As Marillion used ten different studios to record the album and the line-up had undergone a change, Fugazi proved to be a slightly incoherent follow-up to Script for a Jester's Tear, that was noticed in the retrospective review by John Franck of AllMusic. Nevertheless, he awarded the album a 4 star rating, singling out such songs as "Assassing", "Incubus", and "Fugazi".
Writing for Ultimate Classic Rock, Eduardo Rivadavia claimed Fugazi "proved just as diverse, ambitious, even preposterous (in the best possible prog-rock sense) as Script. They matched epic, complex musicianship with oblique wordplay to perfection on the likes of Assassing, Jigsaw, Incubus, and the title track — all of which would become perennial concert favorites for years to come. If anything, the new album was, at once, more polished (in terms of both production standards and song arrangements) and a tad less consistent than its predecessor, unquestionably falling short of heightened expectations on the somewhat less-than-stellar Emerald Lies and certainly the subpar She Chameleon."
Fugazi reached number 5 in the UK Albums Chart, spending there totally 20 weeks. It was certified Gold by the BPI on 9 July 1985 for sales in excess of 100.000 copies. The album produced two singles which became minor hits, "Punch and Judy" (UK no. 29) and "Assassing" (UK no. 22).
The album initially was released on LP[nb 1], 12" picture disc and cassette. The first CD edition[nb 2] appeared sometime afterwards. As part of a series of Marillion's first eight studio albums, EMI Records re-released Fugazi in 1998 with 24-bit digital remastered sound and a second disc containing bonus tracks[nb 3]. The remastered version was also made available without the bonus disc in 2000. A new 180g heavy weight vinyl pressing identical to the original 1984 edition[nb 4] was issued in 2012.
Steve Rothery - Yamaha SG2000, Gibson Les Paul Standard, Roland GR303/505 Guitar Synth, Fender Stratocaster, Ovation Acoustic, Roland JC120 Combo, Marshall 50W MV Combo, Mesa Boogie, Roland 501 Chorus/Echo, Boss Effects Pedals
Mark Kelly - Bosendorfer Grand Piano, PPG Wave 2.2, Roland Jupiter 8, Minimoog, Emulator, Yamaha DX7, Yamaha GS1, Korg CX3, Church Organ (Recorded at Angel Studios, London)
Pete Trewavas - Aria and Fender basses, Trace Elliott and Peavey Amplification
Ian Mosley - Yamaha Drums, Zildjian Cymbals, Simmons Drums