OOP.
Sixty Watt Shaman – Reason To Live
(Spitfire, 2002)
Wino plays guitar on “All Things Must Pass.”
Solace – 13
(MeteorCity, 2003)
Wino plays guitar and guest vocals on “Common Cause.”
Probot – Probot
(Southern Lord, 2004)
This much hyped metal album from Dave Grohl, featuring an impressive array of metal legends on vocals, is a pretty spotty affair. While I am a fan of most of the singers present, I can easily say that Wino’s track is the best thing on here – perhaps because Wino not only sings, but adds some e-bow, and a killer solo to “The Emerald Law.” Wino also appears in the video for Lemmy’s song, “Shake Your Blood,” but doesn’t play on the track.
Paul Chain – Unreleased Vol. 2
(Minotauro Records, 2004)
Italy’s legendary doom maestro Paul Chain has a discography just as lengthy as Wino, but unfortunately much of it can be difficult to track down. This release can still be fairly easily obtained however, and if you are a fan of Chain and Wino, grab this. Despite Wino singing on “Bloodwing” and “Nibiru Dawn,” these two slow to mid-paced doomy numbers sound more like Paul Chain`s compositional style than Wino’s.
Shepherd – The Coldest Day
(Exile on Mainstream, 2004)
Wino plays guitar on "Thursday" and "Saturday", and adds vocals and guitar on "Sunday."
Victor Griffin – Late For An Early Grave
(Outlaw Recordings, 2004)
Wino adds some licks and shares vocals with Griffin on “Haywire” and “The Pusher/Iron Horse,” old demo tracks from the early `90`s. Note that “Haywire” is not available on the vinyl pressing of this release. These songs were mostly just private demo recordings of Griffin’s compositions that would eventually end up on Pentagram and Place of Skulls albums (seeds of “Last Hit,” from Place of Skulls’ With Vision, can be found in “Mainline”) and all feature a drum machine. So this is one mainly for the hardcore Griffin/Pentagram/Wino fans.
Wooly Mammoth – The Temporary Nature
(Underdogma, 2005)
Wino adds guitar on this “Mammoth Bones,” a lengthy jam that ends the album.
Wall of Sleep – Sun Faced Apostles
(PsycheDOOMelic, 2005)
Wino plays guitar on “From the Bottom of These Days.”
Lost Breed – Wino Daze
(Helltown Records, 2007)
Lost Breed was another band on the Hellhound label in the early `90`s, but before they released material on that label, the band cut six tracks with Wino on vocals in the early `90`s. From what I understand, Wino was never a permanent member, but was helping them out until they found a vocalist. Despite being bootlegged, this demo was never released officially until 2007 on the Winop Daze compilation. It’s good, meat and potatoes metal with doom overtones, and Wino’s vocals have a nice raw vibe to them. Unfortunately, their cover of “Iron Horse” (again!) isn’t included here, presumably for copyright reasons, so you`re left with only "Nation`s Song," "False Glory," "Lost Breed," "Soul Chariot" and "Coffin Cheater."
Post Hidden Hand Projects
Following the dissolution of The Hidden Hand, Wino has remained busy. This fall, Wino’s first solo album, Punctuated Equilibrium, will be released on Southern Lord. Accompanying him on the drums will be Clutch’s Jean Paul Gaster, and Jon Blank from Rezin on bass. Additionally, the Shrinebuilder project featuring Wino, Scott Kelly (Neurosis), Al Cisneros (Om), and Dale Crover (Melvins) is also on the horizon.
So, 30 years after playing at Wooten High School to students who’d rather be grocery shopping with their mothers than listening to The Obsessed, Wino has slowly but surely found an appreciative audience that continues to expand with each release.
