And Heavy Kingdom, which will be out on Exile on Mainstream Jan. 30 in Europe and March 13 in North America, captures the emotionality in both songwriters’ work. Most of its tracks are pretty bare-bones, however, so there’s an element of rawness that seems to convey the basic nature of the collaboration. They wrote them together, they play them together. Wino & Conny Ochs, as a unit, isn’t about showing off the prowess of one player or another, but about two artists who respect each other working in tandem to create something new and whole.

The album succeeds in that, and is at times almost embarrassingly honest. As a representation of the material as a whole, it’s fitting to unveil the title-track first, since it hones both that honesty and the rawness of approach that so much of Heavy Kingdom is built on. Like the collaboration itself, it deals in duality and effectively bridges seemingly disparate elements into something natural and engaging.

Please enjoy Wino & Conny Ochs‘ “Heavy Kingdom” on the player below:

Heavy Kingdom is due out Jan. 30 in Europe and March 13 in North America on Exile on Mainstream. Special thanks to Earsplit PR and Exile on Mainstream for letting me host the track. For more on the release, check out the label’s site here and Wino‘s official page. If you’d like to see a bigger version of the cover, click here. Happy Wino Wednesday.

I was lucky enough to see this lineup play at Roadburn in 2009, just a couple weeks before Blank died of an overdose and cast an immutable shadow over the album and the Wino band. They toured some afterwards, opening for Clutch on an American summer jaunt that found Gaster more than ably pulling double duty, but that was it after that. Wino went back on tour with Saint Vitus, did his acoustic record and worked on Premonition 13 and Shrinebuilder, and Gaster continued his never-ending road work with his main outfit.

Whether the Wino band ever does another record, the pairing of Weinrich and Gaster was something unique in the catalogs of both players. Gaster‘s popping snare added bounce to Weinrich‘s riffs, which in turn provides opportunities for stylistic exploration away from Clutch‘s well-established latter-day bluesy aesthetic. Maybe they’ll get back and do it again at some point, maybe they won’t. Either way, Punctuated Equilibrium stands out as a special moment in one of the underground’s most storied discographies, and “Release Me” is one of those songs that just feels like home.

I hope you dig it on this last Wino Wednesday of 2011. See you in the future.

This was just a couple weeks before Wino hit the road alongside Shrinebuilder bandmate Scott Kelly on an acoustic tour in support of Adrift and a split 7″ single between them, but I’d hardly call the performance rough. He nails the restless angst of “I Don’t Care” and manages to elicit whoops and yells from the crowd during “Nothin’” in the solo at the end. The energy is there, is what I’m trying to say.

And given the odd setting near a shirt rack and the clarity of sound and video for this clip, it was an easy choice. Enjoy “I Don’t Care” and “Nothin’” and the rest of your Wino Wednesday:

One can only hope that, like that album, Exile on Mainstream decides to do a wood-box edition of Heavy Kingdom. No details yes or no on that yet, but here’s what the PR wire has to say:

The folks at Germany’s avant-rock source Exile on Mainstream Records are thrilled to report that the final master for Heavy Kingdom, the anticipated collaborative album by Wino and Conny Ochs has arrived at label headquarters, and the final details on the album’s release are being finalized.

The legacy of Scott “Wino” Weinrich in the world of heavy music is indisputable and ever evolving, and here he teams up with Conny Ochs, a songwriter so pure and honest in his output that he seems to be the perfect partner for the straightforward Weinrich. The two met for the first time in 2010 when Conny was supporting Wino on his acoustic solo tour promoting his acclaimed solo album, Adrift. Through music they discovered a very similar approach to life and art, and a shared wisdom in creating music. It really seemed like two souls becoming one after they got to know each other. Together the two wrote, performed and recorded an incredible set of soulful tunes that speak for themselves, as well as a Townes Van Zandt cover. The artwork contains drawings by both Weinrich and Ochs, and follows the dedicated and deeply personal approach of the whole album.

Heavy Kingdom Track Listing:
1. Somewhere Nowhere
2. Heavy Kingdom
3. Dust
4. Vultures by the Vines
5. Dark Ravine
6. Traces of Blood
7. Heavy Kingdom Jam
8. Highway Kind
9. Dead Yesterday
10. Here Comes the Siren
11. Labour Of Love

Heavy Kingdom will be released throughout Europe on Jan. 27, 2012 and in North America sometime in March, a final release date to be confirmed in the weeks ahead. Stay tuned for tracks from the record to be released in the near future, as well as the details on a month-long European tour being finalized for March and April.

Such Hawks, Such Hounds came out in 2008, so this isn’t exactly the most current info (in the interview we did back in February, Wino talked about being separated from his wife), but it’s a cool insight into the spirit and motivations of the man, which I expect is why the people behind the movie felt compelled to include it in the DVD extras to start with.

We’ll get back on with the music next week, but for now, hope you enjoy this on your Wino Wednesday:

The track is them performing the song live, and it’s taken from the first Sucking the ’70s compilation on Small Stone Records. I humbly submit that it’s better than at least 97 percent of what appears on both Nativity in Black tribute discs, and among the most honest Sabbath covers put to tape. Considering the legacy Spirit Caravan left behind them in their too-short tenure, it’s fitting.

Although, with that solo, just about anything would be fitting.

Anyway, enjoy. Hope you have a great Wino Wednesday:

This week, the chosen clip is courtesy of Paul Chain, who’s widely regarded as the master of Italian doom. Through his work in the earliest days of Death SS to his own Violet Theatre and sundry solo projects, the guitarist/vocalist has always had an eye and ear for experimentation. His latest band, Translate, has moved away from doom into more progressive and experimental styles, but much like Wino, he’s someone whose discography it would take years to even begin to grasp.

The song “Bloodwing” appeared on Chain‘s 2004 compilation, Unreleased Vol. 2, and is one of two tracks to feature a guest spot from Wino; the other, “Nibiru Dawn,” is no less plodding and mournful. Weinrich‘s integration with Chain‘s playing style is seamless, and it’s a great introduction to anyone who might not be familiar with the latter’s also-continual progression. Hope you enjoy:

As I was reading through it looking for inspiration for this week’s Wino Wednesday post, I was reminded of Place of Skulls‘ excellent 2003 album, With Vision. It turned out to be little more than a blip in Weinrich‘s storied career — that is, it was Victor Griffin‘s band even before Wino added his profile to it and he only stayed on board for that one record — but the Weinrich/Griffin pairing resulted in some truly landmark tracks, among them “Last Hit,” on which (as Throatwobbler notes in the guide), they trade vocals.

Here’s that song for your YouTubular pleasure:

Extra special thanks to Throatwobbler for his hard work writing the guide, posting it on the forum and for allowing me to host it here. Please click “Read more” below to view it in its entirety.

Scott “Wino” Weinrich: Buyer’s Guide
by Throatwobbler

Introduction

As you can 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 – Vitus were lucky to be blessed with two of metal’s most unique voices. 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 are probably the most responsible for slooooowing metal down to a crawling pace that was almost unheard of for 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 – 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 are 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 Chandler wrote the majority of the music and called the shots (from what I gather, anyway). 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,” playing 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.

2011 update: Greg Ginn has finally gotten off his ass, and rereleased all the SST Vitus albums on vinyl, so they’re all once again available at decent prices.

V (Hellhound, 1990 – reissued Roadrunner Records 1994, and Southern Lord 2004)

Tired of indifferent American audiences, and an apathetic record label, Vitus sign with Germany’s Hellhound Records, and are 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 mpeg 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 sound benefits especially, as the band trudges through selections from their entire discography. Wino’s vocals are rougher-sounding than the studio albums, but still powerful. The SL 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 compilation, 1991)

A compilation thrown together on the cheap by SST. Two LPs worth of Vitus, 10 tracks from the Wino years, four from the Reagers era, and no rarities, no pictures, and no 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 (shot July 2003 live in Chicago, released 2007)

Pro-shot from multiple camera angles, 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 play all the classics, and sound 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? (sarcastic 2011 remark: at least they didn’t spend the entire show text-messaging!) 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/Born Too Late 7” (Volcom Entertainment, 2010)

So, Vitus are back and finally getting their due! This is their first release without longtime drummer Armando Acosta (R.I.P.) and really, it’s just two bootleg quality live tracks of Vitus standards. Recorded in 2009 and 2010, these feature new drummer Henry Vasquez.

Saint Vitus compilation appearances:

Program Annihilator Vol. 2[/i](SST, 1988)

“The Creeps” and “Bitter Truth” appear from [i]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 (circa 1978-85; 1991-1995)

Sodden Jackal 7” (Invictus, 1983)

Wino’s debut release, and still one of my favourite 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 (recorded circa 1985, released 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 near the end of The Obsessed’s initial run in the early 80s, 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 90s until Meteorcity reissued in 2006. The newly reformed Obsessed now features an entirely different lineup than the early 80s Obsessed, with Greg Rogers (drums) and Scott Reeder (bass – soon to leave for Kyuss) now accompanying Wino. Lunar Womb is a much more energetic-sounding record that the S/T, 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 80s, 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 90s, 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), 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 favour 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 80s 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, hehehe…

Incarnate (compilation, Southern Lord 1999, reissued 2004, Southern Lord)

This worthy addendum to The Obsessed’s legacy compiles odds and ends, such as 7”s and compilation appearances (noted elsewhere in this article), as well as unreleased demos from the early 90s. 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 an mpeg for the “Streetside” video (the double vinyl includes 2 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” split on Southern Lord, 2003)

Both bands do Skynyrd covers, with the live in the studio jam of “On the Hunt” (feat. 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 ’90s 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 semiretirement 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 were 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, 5 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” (TeePee, 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 catalogue. 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 2CD 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/Shine 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)

Shine contribute 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, 2002)

2CD collection of modern day stoner bands covering 70s classics. Spirit Caravan offer 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 80s 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 PoS. 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)

“The Watchers” from With Vision is listed on this Southern Lord promo cd, but 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, THH’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 Propanganda 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 MTD. 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”), 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. Would 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 2 CD comp.

Wino solo (2009 – )

Punctuated Equilibrium (Southern Lord, 2009)

Wino continues with more power trio goodness, featuring Jon Blank on bass, and drummer extraordinaire J.P. Gaster of Clutch fame. Gaster’s distinctive style and sound can’t help but give a bit of a Clutch feel to some of the tracks here, like the bluesy hard rock style of “Release Me” and “Smilin’ Road.” These tracks, as well as the bonus 10” tracks “The Comet and the Moon” and Three Dog Night cover “Chest Fever,” make me think of PE as a bit more of a happy hard rock album, but really it’s quite a good overview of Wino’s various styles. The title track barrels along in an angry fashion, and there’s some nice instrumental jams, as well as trademark mid tempo doom rockers, like “Secret Realm Devotion,” and “Silver Lining.” As mentioned, the vinyl edition comes with a bonus 10,” featuring four exclusive tracks not found on the CD edition, and both versions include some cool liner notes from Wino, explaining the origins and inspirations behind each track.

Live At Roadburn (Roadburn Records, 2010)

Killer live set from the Punctuated Equilibrium lineup here. You can really hear these three gel in the live setting, which makes Jon Blank’s passing four days later all the more tragic. His bass playing easily holds its own with Wino and JP’s virtuosity. Anyway, it’s a hot set, with the track selection focusing on Punctuated Equilibrium, but including some Obsessed, Caravan, and Hidden Hand numbers as well. A couple of less obvious choices (“Yen Sleep,” “On The (Sacrificial) Lam”) are a nice touch, too. The CD version contains an extra track, “Release Me/Wild Blue Yonder.” Kind of a low profile release, but a really good one.

Adrift (Volcom Entertainment, 2010)

When thinking of 1990s trends, the “unplugged” album is one I don’t miss. I don’t have much interest in hearing coffee house versions of previously rockin’ material, ‘cause usually it doesn’t work, and the record just sits on the shelf. So, I’m glad to say that Adrift is really good, possibly because most of the material was tailored to acoustic guitar in the first place. No drums, and not much else besides Wino’s voice, acoustic guitar, and some occasional electric leads. As the title, and artwork suggest, Adrift is pretty bleak, very much a post-divorce album. It actually kind of reminds me a bit of The Groundhogs circa Hogwash, Two Sides of TS McPhee, in this regard, though not quite as blunt (nothing quite as bitter as “I Love Miss Ogyny”!). Despite the acoustic setting, the intro riff of the title track is trademark Wino; I could actually picture this mournful sea shanty as an electric number quite easily. The other stand-out track to me is the finale, “Green Speed,” an all-out rocker, with frenetic dueling electric solos from Wino and producer Ray Tilkens. With Adrift, it’s cool to see Wino take a risk that pays off. Apparently, it’s his biggest selling album! Note that the European pressing features a black and white version of the cover art.

Wino/Scott Kelly split 7” (Volcom Entertainment, 2011)

The acoustic “Manifesto” picks up where Adrift left off, and as the title alludes, it’s pretty much Wino’s worldview put to music. If you’ve read his interviews before, you know what to expect. And a good tune, to boot!

Shrinebuilder (2009 – )

Shrinebuilder (Neurot, 2009)

The much anticipated supergroup of Wino, Scott Kelly, Al Cisneros, and Dale Crover, Shrinebuilder’s debut is an epic slice of psychedelic, doomy ear candy. I don’t understand some of the “meh” reactions I’ve read online about this, ‘cause to me, this is exactly what you’d want from these guys. The album is bookended by two lengthy pieces, each with long, layered instrumental sections, and lead vocals mostly from Wino. Kelly adds some more aggressive vocals in places, which have a tendency to leap out at you. My pick would be the hypnotic “Blind For All To See,” mostly a liquidy jam, with sparse almost spoken verses from Kelly. “The Architect” is the most “Wino” sounding of the tracks; this could‘ve appeared on any of his previous records. I’m curious to hear where these guys go from here. I’d like to hear Cisneros a little louder in the (crowded) mix next time, as it’s cool to hear him play busier material like this. Highly recommended.

Coextinction Recording 3 (Coextinction, 2011)

An download-only release (as far as I know), this came about when Shrinebuilder’s 2010 Roadburn appearance was sidelined by the Iceland’s Eyjafjallajökull volcano. So, this spontaneous recording session features only one track, a reworking of the debut’s “Science of Anger” – an extended, noisy intro and extended e-bow laden outro, but otherwise not too different. The vocals are a little further back in the mix, and the overall sound is a bit fuller than the debut.

Live In Europe 2010 (My Proud Mountain, 2011)

Currently waiting for my copy in the mail.

Premonition 13 (2010 – )

Switchouse b/w Crossthreaded 7” (Volcom Entertainment, 2011)

Two exclusive tracks from Wino’s latest collaboration, this time featuring old friend Jim “Sparky” Karrow on co-lead guitar. “Switchouse” is a midpaced number, kind of harkening back to Spirit Caravan in its unhurried style. Not bad, but I prefer the more urgent sounding flipside, the instrumental “Crossthreaded.”

13 (Volcom Entertainment, 2011)

This album is much more stripped down than anything Wino’s done since Spirit Caravan (with the obvious exception of Adrift). It’s very laidback, wide open with a lot of space in the grooves, partly due to Matthew Clark’s Acosta-style drumming. The instant classic here is “La Hechicera de la Jeringa,” a doomy monster up there with Wino’s best (“Lost Sun Dance,” Skybone” etc). Close second would be closer “Peyote Road,” another slow number, more psychedelic than doomy. There are a few upbeat moments, like the Karrow-sung “Modern Man,” “Deranged Rock ‘n Roller,” and the cover of Lethal Intent’s “Hard to Say” (written by H.B. Caldwell – remember “Bitter Truth”?). Overall, if you miss the laidback groove of Spirit Caravan, you will dig Premonition 13.

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.

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 – “Red Horse Rainbow” from Pure Rock Fury (Atlantic, 2001)

Wino and Clutch guitarist Tim Sult trade licks throughout the latter half of the song. If you’re a Clutch fan, you’ll like it; if not, this won’t change your mind.

The Mystick Krewe of Clearlight – “Buzzard Hill” and “Veiled” from 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, 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 – “All Things Must Pass” from Reason To Live (Spitfire, 2002)

Wino plays guitar here.

Solace – “Common Cause” from 13 (Meteorcity, 2003)

Wino plays guitar here.

Probot – “The Emerald Law” from 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 – “Bloodwing” and “Nibiru Dawn” from 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 these two slow to mid-paced doomy numbers, they sound more like Paul Chain compositional style than Wino’s.

Shepherd – “Thursday,” “Saturday” and “Sunday” from The Coldest Day (Exile on Mainstream, 2004)

Wino plays guitar on “Thursday” and “Saturday,” and adds vocals and guitar on “Sunday.”

Victor Griffin – “Haywire” and “The Pusher/Iron Horse” from Late For An Early Grave (Outlaw Recordings, 2004)

Wino adds some licks and shares vocals with Griffin on these old demo tracks from the early 90s. 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 – “Mammoth Bones” from The Temporary Nature (Underdogma, 2005)

Wino adds guitar on this track.

Lost Breed – “Nation’s Song,” “False Glory,” “Lost Breed,” “Soul Chariot” and “Coffin Cheater” from Wino Daze (Helltown Records, 2007)

Lost Breed was another band on the Hellhound label in the early 90s, but before they released material on that label, the band cut 6 tracks with Wino on vocals in the early 90s. 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 this here 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.

Wall Of Sleep – Sun Faced Apostles (PsycheDOOMelic, 2005)

Wino plays guitar on “From the Bottom of These Days.”

Earthride – Something Wicked (Born to Be Doom, 2010)

Wino adds some guitar to former Spirit Caravan bandmate Dave Sherman’s old school Maryland doom crew on the track “Supernatural Illusion.”

I don’t think any song was as striking on Adrift as the Motörhead cover “Iron Horse,” which you’ll see below. The live rendition is pretty faithful to what you get on the album — the man and his guitar — but where a few of the songs on that record were telling stories or describing feeling a certain way, “Iron Horse” was a credo. The appreciation for the song bled through the performance, and the result was anthemic. All the more so live.

The video was recorded at Emo’s in Austin. Thanks to whoever taped it.

What’s most interesting about Premonition 13 in comparison to the slew of Wino‘s projects is the inclusion of guitarist Jim Karow, a friend of Weinrich‘s going back to the days of The Obsessed, for whom Karow‘s wife served as the first manager. What Karow brings to Premonition 13, though, is a sense of being a co-headliner. Where in Shrinebuilder, there’s the formidable likes of Al Cisneros and Scott Kelly to play off of, in the realm of “Wino bands,” it’s always been Wino up front. Now he’s playing off of Karow. The elements of Wino‘s playing and songwriting are there as they’re always going to be, but it’s different.

To wit, the clip below for “Modern Man” from the 13 album with Karow on lead vocals. One of my favorite tunes from this record and I thought a great way to change it up this Wino Wednesday. Make sure to check out the tour dates under the player. Hope you dig:

Premonition 13 on tour:
10/04 Monterey, CA Jose’s Underground Lounge (w/Wino solo acoustic opening)
10/06 Seattle, WA El Corazon*
10/07 Bellingham, WA Shakedown*
10/08 Portland, OR Branx (Fall into Darkness Fest)*
10/09 Arcata, CA Alibi*
10/10 San Francisco, CA Elbo Room*
10/11 Los Angeles, CA Handbag Factory*
10/12 San Diego, CA The Shakedown Bar*
11/04 Providence, RI AS220=
11/05 Newark, DE Mojo Main=
11/06 Baltimore, MD Sonar=
11/07 Richmond, VA Strange Matter (w/Wino solo acoustic opening)=
11/09 Charlotte, NC Tremont Music Hall=
11/10 Atlanta, GA Drunken Unicorn=
11/11 Nashville, TN The Muse=
11/12 Indianapolis, IN Melody Inn=
11/13 Chicago, IL Cobra Lounge=
11/15 Pittsburgh, PA 31st St Pub=
11/17 Brooklyn, NY St. Vitus=
* w/ Witch Mountain
= w/ The Gates of Slumber