Rising out of the ashes of DC’s Minor Threat and Boston’s DYS, Dag Nasty at least initially met the challenge that they were left by their previous bands’ legacies and even laid the groundwork for what would become emo long before it became a genre full of cry-baby guys whining about their girlfriends. Their positive anthems of belief in yourself and the straightedeg lifestyle still resonate with me (and with the current generation of kids) today.
Can I Say (1986)
Dag Nasty’s debut is one of the most perfect hardcore records ever made. It has all of the energy of the band’s predecessors, yet adds melodic accessibility that Minor Threat only hinted at on Out of Step. Songs like “Values Here” and “Under Your Influence” struck blows against the old ways of punk nihilism while “Never Go Back” opened the door to emocore with a sentimentality that is emotional but never maudlin. Can I Say is undoubtably one of the greatest punk/hardcore albums of all time and ranks among the best releases ever out of the DC scene, a scene which is one of the most creative in history.
Rating: 10/10
Wig Out at Denko’s (1987)
Dave Smalley’s exit was a definite blow to Dag Nasty, because they lost a passionate and righteous voice. Rather than try to replace him with another hardcore singer, they opted instead for Peter Cortner who was more of a pure singer. Roger Marbury was also repalced by former Descendents and future For Love Not Lisa bassist Doug Carrion. It certainly changed the direction of the band, but not for the worse. Dag Nasty became more melodic and tended more toward what would later be known as emo. They used the story of the Little Engine That Could in “The Godfather” and got away with it. “When I Move” is an acoustic piece that still fits the flow of the album. The title track and “Lies” have some of Dag Nasty’s best lyrics. Wig Out was certainly a change in direction, but not in quality.
Rating: 10/10
All Ages Show EP (1987)
This stellar 7″ EP included the excellent original title track as well as a fantastic cover of the Ruts’ “Staring at the Rude Boys.” The third track, “You’re Mine,” is a slower, straightforward song that is a step down from the other two, but still solid. The tracks form this EP were later included in the CD version of the Field Day, but they don’t hint at the lackluster affair that album would be. It was however, their first record away from Dischord as they had just signed with Giant.
Rating: 9/10
Field Day (1988)
Before Field Day, Dag Nasty moved from DC out to LA. They were out of place and rather than capitalize on that adversity, the album suffered. There are some real gems to be sure. The title track has teeth. They get even more emo on “Things That Make No Sense” and “Typical Youth,” but both show that emo once produced really good songs. Dag Nasty also managed to foreshadow just how sappy emo would become on self-consciously emotional tracks like “The Ambulance Song” and “La Penita.” While most of the rest is of average quality, they stoop pretty low with the remake of their earlier classic “Under Your Influence,” which makes a complete mockery of the straightedge anthem. There were good ideas on Field Day, but thin production and a lack of punch take their toll. This was the last album of their first run as they broke-up some time later. The CD includes the tracks from the All Ages Show (albeit with an inferior version of “Staring at the Rude Boys”) and Trouble Is EPs.
Rating: 5/10
Trouble Is EP (1988)
The best thing about this 12″ EP is that it’s on green vinyl. “Trouble Is” is a decent song from Field Day, but the other two are throwaways. “Never Green Lane” is in the same almost adult-alternative vein as “The Ambulance Song” and even their cover of Wire’s classic “12XU” isn’t all that exciting (and pales in comparison to Minor Threat’s cover of the same).
Rating: 4/10
Four on the Floor (1992)
After six years apart, the original (recorded) lineup got back together (with Brian Baker forced to use a pseudonym due to contractual obligations from his ill-advised stint in the generic metal band Junkyard) to record this Brett Gurewitz produced piece of crap. I’m not sure why they got together to record this one, but it certainly wasn’t because their hearts were in it. It’s the only Dag Nasty release that I don’t own.
Rating: 3/10
Minority of One (2002)
Few reunion albums are truly worthwhile and I suspect the success rate is even lower for second reunions. However, Dag Nasty is the exception. Minority of One is their most energetic album since their debut 16 years earlier. From the title track that opens the album through the unlisted cover of Generation X’s “100 Punks,” this album is tight and full of passion. While the world had caught onto emo in the intervening years, Dag Nasty abandoned it to make another great hardcore album. While the first two are essential albums in any punk/hardcore collection, Minority of One isn’t far behind. Not bad for a bunch of guys around 40.
Rating: 8/10