Most notorious would have to be Iron Cross, which gave the world “Crucified.” And while that might be the most well known effort from the nation’s capitol, U.S. Chaos and a bit later on, the Suspects churned out a few above board punk releases.
Before any of that, though, the Slickee Boys were working in what must have been a musical wasteland – just like the rest of the country. But because of the group’s determination and persistent release schedule, it was able to help establish a basic framework for ensembles, in its wake, to have a go at independent music.
It can’t be figured that the Slickee Boys (guitarists Marshall Keith and Kim Kane, singer Mark Noone, and percussionist Dan Palenski) actually affected the wider punk culture – that would be left to Ian MacKaye and his cohort. But in the wide ranging work from this early D.C. group, a variety of styles can be heard.
The band’s work wasn’t always the most consistent, but each release that it put out possesses its own charm and importance.
After its first full length, released via Kane’s own imprint, the group issued a disc’s worth of compilation work and in 1985 returned with Uh Oh…No Brakes. Released on Twin/Tone, which is most known for its association with the Replacements, the Slickee Boys offered up a selection of well construed covers and a number of new tracks.
Included amongst the reworked songs was a rendition of Afrika Corps’ “Jailbait Janet.” The earlier D.C. band is well regarded for inclusion a few folks that would go on to found the Slickee Boys as well as Boston’s the Korps. The history lesson notwithstanding, this specific track counts as one of the faster offerings from the 1985 disc. And while it’s clear that the Slickee Boys here feel the power pop thing deep inside its collective soul, “Jailbait Janet” arrives as an old tyme Ramones style track.
Sadly elsewhere, the group gets into trouble with an ‘80s sound creeping into its rock and roll. “Can’t Believe” isn’t shameful, but the track probably wouldn’t be well enough regarded to find inclusion in a band retrospective. The song structure is interesting with a number of instrumental breaks. But all the twirling guitar notes don’t go too far to buoy the Slickee Boys’ latter day importance.
If nothing else, the disc sports a pretty well done cover by Kane. With the guitarist’s hand in every aspect of the band’s business, even if listeners aren’t enamored of the music here, the ensemble deserves a bit of respect for how it functioned. Other D.C. bands are probably thought of first when discussing DIY ethics, but the Slickee Boys helped get the ball rolling.