#fls1987

Photo © by John Falls

Fugazi, New Horizons, Richmond, VA USA 10/7/1987 (FLS #0004)

What I like about these early recordings are the intimate settings and the dynamics that usually result from that. Only about 50 people attended this particular concert in Richmond, Virginia and it seems that plenty of friends came down from D.C. to take part in the events.

Note that this is only the second Fugazi gig that is played outside of D.C., the recording of the previous show in Chapel Hill, North Carolina unfortunately is not available at this time. An early And The Same improvisation serves as a sound check and gets things going. Song #1 follows suit and features Guy on backing vocals for the very first time! Guy actually also pitches in vocally during Waiting Room, Merchandise and The Word, and basically seems to be gearing up to become a definite band member at this point.

A tremendous rendition of Furniture is up next, and although Brendan seems to miss a beat here and there, he really makes this one count with a couple of finger licking subtle drum fills. In Defense of Humans is a treat, providing ample opportunity for Ian’s signature guitar bursts. Turn Off Your Guns gets another solid play as well, and is introduced as “a popular little ditty-di-di-di-di-di-di-di-ditty about suicide.”

The band then adds another song to the set list as an early, unfinished version of Keep Your Eyes Open (featured on the 1991 album Steady Diet of Nothing) is premiered and this one really lights the recording up for me personally. The band actually drops the ball about half-way through the song, after which Ian pleads to try over, inviting people to shout “Fuck Brendan” should they mess up again. Some attendees seem to pick up on this, which in turn sets off a spark, causing Brendan to make up his own chorus. The result is hilarious, with Ian singing the chorus “We must, we must, we must” and Brendan interpolating “Fuck Eli” (probably Eli Janney, a D.C. affiliate).

Joe then leads us skillfully into Waiting Room, while Ian takes his time to explain it is a song about “waiting until you get with the right motherfucking people and making it work” and that “it’s worth the wait ‘cause the energy level will definitely be much much higher”, arguable relating the origin of the song to the cumbersome formation of the band itself. Interlude 5 basically includes a little jam session, providing people with an opportunity “to see exactly what it is like in the very practice space at Dischord House”. Ian and Joe add some authenticity by getting some people to bark to get a feel of the dogs upstairs, and even try to get someone to mimic Jeff (Nelson).

A great version of Merchandise is up next, during which Ian finds yet another opportunity to elaborate on the meaning of the song. By now, the mood is very casual and everyone seems to feel very much at ease, which results in an engaging version of the Joe #1 instrumental during which Ian repeatedly, yet unsuccessfully opens the floor (and mic) for anyone willing to get something off his or her chest or to even recite some poetry. As would often be the case during Fugazi gigs from here on out, Ian fully praises a local food joint, in this case Grace Place, what seems to have been one of the first vegetarian restaurants in the state of Virginia, maybe even the first in Richmond (it seems to have closed its doors in the 1990s). An incredibly fun and downright sizzling version of The Word concludes the set and evening, eliciting shouts and hoots from band and audience members alike. Listening to this recording, you can easily pick up on the jovial mood of those present, everyone having a great time. It is quite infectious and I very much enjoyed listening to it, actually wishing I could have been there. Overall, I think the drums, bass and guitars sound very well in the mix, the vocals come across rather shrill though, and are a bit sharp on my ears.

The set list:

Fugazi, Washington, DC USA, 10/16/87 (FLS #0005)

In their book “Dance of Days: Two Decades of Punk in the Nation’s Capital”, Mark Andersen and Mark Jenkins argue that Fugazi, among other things, set out to oppose “punk-as-usual, speaking out against violence and machismo and regenerating the sense of community at shows”. According to the authors, Ian said in 1986 that “when people actively participate, it gives the show a purpose and unity that you don’t see often now.” Through this, Fugazi and its members hoped to “elicit any kind of protest or get people thinking.” These early live recordings definitely serve as a case in point. Note for instance that during this particular show, Ian invites people who want to express musical ideas or who have something to say, to participate in band proceedings, since “there is always room for more.” Guy literally took him up on that, since this recording features Guy on lead vocals for the first time, delivering an ardent version of another addition to the live repertoire, Break-In (the third and final song released as part of the 3 Songs 7” in 1990). Guy did not yet pick up a guitar for these first couple of shows, but does provide backing vocals on most other tracks, and uses what seems to be the tambourine as well on a couple of occasions if I am not mistaken (EDIT: the person playing the tambourine appears to be Ivor Hanson, former drummer of S.O.A., The Faith and Embrace).

Other than that, the Joe #1 instrumental (the first song written by Joe, “pretty fucking ingenious, huh”) opens the show and serves as sound check, before Ian gives the floor to a speaker addressing the Women Take Back the Night initiative (unlike other recordings, the speech itself is not included here). The recording then abruptly continues with Merchandise (note that the opening part of the song is missing), followed by Song #1, relating to “sort of a philosophy that you can attach as much importance you want to anything, yet in the end it’s all nothing so you should take care of each other and never put movements in front of human beings.” The following interlude addresses the issue of the light show (or plea to leave it be), after which a pretty much definite version of the song Bad Mouth is premiered (released as part of the 7 Songs EP in 1988), followed by another live rendering of And The Same (which has been polished some more since its previous performances) with “Big Joe power-pushing the bass line.” As mentioned, Guy then steps up to take on Break-In, and livens up Waiting Room as well with some more backing vocals. A crushing yet invigorating performance of the traditional set closer (at this point) The Word blows the roof off, as Ian seizes another opportunity to fuel the communal fire, urging those present “to break down any fucking walls between the band and the crowd tonight”, to “please raise your voice, and join in.” As to the sound quality, I think that even though the mix suffers a few irregularities, it is still very much enjoyable overall.

The set list:

Fugazi, Washington, DC USA, 9/26/87 (FLS #0002)

Photo © by Bert Queiroz

The time is September 26, 1987; the place is St. Stephen’s Church, where Ian admittedly was baptized 25 years prior. This is the second live performance of the band, and we find them in a relaxed, talkative mood for the occasion.

A recent article by Jerad Walker interestingly quotes Ian as remembering: "That was really significant for me because of course it was the church at which I had been baptized and a church where I felt I had been radicalized,” [...] “Almost more importantly, part of my radical ideas directly came from being raised in a church where you're supposed to question authority."

The Intro actually features the groundwork of a song that apparently (yet unfortunately) never left the drawing board. It gets things going right off the bat. Formal introductions follow, and the band then launches into the life-celebrating song Turn Off Your Guns and solid renditions of Song #1, In Defense of Humans and Furniture.

Both Ian and Joe heckle the audience for being (too) quiet during Interlude 3. Ian then invites Joe to “put a move on buddy” which is followed by the familiar bass groove introducing Waiting Room. Ian breaks a string during Merchandise (dedicated for the occasion to “all the t-shirts, stickers and to Tomas Squip, the man who makes them all”) but does not break his stride as he finishes the song unflustered while Brendan and Joe continue to lay down the rhythm.

As Ian replaces the broken string, he urges Brendan and Joe to play what Ian refers to as Joe #2, a provisional jam that eventually would evolve into the song And The Same, released on the Margin Walker EP in 1989. Ian fixes his guitar just in time to join in during the last part of the jam. The Word, “a song about change” makes for an energetic set and show closer.

As to the mix, I find the drums especially to be clear and quite crisp, everything else a bit less so.

The set list: