Dire Strengths and Dead Weight The word “decent” is in the name, so how does a band with such a pedestrian title ever manage to be “decent”? In large part, it’s through the hard work of three-fifths of Seattle’s Fugazi, three young and very talented individuals who share equal parts dedication to art and a willingness to learn. The trio of Ian MacKaye, Guy Picciotto, and Lyle Preslar, collectively dubbed Fugazi (the term originally referred to an Italian family and its descendants), may not have invented punk as a musical style, but they helped define it on their own terms. MacKaye (vocals, guitar), Picciotto (bass), and Preslar (drums) came out of the same circle of Washington bands that had spawned Nirvana; the band’s original name was Jook Savages, from the first name of a street thug named Steve. The band formed in late 1985, when MacKaye was 15, and they released a four-song EP on a friend’s label in 1986 before signing a deal with Homestead Records. That record, Repeater, was an incredible work of art that took a little time to sink in. After initially being dismissed by the mainstream for a few years, it was finally recognized as a breakthrough: The Washington Post referred to it as “the perfect punk record.” All four of the band’s albums to date have been released on Dischord. Fugazi started as the quintessential hardcore band, with raw and at times aggressive performances and a raw delivery of angsty lyrics. And because they were as interested in developing their unique vision as they were in making rock music that people could enjoy, they went on to be one of the most underrated bands of the ’90s. “End Hits,” from the third album, In On the Killtaker, was an especially important step, with its melodic feel, subtle use of off-kilter drums, and complex, emotionally devastating lyrics. There was a point in Fugazi’s career, in the mid-1990s, where it became nearly impossible to get a ticket for their shows. (The band sold so many tickets that they were in danger of not being able to sell enough at the shows.) Their live shows were so effective that it didn’t matter if their music sounded good on the radio or their album didn’t receive much exposure, because the band’s intense performance made the lyrics and music stand out. The fact that their music was so personal to them meant that they could truly convey it to others on a live stage, and not rely on a huge studio production. The band did a lot of traveling over the years, and they played in nearly every major city in the world. They also toured extensively with Sonic Youth. They also played in almost every major city in the world. On their two major tours (over 700 shows), they played to packed houses. For the longest time, the band’s intense and dynamic stage performances were the only way they were able to be successful as a live act. There are some who say Fugazi doesn’t get the attention it deserves. But those who were there from the beginning, as an audience member or a member of the band, will tell you that the band was always underrated. There’s no question that the band’s live performances were their crowning achievement. And that’s exactly why they were so effective. The band was always pushing boundaries—their live show being their most notable boundary. And, like all great bands, Fugazi is still going strong today, playing to packed crowds across the country. It seems to be a never-ending cycle, a trend that began in the ’80s, with the rise of punk and the explosion of live performances. Some bands never go away. Other Faves: The Cure, The Grateful Dead, Jimi Hendrix, Tom Waits __________________________________________________________ In the end, all the music I listed here is good for one reason or another. But only a few stand out as the best, most important music to me. What was your top five, and why? __________________________________________________________ The first six photos of the Fugazi and Nirvana in Seattle at the Crocodile Café were provided by Jimi @ Seattle in 2007 and used by permission. The second photo of Fugazi drummer Lyle Preslar with Mudhoney’s Steve Turner at the Crocodile Café was taken by Mark Wawro. The first picture I wrote was originally for an article I was writing for the Seattle Rocks in 1991 about my favorite spots in Seattle. Lyle took the photo, which ran in the article, and now it is posted on his personal website. Thanks, Lyle! For the last two images of Fugazi with drummer Guy Picciotto, I am indebted to the two Seattle Rocks readers who sent these photos to me in a private email exchange. I did my best to try to get ahold of Guy Picciotto for permission to use them, but I failed to do so. The first picture is from a 1989 Seattle Post-Intelligencer article. The second photo was taken at a 1989 gig by a local photographer who got tickets for a friend of Picciotto and took some amazing shots. The last two images of Fugazi, taken by Mark Wawro, were originally posted here. Thanks again, Mark! What’s your top five? __________________________________________________________ Thanks, Steve. __________________________________________________________ The opinions expressed in this article are not necessarily those of Rocksmith Magazine or anyone else. Any omissions or errors, though, are mine. You can follow my thoughts on Facebook and Twitter. I have found, over the years, that the community is always happy to let me know when I make a mistake, so I would love it if you could point out any corrections or mistakes.