Farming Uncle


Outsight brings to light non-mainstream music, film, books, art, ideas and opinions.

Published, somewhere, monthly since July 1991. Feel free to re-print this article.

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Farming Uncle, available for a single quarter from Box 427, Bronx, NY 10458,

is a 25-year-old zine for agricultural information. Where else, for such a price,

can you find out how to make hens lay all year or the ins and outs of cashmere

harvesting? There are plenty of classifieds ranging from Native American organizations

to seed sources. Another feature is historical articles such as a 1912 piece on

successful farming of Brazilian ducks.


In 2001 E-Magine Music successfully

released the packed Samhain boxset, selling more than 30,000 copies of the set

and over 40,000 copies of the re-mastered Samhain titles contained therein. However,

the only previously unreleased audio in the boxset is Live 85-86 containing

music from two Samhain performances. As its first self-distributed release, E-Magine

released an edition of this recording February 26. This edition, packaged in a

jewel-case, is ready to be the sturdy soundtrack to your Samhain road trip whereas

the cardboard-sleeved editions in the boxset are better left safe inside that

bulky container. Also, Samhain fans that saw no need to replace their vinyl editions

with largely redundant audio now have an option to purchase these live shows from

the Danceteria (NYC, 1985) and the Metro (Chicago, 1986) singly. For the Glenn

Danzig fan, these performance documents are important steps from The Misfits to

the horror rocker’s solo career.


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April 2002: Ani DiFranco heads out on a rare solo performance tour in the Eastern

U.S. This is her first solo tour in eight years. In 1994 her fans had a multi-city

tour offering personal, bare solo performances. The set list for this tour will

include selections from the DiFranco songbook ranging from older classics to her latest

double-album Revelling/Reckoning, as well as new material. Opening on the

tour is underground folk musician sensation Dan Bern. He offers “brash humor and

addictive wit.” Dan shared the stage with Ani on several tours in the late 1990s.

Ani produced his 1998 album Fifty Eggs.


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Stalwart legends like seminal R&B songwriter-producer Ike Turner and Texas boogie queen Marcia Ball receive multiple nominations and newcomers Kid Ramos and Otis Taylor make for strong showings. Awards will be presented to the select among the nominees Thursday May 23 at the Orpheum Theatre in Memphis, Tennessee. The ceremony features Blues performances followed by two days of Blues on Beale Street. Chief nominees include soul singer Bobby Rush, guitar legends Buddy Guy and B.B. King, young singer Shemekia Copeland, boogieing Marcia Ball and the rock innovator Ike Turner. This sets the trend this year of established career artists alongside trailblazers and new standard-bearers.

One of those new standard-bearers is Otis Taylor, nominated in the “Best New Artist

Debut” category for White African (Northern

Blues</a>). Taylor racks up a total of four Handy nominations in different categories.

The opus behind the attention from the Awards judges is his critically acclaimed

debut released one year ago.

Named in honor of W.C. Handy, “Father of the Blues”, the awards ceremony traditionally opens the Handy Weekend. Celebrations include the Blues Symposium with workshops, a Children’s Festival, the Handy Awards Festival with Blues bands performing in the clubs along Beale Street, and a Handy Artists Relief Trust Benefit Concert. For the latest information on the Handy Awards and Handy Weekend visit http://www.handyawards.com or http://www.blues.org.


Jello Biafra continues to battle his former bandmates in the Dead Kennedys as

they seek financial gain from the punk group’s legacy. The booking agency representing

Biafra’s former bandmates reportedly sells the band as Dead Kennedys, asks for $10,000

guarantees, and only informs promoters that Biafra is not in the band when specifically

questioned. The band photo that the agency circulated featured Jello Biafra, instead

of the replacement singer Brandon Cruz. Most of the tour dates have been sold

to the public as “Dead Kennedys”, with at least one advertisement featuring the

photo containing Biafra. Some shows are advertised as “Dead Kennedys” with others

initially or eventually becoming “DK Kennedys” with members listed after tickets

have gone on sale. Jello Biafra calls this state of affairs “the real great rock

and roll swindle” and while giving the group the typical right to perform Dead

Kennedys covers, calls the tour overpriced performances by “the world’s greediest

karaoke band.” Early reports from the tour included poor performances and forgotten

lyrics. Witnesses in San Francisco noted that Klaus Fluoride bragged on stage

that the band had only practiced twice in thirteen years. Jello is already blocked

from receiving royalties on DK reissues circulating on Decay that he did not authorize.

For more information on the ongoing legal dispute and details on contributing

to the legal defense fund, please email

or visit the site.




Old Gold, POB 8776, Atlanta, GA 31106


Out of Brooklyn come five tracks of loose, formless, low-end rhythms and noise on a self-titled 7”. The consistent style of dark, deep and somewhat mysterious tones gives cohesion to the organic experimentation. However, the inability of the amorphous tracks to fuse into any overt harmonic or even rhythmic trend of substance leaves a vague, bland feel to the music. This is a limited edition of 300. (2)



Old Gold, POB 8776, Atlanta, GA 31106


This is a noisy, clamorous affair of enthusiasm propelling each track forward. Two of the trio of tracks from the trio DQE arrangement are originals by vocalist/guitarist Grace Braun. Also included here is Jimmy Fautheree’s anthem about getting locked out of a wild party, “I Can’t Find the Doorknob,” a song with credence in the rockabilly scene and recorded by Jimmy and Johnny in 1958. DQE straddles psychobilly and cow punk in the most deconstructed, primitive forms on this raw 45. Grace Braun grew up learning mountain folk songs and hymns in Kentucky. The DQE she formed in high school has thus a folk and country substrate but the soul and delivery is garage punk.


Tim Foljahn

Obvious Urban Landscape

Old Gold

Old Gold, POB 8776, Atlanta, GA 31106


Tim Foljahn breaks out of a three-cassette series on Old Gold with this full-length CD of strange electronic visions. Portions of those previous cassette releases are reprised here. The building blocks of these strange little pieces are robotic synthesizer sounds, affected voices and such environmental sounds as a construction site. For reading along, as well as the lyrics to the first track the thick CD booklet contains 50 enumerated paragraphs summarizing dreams had by Foljahn. These all-electronic compositions feature no traditional instrumentation and only occasional words. This is a limited edition of 500. (3.5)


Love Changes

Old Gold, POB 8776, Atlanta, GA 31106


Amateurish enthusiasm, uneven recording levels and simple, sing-along songs give

this album a charming naivety. There is root psychedelia here, as the band playfully

muddles from one area of the song to another. The simplicity and honesty of it

is the beauty of it. (2.5)

Slaughter and the Dogs

Beware Of…

TKO Records

The members of Slaughter and the Dogs are veterans with a résumé reaching back

to the first wave of British Punk. They look back to these days by revisiting

their 1980 song “Hell in New York” with a new version on this album. But the times

have changed as they muse in “Welcome to our Town.” Including even some ballads

and a hard rock cover of “Hard Days Night,” Slaughter and the Dogs are more interested

in a solid, well-produced rock-n-roll album than noisy punk angst. (2.5)


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Kristi Martel

Brave Enough

Sealed Lip Records, POB 30484, Oakland, CA 94604

Kristi Martel’s dynamic and skillful phrasing, an ever-changing component of her

delivery, makes this vocal album an impressive effort. Tracks like “Silver” offer

the charming, hip style of electric neo-folk artist Ani DiFranco. However, Martel

builds on this with sophisticated jazz improvisation delivered naturally and easily,

as on the climax of “See You Sweet.” (4.5)


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Jude Johnstone

Coming of Age

BoJak Records, 301 N. Lake Ave., #310, Pasadena, CA 91101

Jude Johnstone is an established songwriter. Stevie Nicks, Johnny Cash, Trisha

Yearwood, Bonnier Raitt and Jennifer Warnes covered some of this material. Raitt

and Warnes show up to perform on some of these tracks, as does Jackson Browne.

As a matter of fact, the lineup on each track differs, adding variety to this

album already made exquisite by the excellent songwriting. The performance is

also top-notch, as one would expect from a woman who began playing music as soon

as she could reach a piano keyboard and is here singing her own successful creations.



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Tannis Slimmon

Oak Lake

Tannis Slimmon, POB 24062, Bullfrog, Guelph, ON N1E 6V8, Canada

This is the first solo album from Canada’s Tannis Slimmon, formerly of The Bird

Sisters, Crows Feet and Benji. Her hometown on the Canadian prairie lent its name

to the title track. The rest of the album is a biography in song about the transition

from the Manitoba family farm to a southern Ontario city. Many musical guests

appear in the telling, including bluesman Harry Manx and Jeff Bird (Cowboy Junkies).

The well-wrought tunes are joyous exhibitions of vocal harmony as Tannis accompanies

herself on guitar and mandolin. This album has a full, contemporary rootsy sound

entirely accessible to fans of country, pop and AAA. Each track builds onto the

previous reaching a jubilant plateau in “My Body Moves” featuring a bright trumpet

line. (4)


Meet the Curlews

Cuneiform Records

Curlew is a long-lived electric experimental jazz band. Their thick, art-jazz

compositions earn kudos from avant-jazz fans as well as art-rock fans. This, their

eighth album, captures the bright scintillations of their musical chain lightning

and the dusk-gray aura of their more mysterious melodies. These are clever compositions

fusing classical jazz phrasing and woolly jazz-rock passages. (4)


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Cuneiform Records

Arkham, mysterious and dangerous like the H.P. Lovecraft city, recalls the earliest

King Crimson records in a primitive, deconstructed fashion. This Hammond-fueled

trio ruled the Belgium prog-rock scene during its short 1970-1972 existence. The

keyboardist and composer for the group, Jean-Luc Manderlier went on to greater

fame with Magma. Drummer Daniel Denis, also briefly in Magma founded Belgium’s

Necronomicon with Claude Deron. Deron plays electric flugelhorn on two of the

tracks here. Paving the way for the Rock In Opposition movement and helping create

art-rock and prog, this group focused on touring during its existence, but released

no live album. Compiled from tapes made at various Arkham performances and rehearsals,

this release rights that wrong. (4)


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The Exploited

Troops of Tomorrow

Captain Oi

Troops of Tomorrow is one of the records from The Exploited with the cleanest

production, especially a mean, crisp guitar sound. Also, those not from Edinburgh

will find this the to be the one with the lyrics most clearly enunciated. However, the rage

and anger from these anarcho-punks is undiluted in spirit and presentation on

this, the most technically superb in their discography. This digipack reissue includes

a two-sided foldout poster of album cover art and a half-dozen bonus tracks. Beside

EP versions of the title track and “Alternative,” there are non-album songs “Y.O.P.,”

“Attack,” “Computers Don’t Blunder” and “Addiction.” (4)


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The Exploited

Let’s Start a War…

Captain Oi

This is the first LP from the group that included a new lineup with vocalist Wattie

Buchan backed by an entirely new lineup, including his brother Wully on drums.

(The liner notes are misleading on this point, though.) The production returns

to the raw, live feel of the early albums with an occasional metal-edged guitar

slicing through from Big John Duncan. This edition includes the three tracks of

the Rival Leaders 7” (1983 ) that came out the same year with the same lineup.



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The Exploited

Punk’s Not Dead

Captain Oi

This is a reissue of the 1981 release that started it all for the extremely long-lived,

angry leaders of the second wave of British punk rock. Featuring the exhorting,

fiery vocals of dynamic vocalist Wattie Buchan leading the pro-punk, anti-government

attacks through somewhat muddy sound. This reissue, along with a foldout poster,

includes ten bonus tracks. These tracks are the two cuts from Oi! The Album, The

Army Life single, and “Exploited Army Barmy” with some songs it appeared in single

version with including “Dead Cities,” “Hitler’s in the Charts Again” and “Class War.”

This is their seminal release that includes such anthems as “Cop Cars,” “Sex &

Violence” and the title track. This most important release in their discography

is a seminal album in the punk genre. (4.5)


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Captain Oi

“Splodge” is British slang for “mess,” but there is little that is not tidy about

this 8-piece early ‘80’s group playing fun, varied post-punk British rock. They

often let their multi-faceted songs fall apart into a mess on the floor, but it

is a well-organized deconstruction with a winking sense of humor that flows from

change to change and track to track. This is a reissue of their peerless debut

experimental-Oi album, complete with proto-ska, that created enough of a sensation

to resurrect the group itself from an unfortunately early disbanding. This is

hilarious, crude but sophisticated entertainment that arose from the punk wake.



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The Lurkers

Wild Times Again

Captain Oi

This is a re-release of two albums spawned from a late ‘80’s reunion; Non-Stop

Nitropop </i>and Wild Times Again. The impetus was to return to the earliest

sound of the group. With the full context of ‘80’s power pop behind them, these

albums come across as an excellent post-punk pop-rock album, rather than the effete

punk imitation that came across on their early albums overshadowed by the punk

wave. The Lurkers were just early on the skinny tie sound, and these albums, besides

their varying ad hoc lineups, show the group as solid and tuneful when looking back

on the decade they helped define the indie sound for. (3)


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The Revillos

Totally Alive in London


Featuring a two-pronged vocal approach from the squeaking singer Fay Fife and

punkish Eugene Reynolds, The Revillos were the unpretentious comic relief of post-punk

power pop. This peerless release of an entirely successful show by the reformed

group in 1996 includes a 12-page comic by Vince Ray. The backup singers coo and

the organ pumps and the guitar jangles or features single-note leads in total

denial of everything that happened in the ‘90’s from the time capsule group. Mixing

pop with camp and featuring such pure-spun covers as “Glad All Over,” this is

unadulterated bubblegum punk in a set that includes all the group’s best material

at their first show in the West in over eleven years. (4.5)


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The Vibrators

Punk Rock Rarities


The Vibrators brought age and experience to their participation in the late ‘70’s

genesis of punk rock. As a result, these tracks from the time period already predict

the post-punk ‘80’s power pop sound of better production, hooks you can hang your

hat on and solid verse-chorus-verse songwriting while dragging along that vital

punk energy. Exuberance rather than angst fuel even their most menacing tracks,

often ambitiously featuring analog electronic effects as on “Pure Mania” from

the 2-track demos for V2. Much of this is demos, outtakes and even some late ‘80’s

stuff from an extra-group project. (4)


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The Yobs

The Worst of the Yobs


This is the infamous, rude and crude Christmas albums and singles released by

The Boys as The Yobs, pried from the grasp of three record companies and released

as one, single package. Their tasteless Oi takes on yuletide fare are the perfect

antidote to noel overdose or just hard-hitting pub rock any other time of the year.



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The Anti-Nowhere League

We Are…The League


As cartoonish in their exaggerated humor (“Woman”) and pointedly obscene (“So

What”) as this group is, some may not take them seriously, but they are creators

of some of the most enduring and vital music of English punk rock. This reissue

of their classic sophomore release includes “So What” and single versions of

“I Hate…People,” “Let’s Break the Law” and “Woman.” The album version of their

“I Hate…People” manifesto is a remix here on the album that includes their insightful

cover of the folk gem “Streets of London” (Ralph McTell). Classic anthems like

“Let’s Break the Law” perfectly encapsulate the alluring temptation of juvenile

delinquency on this enhanced opus from the winning songwriting team of rabid vocalist

Animal and guitarist Magoo. (5)


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Adam West

Right On!


This powerhouse group draws on the thick rock sound of stoner rock, the heavy

sounds of hard ‘60’s psychedelic and Misfits-style American punk with no fear of

guitar solos. This post-60’s, post-punk approach to hard rock yields a bounty

in obscenity-laden, high-octane drag rock with street punk attitude and arena

rock power. (3)


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Soldier of Midian


Badawi is a byword in alternative dub and this third album is a new plateau in

production from the Jerusalem-born Raz Mesinai, AKA Badawi. Prayers of Sheikhs

and Rabbis became inspiration for the New York-raised musician who eventually

spent time in the desert with the Bedouins. The wide spectrum of his sound includes

Persian, Indian, Yemenite, Moroccan, and Afro-Cuban, especially the percussion

styles of these cultures. Sampling and affecting his live playing on such instruments

as flute, bendir (Moroccan frame drum) and the Persian drum known as a zarb, this

album is a cornucopia of Middle-Eastern percussion. The organic, electronic transformation

of these leads to an energetic yet hypnotic stream. The layering of

this percussion includes deep, substantial throbs and the bright, upper-register

beats we expect from the Mid-east. (3.5)


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Last Beat Records, 2819 Commerce, Dallas, TX 75226

Chao is the début recording of the new group fronted by Regina Chellew. Formerly,

she fronted Captain Audio. This is potent indie pop guaranteed to affect the listener

with the clear, clarion vocals and quick-paced, bright beats. Captain Audio had

a grand tradition of covers, sometimes doing whole albums in concert. Here, Regina

includes a cover; an excellent rendition of “Lay Lady Lay.” On this track, she

sings in duet with Marcus Striplin (Pleasant Grove). The potent delivery on this

album, crisp production and arrangements that effectively punctuate every rhythmic

possibility make Hitsthemiss a superlative album. (4.5)


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Amy Jane

Wide Open

Pinnacle Records

Singer-songwriter Amy Jane has an excellent offering in her concept album. This

is a 16-axis theory of dimensionality exploring the different direction toward

becoming emotionally “wide open.” The emotional and interpersonal path through

life has such geologic features as peaks and valleys and Amy charts the discoveries

and sacrifices that map this textured landscape. Her included lyrics show understanding of the difficulties and rewards in making this journey: “There

were dark places/that we pushed through/Each time we reached the clear/I knew

a deeper love with you.” (3.5)


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A Life Once Lost

the Fourth Plague: Flies

Robodog Records

A Life Once Lost could be ‘hearing once lost’ for the unprepared listener that

starts off this noise metal sludge fest at maximum volume. Potent over-modulated

guitar chords supporting the piercing, pained vocals make for a devilish mix.

Echoes of straight ahead heavy metal, vicious grindcore and pure noise assaults

blend in this fiery mix. Sudden changes and lickety-split drumming all point to

a well-rehearsed, tight group providing top-notch extreme metal. (3.5)

Chargers Street Gang

Holy the Bop Apocalypse

Get Hip Recordings

<a target=_new href=”mailto:gethip@gethip.com”gethip@gethip.com></a>

This is a dynamic, no-holds-barred debut by a quality quintet from Cleveland.

This is pure, unadulterated rock-n-roll bristling with channeled, cathartic energy.

This is over the top even given such high-octane R&B-based rock groups as Jon

Spencer Blues Explosion and Delta 72. The clear, dry drums are brought out onto

Main Street in the excellent mix here, recorded by Tim Kerr and engineered by

Mike Vasquez. This is the same team that gave us a similarly blessed holy destruction

from Frigg-A-Go-Go. There’s ‘60’s Detroit in here (think MC5, Psychedelic Stooges)

with wild, unleashed punk attitude and direct, in-your-face delivery. (4)

The Maggots

The Condition is Incurable

Bad Afro Records

Stockholm’s The Maggots explode with energy and a snotty sneer on this premium

garage rock revival disc. Their fearsome fuzz and gruesome guitar sound is vital,

visceral rock-n-roll. There was a garage wave in Scandinavia in the ‘80’s and

Måns P. Månsson (guitar/vocals) was part of that movement as part of Wylde Mammoths

(one of the first bands to record for Crypt Records), Crimson Shadows and Friends.

Bassist Steffen Hellström was also in Wylde Mammoths and Friends and Jonas Lundberg

(drums) has a past in Slammer and A-Bombs. These journeyman psychedelic rockers

combine their experience and vigor for this more-than-suitable follow-up to their

excellent debut LP, Get Hooked (Low Impact Records). Also, available on 10” vinyl,

this CD edition includes three bonus tracks taken from the Gonna Make You Pay

7” on (Bad Afro). While their originals rock sufficient to carry this disc to

dawn and back, they include some righteous covers: a searing “Boy From Nowhere”

(DMZ) and the workout for their two guitarists from The Turpentines, “Heading

For The Texas Border,” also covered by the Flamin’ Groovies. (4)


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Porn (The Men Of)

Experiments in Feedback

Small Stone Records

This excellent experimentation in guitar-based rock opens with a patient, exploratory,

12-minute take on Pink Floyd’s “One of These Days.” After surviving the death

of Man’s Ruin where their debut Porn American Style was born, newly named The

Men Of Porn conjure blacklight moods and hard psychedelic experience. One member

of the group, Joe Goldring (Swans, Out In Worhsip), is given over entirely to

tape loops and effects, unusual for a rock combo but perfectly suitable for the

weird and wonderful sonic journeys. Experiments in Feedback can take stoner

rock fans to next level and make fans of vintage acid rock and psychedelia flashback

to where it all began. (4.5)


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Teenage Fanclub & Jad Fair

Words Of Wisdom And Hope

Alternative Tentacles

The catchy indie pop of Scotland’s Teenage Fanclub meets the winning oddball tunes

of Jad Fair on this collaboration disc. Both centers of creativity approach this

project with a long history of recording to draw upon. The result may be the most

accessible Jad Fair album and the quirkiest Teenage Fanclub album. It was nearly

two years prior that Fair and Norman Blake of Teenage Fanclub first discussed

this one-time union. The joyfully strange melding of Fair’s cartoonish visions

and Teenage Fanclub’s crisp, upbeat arrangements is well worth the wait. (4)


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