Their band the Slinkees -consisting of MacKaye on bass, Nelson drumming and guitarist Geordie Grindle -evolved into the Teen Idles when singer Mark Sullivan went to college. Teenagers MacKaye and Nelson met after the latter set off a pipe bomb outside their school, then bonded over their love of punk rock. punk, from MacKaye to Rollins to Brian Baker to John Stabb, how it’s done. Bad Brains essentially taught every budding second generation D.C. Their “Pay To Cum” debut single blew the minds of anyone who heard it-I have written often of how it sounded like you were playing a Sex Pistols 45 at 78 RPM. Their intensely developed chops meant they could push tempos beyond human endurance and not lose the plot, being tighter than your dad settling a restaurant bill.Īnd after a Bob Marley And The Wailers concert changed their lives a second time, they could stop on a dime and play the slowest, deepest dub reggae in their newly Rasta-fied form. Their friend Sid McCray played them Sex Pistols, Ramones and Dead Boys records, and Bad Brains were born. That band opening for the Damned began life a few years earlier as Mind Power, a jazz-fusion and funk outfit of extraordinary ability. Hardcore Essentials, as you read this brief history. Please enjoy our custom playlist, Alternative Press presents D.C. Garfield later remarked that they showed him that D.C.’s indigenous bands could blow out-of-towners off the stage. An all-black local outfit opened for the Damned’s gig became an immediate sensation. Touring national/international acts- the Damned, the Clash, the Cramps or Ramones -came through town, inspiring local teens such as MacKaye and his friend Henry Garfield (aka Henry Rollins). Art collective Madam’s Organ, at 18th Street NW, began hosting local punk shows as the ‘70s drew to a close. So did the Dupont Circle and Adams Morgan districts, both artistic and socially conscious neighborhoods. Georgetown University, with its heavy student population and influential WGTB campus radio station, became a key outlier for local punk rock. Read more: Why Green Day’s 1994 BBC Sessions sound better with a cup of coffee
Groff went on to produce many of the bands you are about to read about in this article Zientara’s credits, as either producer or engineer, would include all the same acts, then expanded to many times that number. He pointed them in the direction of recording engineer Don Zientara and his Arlington, Virginia-based Inner Ear Studios, providing another key link in D.C. He was key in Dischord Records ’ gestation, advising Ian MacKaye and Jeff Nelson on the mechanics of making and releasing records: “Here’s where to get your tapes mastered. It eventually employed local musical luminaries who numbered members of Half Japanese, the Slickee Boys, Minor Threat, Fugazi, Rites Of Spring and many others. Yesterday And Today was a chief punk/new wave/new music clearing house, accumulating a stock of over 1 million indie and import 45s. Groff and his store became key in local punk’s evolution, not the least because of his Limp Records label, which issued :30. Read more: These punk records from 2000 led the genre into a brand-new century compilation by Skip Groff, owner of Yesterday And Today Records.
Some of these gangs, and plenty of others, were collected for the :30 Over D.C. stabs at a new late ‘70s rock underground included the Slickee Boys, a sprawling, Tubes -like theatrical outfit mutating the offcast detritus of surf music and garage psychedelia, the similarly garage-surf-y outfit Insect Surfers and the Nurses, an edgy, tense, low-key angst-rock collective somewhat in the Talking Heads vein. Ott, yelling “I could puke!” as his long-haired teenage step-son Jake Whipp played boogie rock Les Paul chords and a harsh, tense guitar break that would’ve likely made Grand Funk’s Mark Farner grin. Then you had White Boy, another duo consisting of a middle-aged man in a wig and leisure suit named Mr.
Among the earliest local outfits were Half Japanese, centered around brothers Jad and David Fair ’s homemade recordings, featuring the duo yelling over an untuned electric guitar and a tiny drum kit flogged within an inch of its life.
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