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#that 70s show reunion

cenestpasaudrey · 1 year

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The way Debra Jo Rupp’s face light up during scenes with an old cast and that the production just let her.🥹🥹🥹

I’m only on episode two but I’m going to finish this through for Red and Kitty… and the cameos 🤪

#tv series #netflix #that 90s show #debra jo rupp #kurtwood smith #that 70s show #reunion #red forman #kitty forman

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getvalentined · 9 days

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Thinking about Vincent's involvement in the Queen's Blood storyline and how it's the perfect explanation for everything going south with the game in fairly recent history even though the game has canonically been around for decades. It's genuinely so clever, I'm in love.

So, for anyone who hasn't done the full questline, Vincent is the highest ranking Queen's Blood player in the entire game prior to facing off against the Shadowblood Queen herself and the completion of the questline. (After this, ranks are adjusted worldwide because of game mechanics; Nanaki is rank 10 in the QB Arena at Gold Saucer.)

A lot of people have poked fun at this, like Vincent apparently learned the game really fast and was just naturally really good at it—but no, actually, Vincent played the game before. He's this good because he was champion level back in the 70s, back when he was human.

We know this to be the case because when you match against Lidrehl, he says "the Emerald Witch sleeps in Nibelheim with a monster of chaos, and that is where it will remain." This means that Vincent already had the card when Hojo killed him. It's not clear how the Emerald Witch came into his possession, but you don't make his rank without being a very active player, so it's clear that he was very prolific in the scene back then!

And back then, it was just a game. No mysterious deaths or disappearances. The myth of the Shadowblood Queen and the Emerald Witch was still there, as Lidrehl developed the game based on the story, but everything was fine.

This is definitely because Vincent was active in the scene, and he had the Emerald Witch. The Rebirth Ultimania implies that the Shadowblood Queen is a piece of Jenova (which I thought was pretty obvious since she calls Cloud a "puppet" and he's also apparently the only one capable of facing her head-on), and the Emerald Witch is the soul of a Cetra that serves as the silent warden to her imprisonment within the game. (Imprisoning monsters in cards is not new to the series, either, since FF8 literally allowed players to turn monsters into cards rather than fighting them.) Vincent being so active in the circuit allowed him to spread the Emerald Witch's influence through the scene and kept the Shadowblood Queen quiet, reminded her to keep her head down, kept her from trying anything at risk of being spiritually shitmixed again.

But then Hojo killed Vincent, and the Cetra warden Emerald Witch was in his deck, and that deck was tucked away with his things in Nibelheim. And so she spent thirty years unable to perform her ongoing duty to assure the safety of the planet. This time allowed Jenova the Shadowblood Queen to regain the power and confidence to manifest and start wreaking havoc again, finally building up enough strength to directly possess her current holder—during the period that Sephiroth is calling for Reunion, which presumably helped to really draw her back to full consciousness.

There's a whole detailed storyline here that makes perfect sense, with Vincent's murder literally being the catalyst leading to the resurrection of the Shadowblood Queen, and Hojo never having a clue what he'd done.

This is super interesting to me not only because it actually showed some of the more far-reaching consequences of Vincent's death, but also because it indicates that Hojo has unwittingly been Jenova's most loyal emissary for decades. He gave her his wife, his son, himself—and the first murder he ever committed served to imprison the only power holding a piece of her thought lost to history at bay, allowing her to manifest decades later with her own will and personality completely intact, something that she can't do through Sephiroth.

As it turns out, Hojo and Vincent have been opposing forces in supporting fate's "chosen ones," the forces around them capable of choosing the final fate of the planet, for much longer than either of them ever thought.

Still not a huge fan of the card game itself, but I adore the way it's been woven into the story, and strengthened it as a result.

#vincent valentine #professor hojo #queen's blood #final fantasy 7 rebirth #ff7 rebirth #ff7rb #ff7 rebirth spoilers #fandom ramble

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franklyimissparis · 2 months

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hi there can i ask what are your favourite fics??

ahhhhhh this was so hard to narrow down since i think i have something like 300 beatles fics bookmarked on ao3 (plus a ton saved from livejournal but i’ve only included ao3 ones here). at first i was gonna pick a top 5 or top 10 but that was too hard so here are my top 24-ish i think? could have picked a lot more tbh. i only included fics that are completed, even though there are a lot i love that are either WIP or abandoned. also didn’t include any modern AUs though there’s a lot of those that i love as well! if anyone has any specific requests for other fic reqs i’m always happy to suggest more :)

on our way back home by kathleenishereagain

this fic has the most kudos in the fandom for a reason! old paul time travels back to the touring days and his relationship with john changes from there. love the way they integrated the magical realism into this and it’s just such a beautiful, touching story.

knowing that the sun is there by tarenas

john comes out after brian dies. lovely look at john’s individual relationships with all of the beatles and cynthia (but especially his relationship with paul of course)

cutting water with a knife by savageandwise

may’s perspective on john and paul. love love love. heartbreakingly realistic and so poignant. feels like it could have been a cut chapter out of loving john.

i’m so tired, my mind is set on you by dornfelder

god how i wish this is what would have happened in india. i’ve read this fic so many times, it just feels so real i keep coming back to it.

india, actually by inspiteallthedanger

jane notices that john’s india tapes are all of paul a la love actually. love jane in this and paul and john’s dynamic is great.

grow old with me by inherownwrite

john and paul in scotland in the 80s - paul breaks his arm and gives john a fright. such a tender picture of what could have been had things not ended how they did.

i was a younger man then (now) (post hoc) by fingersfallingupwards

using the time traveller’s wife premise in quite literally the best way i have ever read. the way it unfolds is…. stunning.

having coffee by dornfelder

old paul and john reflecting on life and being outed in the 80s through an interview. lovely.

to lead a better life by downtothelastdrop

1966 ringo mistakenly thinks john and paul are together, leading to a revelation of paul’s own.

going nowhere by inspiteallthedanger

fix-it where after surviving the shooting, john moves back to england.

if i could choose my own name, it’d be the one that falls best from your lips by kandakicksass

one of my favourite reincarnation fics ever. i really enjoyed how simple it was, how the pieces just slid into place so naturally.

the birthday party by merseydreams

everyone reunites for ringo’s 40th in july 1980. an excellent look at the dynamic between all the bugs and how things could have gone.

something old something new by inspiteallthedanger

john shows up to pattie and eric’s wedding causing a beatles reunion for the first time in years and some shenanigans and talks with paul. this fic is hilarious and THIS is my george, i love him so much

1967 by please_dont_wake_me

paul and john stay in paris after their 1961 trip. they return to liverpool in 1967 as a couple. this feels so real, the way every minor character is written… the dynamics between them all - every detail is excellent.

the beatles holiday au series by econhomework

an AU that follows john and paul (and george/ringo) being a committed couple in the 60s/70s and having their children via surrogacy. i’ve been subscribed to this series for years now and it’s a lot of fun getting an update that builds upon the last around every holiday, giving a little snippet into their lives as the kids grow up chronologically. (they also have other fics set in this AU in their beatles fic requests series)

the brother dearest series by javelinbk

jim and mimi get married, causing john and paul to become step-brothers (sort of). interesting premise and an even better execution of it. not to mention the idea of jim and mimi getting together will never fail to make me laugh (but also sort of makes a lot of sense???)

how much was mine to keep by mynamesbetty

paul is ‘unstuck in time’ and lives his life out of order a la slaughterhouse five (one of my favourite novels). done very well.

take a sad song and make it better by javelinbk

1980s paul moves his ex-boyfriend into his house because he’s an idiot but i love him. great fix-it.

christmas lights (keep shinin’ on) by distinguished_like

paul invites john to the mccartney family christmas party, leading to some discussions between the two. very cute early years fic.

here today by herspecialagent005

december 1980 except john and paul are hosting a dinner party for some friends in scotland, with magical realism elements. ugh loved this so much, especially linda and just all the little details of john and paul settling into a life together.

kissing the blarney by tikk

paul is the blarney - this turns into a superstitious ritual in the band which emotionally complicates things but ends very satisfyingly.

writing letters (on my wall) by 15clubsaday

70s paul writes to john under a pseudonym while they aren’t speaking. newly finished and wonderful!

the jumper by merseydreams

john sees denny laine wearing HIS jumper and flies back to england to retrieve it. this fic has everything: miscommunication, john being a dumb shite, jealousy, confused denny laine, paul in all his 70s glory, and lesbian linda. truly could not ask for more.

back to where you belong by sleeprettydarling

george on johnandpaul throughout the early years. i’m a big sucker for the george & johnandpaul dynamic and how complicated and devastating it can be so naturally i loved this.

#sorry this is so long anon! but thanks for the ask hope you found some new fics to check out! :)#asks #mclennon #beatles fic #john and paul #beatles rpf #john lennon #paul mccartney #the beatles

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gingersaurus · 1 year

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I was having trouble getting in That 90′s Show, for the main reason being the continuity errors of the timeline.

You see, The final episode of That 70′s show ended on New Year’s Eve 1979/1980. Leia is a teenager in 1995. Which raises the obvious question, HOW OLD IS LEIA, WHEN WAS SHE CONCEIVED, AND WHO IS HER BIOLOGICAL FATHER???

Eric wasn’t in the final season of That 70s show. He broke up with Donna and went off to college. In the final season of TSS (1979), Donna was dating a guy named Randy, but she broke up with him just before the season finale.

This means that if Leia was conceived anywhere between October 1979 and December 1979, She would be just on the cusp of turning 15 in the summer of 1995. Now it feels pretty unlikely that Donna would have been 3 months pregnant during the series finale and wouldn’t have realized it, so let’s focus on the more likely scenario. (Edit: After watching a few more episodes, Leia has her 15th birthday in the summer of 1995. Either she was reeeeaally premature, or Randy is her bio dad.)

Eric came back to Point Place during the season finale, and he and Donna got back together. This reunion resulted in them getting frisky, and Leia was conceived on New Years 1980, making her birthday sometime in early October 1980, which would mean that Leia is 14 and 9 months old during That 90s Show. Now this brings up a lot of concerns about her drinking and smoking at such a young age, but it brings up an even bigger concern and that is: HOW OLD IS JAY KELSO AND HOW DOES HE EXIST??????

YOU KNOW WHO ELSE WAS NOT AROUND FOR THE FINAL SEASON OF THAT 70s SHOW??? MICHAEL KELSO!!! And on top of that Jackie was dating Fez in 1979. Jackie definitely was not pregnant, had never been pregnant, and even if she was, how would Kelso have been the father? And we can only infer that Jay is older than Leia, because he is friends with Gwen’s older brother, Nate. And Nate and Jay have been friends "for 12 years”.

So the writers are trying to tell me that Jay Kelso is 16 in 1995??? That would mean that he would have had to have been born in 1979! And look at how much that kid looks like Michael Kelso! That’s definitely Kelso’s son, and not an adopted child. BUT HOW IS THIS POSSIBLE IF MICHAEL KELSO DIDN’T HAVE A SON IN 1979?!?!?!?

BUT WAIT!

MICHAEL KELSO WAS A PARENT IN 1979!!!!!

Kelso was gone during the final season because he had knocked up a girl named Brooke at a concert, and moved away to help raise his “baby girl” with Brooke. Which means that this baby would be 16 in 1995! Which means that there can be only one in canon explanation for the existence of Jay Kelso!

Brooke and Kelso didn’t work out, and after they broke up, Kelso moved back to Wisconsin with his child 12 years ago. He reconnected with Jackie, and they eventually got married. Jackie adopted Kelso’s child, and became a really great stepmom who made it clear that she loved her child unconditionally. Jay knew how much his dad and step mom loved him, and therefore felt comfortable coming out to them as trans when he was in his early teens. Kelso and Jackie accepted their son with open arms

Brooke was also the valedictorian, which means that when Kelso says Jay “has my looks and his mother’s brains! He gets straight A’s!” He is referring to Jay’s bio mom, Brooke.

So in conclusion, Jay Kelso is trans, and Michael and Jackie are amazing parents. Also Jay is probably on T because Jackie scared the shit out of some poor doctor.

#that 90s show #that 70s show #leia forman #jay kelso #eric foreman #donna pinciotti #gwen runck #nate runck #trans #trans man #callie haverda #laura prepon #topher grace #mila kunis #ashton kutcher #mace coronel #head canon #lgbt

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two-white-butterflies · 11 months

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you're losing me (three) | am. targaryen and j. velaryon

Description: The family reunion happens and you announce your engagement with Aemond. You realize that the Targaryens are an eccentric bunch. Rating: General Audiences Author's Note: Sorry for the Taylor erasure, I was just to lazy to come up with songs hehehe part two

You were wearing a white-satin dress that reached past your knees. It was a vintage Chanel '70 - that was certainly worth it's price. After a few hours of interviewing Aemond, you soon realized that their family was old money - coming from the very bowels of fortune, and Aemond was one of the few members that strived to be different - the few members of the family that the world knew.

You've spent a lot of time with the Old Money folks - you used to work in a country club down in Singapore. They were stingy - and stealth with their money. That observation was evident in the outfit that you wore today - nothing too flashy or bold.

"Are we ready?" he asks, and you turn to look at him. His bowtie was crooked - in a cute way. You smile, walking towards him and adjusting his bowtie. "We are." you reply, holding onto his hand while you walked down the marble staircase.

This was the life that you wanted as a teenager - a trophy wife to a rich man, not ever worrying about money or doing work. Your smile deepens, realizing that you looked amazing and sophisticated. It was a facade, but it was nice to pretend once in a while. He leads you out of the hotel room, the valet stops in front of you - flashing the paparazzi's a good view of the couple.

"I'm nervous," you admit, staring at his flashy car. Mingling with the rich was easy, but meeting the rich family of your fake boyfriend was going to be hard. A smile finds itself etched on his lips, opening the door for you to enter. "Just look pretty, my dear - that's all I want." he licked his lips, entering the car after you.

The car stopped in front of a mansion - heck, it actually looked more like castle. There were guests everywhere - and lights that illuminated the pathway that led to a zen garden. "You said family reunion." you quoted him and his lips turned into a thin line - telling you that he didn't expect this much guests either.

"My mother was quite a socialite back in the day - and all of these people were her friends." he explained, trying to regain his calm. He wasn't prepared to show you to his family's entire circle. He opened the compartment beside him - removing the emerald ring from it's box. "Now, remember the story - I proposed on the beach." he reminded and you nod.

A servant begins to open the doors to the car. "Now let's meet the vipers." he took a deep breath, plastering a fake smile on his face before exiting the vehicle and helping you do the same.

Jace wasn't expecting to see you today. The lady in white that managed to steal the heart of his uncle. He wanted to hate you, but he couldn't - not when you were already over him. God knows how many times he's listened to the songs that you made about him.

A million little times.

He's only felt alive when you were the one describing him - immortalizing him with your soft melodies. His jaw clenches as he watches his uncle's hands snake around your waist, his hands were in the places that he used to be in. Aemond whispers something in your ears, and you couldn't help but giggle.

"Isn't that (Your Name)?" his mother inquires while holding a glass of champagne. Rhaenyra's eyes widen, seeing the man beside you. "Oh, Jace." she cooed, pitying him in that very situation. "I'm alright, mom." he forced himself to smile - taking a lazy sip of his champagne. Jace couldn't understand why he was missing you.

He had everything he wanted - the respect of his fellow writers, all the money in the world, and freedom. Why was he missing the shackles that he fought to remove? You told him that you wanted to teach him what forever felt like - but why was forever falling away from his fingertips? Now, you are just one of the girls that he's loved before - not the one.

Aemond begins walking in his direction - a smug grin was on his face, but there was no way that his uncle knew. "Jacey," the man teased, one hand wrapped around you - and the other wrapped around a glass of merlot. His uncle was glowing.

"Uncle Almond," Jace responded using their childhood nicknames. "Have you met this lovely lady?" Aemond tilted his head, expecting you to smile warmly at his nephew - but you gawked at the sight of Jace. You didn't know that they were related. "Uncle?" she inquired, choking on air.

"I'm too young to be an uncle, huh?" he chuckled, staring at his nephew up and down. "I didn't expect you here, (Your Name)." Jace proceeded with caution, he stared deep into your eyes - searching for the warmth that used to fill it when you looked at him. "I could say the same," you answered, grip around Aemond's back tightening.

Something shimmery in your fingers catches his eyes. An engagement ring - green, like his step-grandmother's favorite color. "Congratulations on the engagement." he smiled, feeling happy for you. Marriage was all you ever wanted - all that you desired. He was glad that you were about to have it. "Thank you," you smile, bringing the ring closer for him to view it.

"When she's the one wrapped around your arms - you can't let her go." Aemond stared at your face - basking in your glory. Jace nodded, feeling bitterness creep up his throat. "I know the feeling." he paused, taking another sip of his champagne.

He should've fought the world to have you beside him. He should've took you dancing, bowling, skating - bought you flowers everyday, but he didn't. He was blind and entitled. He didn't know what he had until it was gone. "Well - excuse us, Jacey, I believe that dinner is about to begin." Aemond smiles, pulling you away from him.

(your first name): i like shiny things but i'd marry you with paper rings. 3 new songs out at midnight. (courtesy of the 3 sleepless nights where I was talking to @officialaemondtargaryen)

23, 912 comments 2, 903,294 likes

sharterpack: It's so nice seeing mom with a man that allows her to post him. If Jace Velaryon has 0 haters, I am dead.

ynkitten009: ya'll the lyrics were leaked 💀

(your name)'s kitten fanbase ya'll i'm sobbing because y/n wrote "i wouldn't marry me either." for jace, but she wore "i like shiny things but i'd marry you with paper rings." for aemond 😭 JACAERYS VELARYON YOU ARE ON THIN FUCKING ICE.

wandamaximoffdefender "i find myself running home to your sweet nothings." JACE, YOU LITERALLY GAVE HER NOTHING BFFR !

PaperRingsStan13 When he's no longer her Cornelia Street, Sweet Nothing, King of My Heart, Endgame, Cruel Summer, and Peace because someone else is her Lover, Dress, and Paper Rings.

Your phone wouldn't stop buzzing, all of your fans were tagging you in their recent twitter posts. A small chuckle escapes your mouth, and you place the phone on silent mode. "You're doing a good job," he compliments, helping you sit down on your chair. "So (Your Name), should I even call you that? I think sister is much better," Helaena makes her way beside you - you smile at her.

"I think sister is much better too." you answer, and her smile deepens. "I actually love your songs," she began to rant - taking note of all the lyrical devices you used in your songs. "I hyper-fixated on them one time, and I know all of the lyrics." she exaggerated - and Aemond places himself in the middle of the both of you.

"That's enough, Helaena." he whined, seeing that the crowds were beginning to make their way towards the dinner table. His father, Viserys, clinks his glass - earning everyone's attention. "I want to make a toast to my son, Aemond, who brought us his lovely fiancee." Viserys boasted, and everyone begins clapping.

"I want everyone to eat as much as they like - and drink as much as their wives let them." he joked, and the entire crowd laughs. "Our family will only grow bigger." he smiled and everyone settled into their chairs.

part four>>

@glame @xcinnamonmalfoyx @winxchesters @yentroucnagol @hotchnerswife @itsabby15 @mxxny-lupin @joliettes @kemillyfreitas @mxtantrights @urmomsgirlfriend1 @kravitzwhore @sweethoneyblossom1 @introverbatim @flrboyd

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that90sshowgoldencouple · 1 year

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Seeing Red and Bob together again was one of my favorite parts of That ‘90s Show

The two of them as Co-Grandpas was too funny. I’d love to see Bob return in season 2!

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hessolivagant · 1 year

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Some things I've noticed while trying to analyze Mike for the 100th time

Mike crumples up els letters TWICE, MIKE WHY?? Mike literally crumples up els letter, that mind you, could've been the last letter he got from el and he just throws it away like it's nothing😭

Mike saying that he doesn't want to be normal and popular

And then showing up to the airport like THIS

To everyone this probably means nothing, right? It's just a silly outfit. But I'm here to say that this is Mike contradicting himself, this is not his style and he probably thought that this was how people in California dressed😭 but after the awkward reunion between Mike and will, argyle then makes it way worse and pulls him into a hug

Argyle then points out that he's wearing a knock off brand, this actually has a double meaning! Mike is wearing a shitty knockoff while also being a shitty knockoff of himself, he's not being true to who he is. He's pretending to be normal like how el was lying and forcing a smile the whole day with Mike. They're both putting on a facade of a "happy relationship"

My point is to why they would keep these and write this in the show if it doesn't mean something, it could just be poking fun at Mike but why?

(Millie is so cute in this photo🫶) Also you know when Mike said the flowers were 70/30 split? This is definitely a metaphor to Mike and els relationship meaning, el is putting in 70% while Mike is putting in 30%

Why was Mike smiling so much when Eddie was talking 😭

(I am NOT shipping them! That is disgusting)

(HIS FACE LMAOAO) I found this scene so funny, Mike freaking out about pineapple on pizza and then being forced to eat it by el and argyle😭 "try before you deny!"

then it cuts to this scene

And then Mike says "it's good!" HELP ME, whoever made this joke ily

If I recall, I counted.. 21 color coded scenes about blue and yellow!

Rinko-mania, suzies house, Mike and wills clothes, argyles van after the rinko-mania scene!! And there's probably more :)

#byler endgame #byler tumblr #mike wheeler #byler is real #stranger things #byler #i know what you are mike wheeler #mike is in love with will #mike wheeler is gay #byler analysis #will byers #miwi #wiseheart #wike #wheelwise #willmike

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stone-stars · 2 months

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Illuminate me on music!, I'm not good at it but I like hearing people talking things I don't know. So idk, start anywhere I wanna learn. Gimme music faces from emily's work

lol there's SO many places i could start. first, let me say that i get so in the weeds with this. you don't need to be me. however, murph and emily are really deliberate with their music placement so even if you don't go super deep, you can start to notice patterns, especially with the super frequently used songs.

when it comes to frequent songs, alli operationslipperypuppet also did a very helpful "hey how concerned should you be" breakdown of some common songs, which i'll link here. i would say if you want to start paying attention, some easy ones to check out and start listening for are the purge, unknown tome, kingshammer, valiant ol' cobb, mee maw's burden, a fate refused, the campaign themes, twinkling lights of galaderon, and a friend for life. all of these are available on spotify, with the exception of kingshammer, and have very consistent uses. (the bahumia theme isn't by emily, but is on spotify). if you want to hear kingshammer, a good use of it is around 50 minutes into c1e80, during hardwon's flashback (ad free, so you might have to go later for ads)

another thing to note is certain songs get very specific meanings when applied to given characters. mee maw's burden and unknown tome are used incredibly consistently throughout bev sr's hell arc. twinkling lights of galaderon and a bastard no more/hardwon takes the wheel (both names have been used) are used throughout hardwon's.

emily also tends to write a lot of location-based music. a lot of cities have their own themes and their own instrumentation. a great example of this is the tsunaire interlude from c3, which has a very unique sound. also for example, the crick tends to have a lot of similar instrumentation. if you listen through the crick album on spotify, you can start to hear it. there's a lot of strings/piano, drums, and a lot of notes are drawn out in a very specific way.

it's very consistent. there are also like 200+ songs written for this podcast at this point, and so knowing every one of them is insane. but if you start to be like "i've heard this song before, where did i hear it" chances are it's in a moment that connects thematically. i can go into a lot more detail about any of this, this kinda became a "hey here's how to start tracking naddpod music" post more than anything and not really about the themes/uses of songs, but! yeah!

some fun little bonus notes of songs that are only used a few times but that i am insane about the repetition of:

a song called "torn apart" is used when moonshine opens the rift to the feywild during the tarrasque fight, and also when the world is breaking apart after the thiala fight and the boobs heal it

"i just want to know you're taken care of" is the song that is played when moonshine tells paw paw to write up her will. it's also played when lydia tells her that she deserves to be heard by her friends and she should tell them about her plans in hell. it's also used in c3 when callie tells foster that she's sorry for not giving him love.

"a memory" is introduced in episode 100 as thiala shows everyone the failed past adventurers and the "wheel of sorrow". it has recently been used in c3 for both references to the boobs and to melora's adventuring party (melora/telaine/aryox)

there is a specific royalty free (i think) choral song that plays when gemma appears at the party, when gemma dies, when jaina almost kills hardwon, and then later when hardwon dies at scarlet montgomery's hands. do with this what you will.

this isn't about a reuse but the song that plays in ep 70 when moonshine and lucanus are talking is called "a miracle child" and i need more people to know that.

i am insane about "a glittering reunion" (from melora and telaine's in 97) on so many levels. telaine is the piano. melora is the strings. i need to lay down.

#naddmusic tag #hanbles #naddplog #going insane about music on this friday #ask #i hope this is. at all helpful lol

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foxofninetales · 8 months

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Sourcing and recreating Liu Sang's whistle

If you join me in being desperately sad at the lack of Liu Sang merch out there, there is one thing you can source: Liu Sang's whistle.

You know. That one.

All of the pieces you need to recreate this whistle are currently available. I'm going to tell you how to source the pieces, and then how to assemble them in the same style as Liu Sang's.

What I am NOT going to do is include direct links for items. This is because these components are available from a wide variety of resellers and the links go dead at the same time that new ones are listed. What I am going to do instead is give you the keywords that will help you be able to search for these items yourself. I have found all of these items on eBay, Etsy, Amazon, and Aliexpress. Note that Aliexpress tends to be significantly cheaper and more reliably available than other sources.

THE WHISTLE

The clearest shot of the whistle can be found in Reunion Season 2 Episode 18, timestamp 30:18.

This whistle is available online in both titanium and aluminum versions, in multiple color finishes. The most accurate colorway seems to be this silvertone-with-gold-wash titanium version:

The titanium whistle runs $40-$70 USD depending on where you purchase it. For a less accurate but significantly cheaper version, you can go with the silvertone-with-black-wash aluminum version ($20-30):

Here's a side-by-side comparison of the two:

Search Keywords: "3 tube survival whistle" plus "titanium" or "aluminum"

THE BAT BEAD

Yes, this super-hearing nerd hangs a bat bead from his listening whistle. I love him.

Credit to @psychic-waffles for identifying this! We don't have a super-clear shot of it in the show, but here are some comparison shots. Timestamps are Reunion S2E18 30:18, S1E9 30:19, S2E18 39:07.

The bead runs $3-$6 USD depending on where you purchase it.

Search keywords: "brass bat paracord bead"

THE PARACORD

The best shot we get of the paracord is in that same really good whistle shot S2E18 30:18. I's base color is army green crossed with stripes of tan and cream with flecks of black. Below is a comparison shot lightened to show the detail.

This starts at around $1 USD per 5 meters.

Search keywords: "9 strand green camo paracord" (if you can't find that, drop "camo" and try again)

ASSEMBLING THE WHISTLE

The paracord is threaded through the hanging loop of the whistle and then tied in a series of knots. My best guess at the knot used is the Snake Knot. I used this tutorial, but there are many others available - just look for "paracord snake knot". It looks like there are about 6 full loops of snake knot.

After you finish the snake knots, thread the bat bead onto the two cords, with the ears towards the whistle. Then finish it with the stopper knot: the shots are VERY fuzzy, but my best guess here is a double Matthew Walker knot (I used this tutorial) , which leaves the same small length of unknotted cord between the snake knots and the bead that you see on screen.

The finished whistle!

#dmbj #the lost tomb reboot #liu sang #liu sang's whistle #dmbj merch #dmbj props #dmbj cosplay

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weneverlearn · 22 days

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Kurt Bloch: An Awesome Guy Who Awesome People Like

Rocking with the Fastbacks and recording all your favorite bands since 1979

Fastbacks, 1988; Kurt Bloch far left, Gumby t-shirt

“There truly is something about inspiration and enthusiasm that really is inspiring and enthusiastic!” - Kurt Bloch

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By: Eric Davidson

I’ve been thinking a lot about joy of late. Like pure, eyes-to-the-sky, skipping down the street joy. There is a paucity of it around right now.

We could follow a zillion trails to and from how we got here, but this is ostensibly a music blog, so I’m going to make a quick stab at the roots of this unenviably joyless position we’re sitting in, rock-wise.

The Fastbacks were joyful. Starting out in 1979 in the dawning days of Seattle’s punk scene, they became a local fave on the basis of action-packed shows stuffed with careening pop hooks, irked energy, and a friendly, guffaw around onstage demeanor that didn’t exactly scream “pre-hardcore era.”

Fastbacks retreated for a few years, circa 1988, and when kicked back into gear a couple years later, found themselves being a preferred opener for a load of grumpy grunge bands who I’m guessing hoped to absorb some of the Fastbacks positive energy to counteract their mope – which the Fastbacks were more than ready to supply.

A mélange of metal volume, fleeting bouts of prog whimsy, Ramones tempos, and BubbleYum stickiness, the Fastbacks created a singular sound. Like most great bands, they never fit into any particular zeitgeist – too raggedy for the pop punk contingent, too peppy for the grunge trend, they nonetheless retained a respected status among bands who appreciated their consistently grabby tunes and fun live show.

Despite any remaining expectations of what “success” was supposed to be, by the turn of the millennium the Fastbacks became that precious thing – one of those awesome bands that awesome bands like.

It should be noted that, while grunge soon gained a definition as a downer genre (that has taken root since), Bloch and company palled around with that Seattle scene from the get-go, and knew many of them as fun rocker kids just trying their best to get through seven months of rain by rocking.

The Fastbacks kept careening forward right through the ‘Alternative Rock” era that ignored all the fun underground garage punk and instead painted rock as increasingly dreary and grievance-based. The early 2000s came, and the Fastbacks took their leave.

They’ve recently gotten back together for occasional reunion shows. Always holding them together throughout their stop/start whirlwind of a career was ace guitarist/producer and philosophical center of the band, Kurt Bloch.

Bloch, who began his career as a recording studio whizz with Fastbacks, never stopped twiddling the knobs for lots of your favorite bands and/or underrated acts. We checked in with him on his ongoing mission to bring fun to the fringes despite the mainstream consistently choosing incorrectly.

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Kurt Bloch, rockin', 1990 (Fuck the NRA. I will assume Kurt's t-shirt here was de rigueur '90s irony.)

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What was the first album you loved; and what was the first album you loved because of its production?

Good question, hard to answer. I think it was 45s and AM radio that got me going on recording qualities, how loud some of the great hits of the early-’70s sounded. How some records sounded like they were a band playing inside your head. I think I was aware of EQ and compression sounds early on, how the drum fills would sort of obliterate everything behind it on some songs. How the guitar would be so loud in the breaks. How, if the record didn’t have enough treble, it would be unexciting; if there was too much then it’d sound wimpy.

Then getting into albums, and FM radio, you’d listen to Larks’ Tongues In Aspic or Dark Side Of The Moon, and they had this spacious quality that was rad; the Scorpions’ Fly To The Rainbow was right in your face, really up-front and close. Then, going to see bands live, we’d see the coliseum style shows – that was so cool, but then getting to see bands in smaller spaces where you could hear the amps on stage, and feel the sound pressure in the room –now that was a mind-opener. You could feel the Marshalls and the actual sound coming off of the stage.

Then when punk bands started playing, that’s when it started getting interesting. You know, like I just saw this killer band that sounded so great at the show, and their record sounds like a bowlful of shit. Why?! That leads to one-track, two-track, four-track tape recorders, and each time you record something, you have a whole book of revelations of what to do and what not to do. So many great recordings from that early punk era without a bunch of reverb. It was another revelation. A lot of those early digital reverbs that everyone had, I just hated that fake trebly, scritchy sound. Rather just not use any reverb than that icky sound.

How did the Fastbacks form?

Kim and Lulu were high school friends of ours, The Cheaters was our neighborhood band; only lasted a couple years but they were good ones! When that band disintegrated on-stage, there was still band gear in my parents’ basement. Kim (Warnick, bass/vocals) had been in a band, The Radios, and Lulu (Gargiulo) wanted to play guitar and sing. Somehow my parents didn’t put a stop to it all, so we started playing a couple times a week. Not saying we got good, but we got better.

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How long before you felt you had locked into the Fastbacks’ sound?

I reckon whatever “sound” we had was pretty well established early on; it was just whatever we wanted to do. Of course we loved the punk bands of the era first and foremost, but also the ’60s and ’70s pop music we grew up with; and the hard rock bands of the ’70s too! And I always was a fan of the wonderful arrangements and sound of the ’70s prog bands, once I started writing most of the songs, these things would creep in.

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Live, 1986

I have this romantic vision of Kim Warnick as a long-haired rocker teen crashing parties and such. Is that correct?

Ha ha ha!! We were all pretty good (bad?) at crashing parties, some of the shit we did makes me wince thinking of it all. But it was 1977, ‘78; things were different back then, a different kind of boredom ran rampant through kids’ minds back then. There was a real disdain for society, maybe not to the degree of the UK bands at the time, but still there nonetheless. Often there was nothing to do other than the proverbial let’s go fuck shit up. And the music was such a part of all that.

So you got a story about something back then that would make you wince now?

Back when we were teenagers in The Cheaters, we would go to pretty desperate lengths to create excitement. The Cheaters singer, Scott Dittman, was maybe the funniest person I’ve ever known, and often in our search for something to do, he would drive a car full of us down to the frats at the University Of Washington. We’d go crash frat parties, rarely did we fit in unnoticed. You’d grab some keg cups and try to hang out, usually immediately, “Would you please leave.” And that didn’t often sit well with Scott. If we were going to “please leave” then we would not leave without exacting some sort of a toll. I guess we could run pretty fast, or we would’ve got our asses kicked pretty well back then. Somehow a few weeks later we’d go back to the same frat house that had a bookcase upended or a row of bikes knocked over, and lo and behold, the same thing would happen again. Of course we were never hired to play any frat parties.

Scott also loved to fight. He took boxing lessons and was always trying to teach us how to fight too. You knew when the gloves came out it was time to find something else to do. “Come on, you just gotta keep your guard up.” (smash smash smash) “You said you weren’t gonna hit us in the face.” Yeah right.

The Cheaters and The Accident (another erstwhile punk outfit) set up a show at a non-punk bar, somewhere down by Olympia. This would’ve been 1979 maybe. There were no roadmaps for like-minded or “friendly” places to play, outside of the major cities. But we were trying to do something, anything, and our double bill got the booking. This bar had a dance floor that also was used for bar fighting. There must have been some sort of organization to the fights, but it was sanctioned bar fighting. No-one was on the dance floor or anywhere near it when we started, so Scott tried to solicit a fight or two during our set. This was unfriendly territory, we were all, “Stop this nonsense!” But once you told Scott not to do something, well he was going to double down of course. Fortunately no one took him up on his offers, and we got out unscathed, but the bar owner took me into his office at the end of the night and gave me a rundown on what we needed to do to become successful in the music business, and the first thing was to get rid of that singer.

1978

First Fastbacks show, February, 1980 – any memories of it?

Oh, totally! The first Fastbacks show, it was at a rec center in a quiet neighborhood, it was three bands: The Vains, Psychopop, and The Fastbacks. We were all friends, and it was all three bands’ first shows. Very ramshackle, but we cobbled together a sound system, someone had a few lights, everyone brought what they had, and the show went on. A little rough around the edges, but the power didn’t go out, no cops were called, nothing was ruined – an early triumph for sure.

Was the power pop zeitgeist of that time a thing for Fastbacks? Did you feel a part of it?

No! For sure the New Wave was hitting strong at that point, but we were certainly not embraced by the new wavers at all. I suppose for that first year, we were pretty terrible, but we had some friends and people who wanted to give us a chance. Getting Duff (McKagan – yes, that one from Guns ‘N Roses) to play drums was the first step into making the band more listenable, but we were still a long ways off of what the general public would consider valuable music. We got kicked off of a show after our first set (of two). “That’s okay, you guys don’t have to play another set.” And I was all, “What do you mean we don’t have to?!” Oh, I get it.

Then when the hardcore bands cropped up, we were pals with some of them, but we weren’t furious enough for them really. I recall some sort of fury at a DOA/The Fartz/Fastbacks show. It required some foresight, which many didn’t possess, to support any kind of music that wasn’t 100% punk. Conversely, the proper power pop bands, well, we were a little too power and not enough pop, I reckon. We wanted to be that, but it’d take a bit still to hone those chops.

Had Duff McKagen played in any band before that?

Duff was the bass player in The Vains, who played that Laurelhurst Rec Center show. That was his first show. He must’ve been 15, barely 16?

Did he exhibit behaviors that would later align with Guns ‘N Roses’ infamous lifestyle?

We were still pretty reeled-in at that point, no one really even got plastered, no one started doing drugs yet. Might’ve been some Budweisers around, but nothing stronger yet.

Guns 'N Roses 2nd show, 1985

Got any Vains stories, recollections of a show, or the general scene from whence they came/played? Was there a good raw, original punk scene in Seattle in late '70s? I'm aware of Soldier and some other bands, but I wanna get it from the horse’s mouth.

The Vains only played three, maybe four shows total. In the late ’70s into early ’80s it was pretty hard to keep something going if you were any sort of impatient. Most bands never got the chance to play enough to iron out any difficulties, or taste any sort of real success. Lots of arguing over what direction to take, stick to your punk rock guns, and play to a rental hall of your friends; or try to get “jobs” in the bars, which would mean being stricken with the “cover band” tag, which was NOT punk.

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1978

The Enemy worked the hardest, yet still couldn’t crack the code in 1979. The Telepaths, The Blackouts, The Lewd – everyone broke up, or moved away and then broke up. The Fartz made a pretty good go of it, but even they sorta morphed into Ten Minute Warning, and then morphed into an art band… The Silly Killers stayed pretty punk. The Living ripped it up for their short lifespan. But they were all in that 1982 dilemma, you can almost see a line in the sand, drawn in the summer of 1982. Not a lot of bands made it across that line that summer.

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The Enemy live, 1980

If I remember it was some sort of divine intervention that The Fastbacks reconvened in 1983 to fire it up again, it was nearly the end of the line. But it was also clearly a new beginning, a new lease on life, a new crop of kids started bands in those Metropolis years; the Metropolis was a new all-ages venue that I would consider the petri dish of the next bundle of bands.

As the ‘80s took hold and punk rock hall shows were sort of the only stage for many of our bands, after a couple years of not getting to any sort of next level, it was clear that there needed to be a re-grouping of some sort. We’d see our friends’ bands get actual paying gigs in bars – if they were non-punk sounding. Of course many of the punk bands went to the dark side of ’80s metal. Everyone was looking to do something that could “go somewhere.”

Somewhere right in that 1982 corridor, drugs started flourishing, stupidity set in. Duff came with us Fastbacks as a “roadie” in 1984 down to L.A., and when we came back I reckon he moved to L.A. to escape that whole rigamarole. No one was getting anywhere here anyway. A bold move at that time, at the advanced age of 20!

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1987

Word is Fastbacks have had between 12 and 20 drummers. Short of naming every single drummer, are there a few you’d like to point to as having had a particularly interesting stint; or who went on to other bands?

Gosh, all the Fastbacks drummers had something great about them. There were a few who only did one show. I publicly apologize to those who didn’t last. Those were strange times. I don’t think there are any unsolved mysteries in the Fastbacks drummer world, Dan Peters, who recorded a couple songs with us but no shows, Tad Hutchison, and Tom Hendrikson, who each did one show…. Some convoluted moments for sure, and all killer drummers!

Do you think if you would have remained drummer for Fastbacks that you would have still gotten into production?

Yeah, I think the fascination with recording was parallel to the live playing side of things, it was always there in my constitution. Wanting to learn, wanting to figure out how to make records that captured how killer bands sounded. It was such a tall order back then. Seemed like the old guard [engineers] didn’t “get it,” or were prohibitively expensive; and so many of the others didn’t sound kickass like we wanted. Of course this comes from the actual band, first and foremost; that is learned the hard way! But if the band blazes at their show, it seemed that their records should sound blazing too, but that wasn’t often the case.

1988

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1989

From what I remember, the Fastbacks rep was that of the favorite local band of all the Seattle bands, and hence got on as openers for bands who would soon get huge during that whole grunge thing…

Pretty hard to say from the inside view. We had the unfortunate hurdle of being broken up from late-1988 till mid-1990. A lot of opportunity probably squandered during those times. But, unlike anyone else I can think of, we did get a second chance via Sub Pop, and another decade of rock. I know we were quite lucky in that department. We never did gigs large or small with Nirvana, Soundgarden, sort of the class of ’89. We did share a slightly miserable practice space with Green River and later Mother Love Bone. Always pals with those cats, so we did do opening stints with Pearl Jam in 1996, all around the world.

What was miserableness about it?

Oh man, that place… It was in a basement in Pioneer Square, the old, original downtown Seattle. The Great Seattle Fire devastated downtown in like 1889, and they rebuilt the city on top of the old city, one floor higher. So our basement was on the level with the old, original city; some rooting around could be done. There was no bathroom or running water down there, so you had to go to the bar a block away to use the facilities, but often you just couldn’t be bothered. In the space next to ours, it was a smashed up, decrepit old room that we moved all the garbage from our side into. No lighting of any sort, so it was all flashlights if you had them, and filling up bottles of pee and putting them where ever we could find room.

But of course we raged supreme down there, some epic parties, bands playing, and whatnot; of course no water or facilities, but grand times in the ’80s. Somehow, I ended up being in charge of paying rent, not the best job for me to take on. It meant tracking down Andrew Wood once a month and trying to get him to pay his share of their rent. First it was Malfunkshun, and Green River was there too. We might’ve blown up before Mother Love Bone started? I think I remember Green River blowing up too, after their California trek; it would’ve been not too long after that that The Fastbacks unceremoniously imploded. But for a while it was definitely a rager.

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Nifty, random link I stumbled on with some cool early Fastbacks fliers, stories, and live stuff.

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1992

While you didn't play with the "biggies" of the scene as much as I thought, got any early Nirvana or Soundgarden tale of any sort you'd like to share?

Our fabled practice basement was just a couple blocks from The Central, a venue that was sort of home base for a lot of stuff. The Vogue as well, it was on the north end of downtown, we were on the south end. Many people had keys to the place, so it was not surprising to duck in between sets at The Central, to have cheap beers or whatnot. I first saw Soundgarden at The Central, and they were certainly mind-blowing. Would’ve been ’87? Quickly became a favorite Seattle band, and when their first 7” came out, my roommates hated me. I had a tendency to play those 45’s over and over and over again. But they played The Central a lot, and just got better and better, heavier and heavier. I remember the first time they played “Beyond The Wheel”, it was at the Vogue. I was standing next to Mark Arm and we looked at each other and just said FUUUUUUUUUHHHHHHHHH…

The first Nirvana show I saw was also at the Vogue, it was maybe not the greatest Nirvana show, but man I thought that singer was amazing. Shortly after, Jon Poneman (Sub Pop co-founder) was at the bar there and said, “If you buy me a coffee now, I’ll give you a 45 tomorrow that will change your life.” An easy proposition. Sub Pop HQ was half a block away, he gave me a “Love Buzz” 45, and once again, the roommates had a reason to hate. I must’ve played that record 100 times in a row. Might’ve taken them a bit to find their pummeling style, but man they sure did. Then after Bleach had been out a while, all the rumors of major label this and major label that… So exciting and weird.

Who is a favorite Seattle “grunge era” band you really dug and maybe didn’t get the recognition you think it deserved? Mine are the Derelicts and Zipgun.

Of course! Pure Joy, Flop, H-Hour, the Meices – wait they were actually from SF… Huge Spacebird, Once For Kicks…. Have you got an hour or so?!

I know you are no doubt tired of this question, but do you have a late ‘80s/early ‘90s story or show that happened where you thought, “Damn, this Seattle scene thing is getting some real attention? This is fucking weird.”

After the Fastbacks blew up in 1988, I started playing with the Young Fresh Fellows, and we were off and running pretty hard right away. Certainly a parallel path from the Seattle Grunge Explosion, but a decent path it was! I was pals with Jon and Bruce (Pavitt) at Sub Pop when they started, so I’d go hang out at their early HQ/distributor place downtown. It was amazing to see some of these bands blow up when they did.

Young Fresh Fellows, 1989; Kurt Bloch far right

I suppose the thing that sealed it for me was listening to the advance cassette of Nevermind on a Young Fresh Fellows trip. Scott McCaughey had been assigned to review it for local music rag, The Rocket, and I nabbed it from him on a trip out East. It totally blew my doors wide open. Already having been a superfan since that “Love Buzz” 45, and seeing a couple of the shows they did here before going out to record that album, then hearing it for the first time on headphones; then as our tour progressed, seeing the record just going ballistic at every record store, it was just crazy. It never stopped getting bigger and bigger. This is so fucking weird!

Strange feeling of seeing a local band you saw shlubbing around town or peeing next to them at a dive, to hearing them play in a grocery store in Nevada, or whatever....

Soundgarden was the first one I remember blowing up. They went from Sub Pop to SST to A&M – they sorta seemed to have their shit together pretty well. Alice In Chains were kinda off our radar, they were only on the Rock radio stations; it wasn’t until their second album that I noticed that they actually were killer. But Nirvana, they were crazy cool from the get-go, not in the FM Rock station sort of way, but the punk underground sort of way. Plus I didn’t really know them at the beginning, so there was way more mystery about them. A couple legendary Seattle club shows before they went off to start Nevermind; the OK Hotel first playing of “Smells Like Teen Spirit,” we were just transfixed – What the fuck is this?! Then the Off Ramp show, they went on really late, and got cut off right before 2am. Somehow the club picked up the empties and let the band play on into the night, and what a show it was. Then… nothing.

Didn’t really hear anything from Nirvana ‘til the advance cassette of Nevermind went out, and of course thinking, if I like this so much, it’s probably never gonna go anywhere. Wrong. It was like a slow ball of fire, radio then record stores, like every record store playing it, every magazine… It would’ve made you hate a lesser band, but it really was great so there was a sense of pride attached to it all. Finally something we loved is big. But then how big? There seemed to be no end to it. It was everywhere. And so weird to think that kids dug something that was blazing and amazing.

Were you defacto producer of Fastbacks from the get-go of recording?

Oh for sure. Not by strong-arming anyone, but just because there was no money, and no one else could be bothered! Our first 45 was with Neil Hubbard and Jack Weaver, as we were doing a song for a Seattle comp LP, and as per the usual, just recorded some extra songs in our allotted time. The first EP was Peter Barnes, drummer for The Enemy, killer Seattle band and very much an inspiration to all the bands in the late-’70s in Seattle. Then after that, it was trial by fire.

Can you tell me more about The Enemy, and their local import?

The Enemy pretty much initiated the punk “scene” in Seattle. There were a few bands, but they started a club, it was all ages, March, 1978. Otherwise it would’ve been hall shows, but The Bird brought everyone together. Originally only open for a few months, but there were shows there every Friday and Saturday, it really did give us something to do.

My first band, The Cheaters, might not have actually played anywhere if not for them. We could have languished in my parents’ basement forever if not for being stopped by The Enemy members at a Ramones show: “Hey! Are you guys in a band? Would you want to play at our club we’re opening up in a few months?” Of course we said yes, we didn’t tell them that we were just barely a band, we’d never actually played a show, nor would we maybe ever had if not for their offer. We were just teenagers, my brother Al was still in High School. But they took us in and let us play shows. The drummer, Peter Barnes, filled in for a night our real drummer couldn’t play.

Everyone knew each other, when it was time to record what was to be The Fastbacks’ first EP, Peter volunteered to be our producer. He figured out how to get cool, kickass sounds and make things happen. No one had any money or experience so it had to be on a budget, but he made it happen. The record turned out great. “In America” was on the commercial new wave station, we thought we had it made!

I thought I knew what to do, to various degrees of success. Conrad Uno at Egg Studio did much of our first album. He was wise beyond words and also a great teacher. After that LP was finished he was all, “You can do all this, I think, I’ll be back at the end of the night to close up!” Then it seemed like the right avenue. So many producers seemed like they just wanted to add stuff in order to have their presence be felt. I always felt, like – what is the least amount of stuff we can have on here to make it happen? Less stuff, but louder. Certainly not against adding things, but also happy to leave things out as much as possible. Always loved the one-guitar bands that didn’t double everything all the time. Makes you think a little harder about what you’re doing.

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1994

Okay, I will name a band, and you give me the first thing that comes to mind when you think of your production gigs with them:

Presidents of the U.S.A.

We’d do several takes of any given song, as the band was learning them, Chris (Ballew, singer) would play his two-string bass flawlessly every take, and sing a scratch vocal that could’ve been used as the keeper. Never a mistake, never less than killer every time.

Robyn Hitchcock

Also just an amazing music machine. Put him in an iso booth with a mic for vocal and one for acoustic guitar. He’d show the band a new song and go into the booth, sometimes it would just be one take and they’d nail it, with the lead vocal included. Never a lyric sheet in sight. A brain that truly works overtime. Peter Buck playing his 12-string on a song that he had just heard, and plays flawlessly the first time. Great Peter quote: “I like to get things right.” Indeed!

Fastbacks

Ha!! Some of the recording we’ve done astounds me to this day. It’s like any idea we had, we’d just do it. I swear, no one ever said, “Are you sure this is a good idea?” Listening back to the early ’90s recordings, there truly is something about inspiration and enthusiasm that really is inspiring and enthusiastic! Some of that music is pretty weird, even some songs that I wrote, I can’t imagine where they came from. I know we did them and all, but what was the impetus, where did they come from?!

Nashville Pussy

Another tale of just trying not to ruin a band that sounded killer. Amazing to think that they all fit in the tiny live room at Egg for that first album. The sheer volume of air pressure in there was unbelievable. A perfect example of what we’d set out to do, just try to not let the recording process get in the way of the recording. And nominated for a Grammy! I went with them to the Awards show – limo, booze, and afterparties. We were scheming all the horrible things that we’d say when we won the award, who we were gonna thank, who we were gonna blame. Of course there’s no way we’d win, they barely could say the name of the band when reading off the nominees! But what an experience. So many laughs.

Mudhoney

Five Dollar Bob’s Mock Cooter Stew (Reprise, 1993) doesn’t get enough props. I think it’s a great record. I really tried to make each song sound different and killer in its own way. Dan Peters (drummer) is always dishing out the quality.

Young Fresh Fellows

It’s easy to work quickly with a band you’re in. You kind of already know what’s going to happen, you know how to set up since you’ve already seen what works and what doesn’t over the last decade or two. We had intended to record maybe four or five songs for Tiempo De Lujo. Somehow we’d crammed all four of us in the basement here; after the two days we’d recorded twelve band tracks – so an album it was! Toxic Youth as well. We’d gone over to Jim Sangster’s living room to learn a few songs before starting recording the next day, and once we got going, they just kept coming and coming. When inspiration strikes, keep the tape rolling!

Can you describe Conrad Uno's Egg Studios; the kind of size or situation you were dealing with? Was there like a famous recording board there you worked with?

Egg Studio, where I and others honed their chops, was a welcome alternative to the “normal” studios of the time. It was truly a basement studio, the performance room was smaller than an ordinary living room. Many bands’ rehearsal spaces were larger than this. But it really did have a relaxed feel to it, and loud bands could all set up in the room and play live and get a good sound. Mudhoney, Nashville Pussy, Supersnazz, Devil Dogs, Supersuckers, Zeke – it was home base for so many great albums.

Conrad Uno moved into the house in maybe 1987, I reckon we finished Fastbacks …And His Orchestra there; and by early 1988, we began Very Very Powerful Motor, then the Sub Pop 7” and Zücker sessions. It began as an 8-track studio. Conrad brought in the Spectrasonics console that was formerly at Stax/Volt studio – rumored to once be owned by Paul McCartney, under whose purview a varispeed knob was installed. The knob remains, it’s Paul’s Knob. The console is now at Crackle And Pop studio here in Seattle, and is working better than ever.

Before Mudhoney began their third album, Piece of Cake, their second at Egg, they bought a 16-track machine for the studio, and that was the classic setup for so many records there in the ‘90s.

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1996

I personally would love to hear about making the classic Devil Dogs album, Saturday Night Fever (Crypt/Sympathy for the Record Industry, 1994). Whose idea was it to make it kind of like a party, with friends and fans whopping it up in the studio between songs?

It was their idea from the beginning to make it a party album, “You have been invited… to a party!” Another band that didn’t need any fancy fussing about, they already sounded like a house on fire. Just tried to record them and not get in the way, make sure that the playback sounded like it did in the room with them.

Definitely the last night of the session, they invited all their Seattle friends over for a party, and we played the songs from the album through twice, if I remember, and just had a mic in the room while they were going. All the bottles clinking and all the blabbering was totally what happened. There was so little time to get everything done while we were there. They had booked two gigs on recording days – one out of town in Bellingham! Basically it was like wrangling the Three Stooges to record and mix a full album and an EP in like five days. Let’s just say that the morning hours were not particularly productive. But fortunately, when they were on, they were unstoppable. And so fuckin’ funny! What a fucking great record!

Oh yeah, definitely the most hilarious band to tour with too! We did a month with them once in Europe, traveling in the same packed little van. And even the bad hungover mornings in the van drives would lead to so much cracking up. Singer Andy G. sometimes stood up and imitated Tom Jones live. Anyway, can you recall who all was in the “crowd” on that record?

Honestly, I don’t! The studio was in a neighborhood, so all sessions had to be finished by 10pm. I loved the idea of recording a loud listening party and then mixing that in with the album, but it was so precarious to cram a bunch of drunks in the tiny studio and try to not let any gear get ruined, while still egging on loud misbehavior. Then getting all the cats out of there by 10 and not annoying Conrad or his neighbors in the process.

You must have some fun Andy G. stories too.

All three of those guys had their moments! Andy, Steve, Mighty Joe. Someone should’ve given them their own TV series. It might not have lasted very long, but what a show it would’ve been. I’ve never seen a group rile each other up the way they did. Should’ve had a room mic going constantly while they tried to make a group decision. There was way more work than we had time for. Somehow we got it all done, but just barely.

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Crypt Records, 1993

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And here’s where I decided to check in with Devil Dogs drummer, Mighty Joe Vincent, to get some more details on their Bloch party: "So, in the friends crowd [on the Saturday Night Fever album] was Eddie and Dan Bolton from the Supersuckers, James Burdyshaw and the rest of the Sinister Six, and a bunch of really cool women whose names have escaped my memory banks.

We def recorded on the Stax board. I remember because we had hopes that there was some soul residue left in the cables that might coat our tracks.

We totally loved Kurt. What’s not to love? I do remember that it was a Crypt budget recording so we had to make every minute count, so we were mixing until we were all so tired we were delirious. I’m pretty sure we went ‘til 2a.m. or something like that, but that was mixing. We did that in the middle of a tour, so we did about two weeks of gigs from NYC across this great nation of ours as well as that other great nation to our north, then out to Seattle. While we were doing it , we had a gig up in Bellingham, so we took a day off to drive up there.

I remember Scott Mccaughy was working there at Egg. I was talking to him one day and he told me his days of playing out on the road were over as his wife just had a kid and he had to be a good dad and provide a steady paycheck. I really felt bad for him. And then of course, a short time after that, Pete Buck asked him to come on the road with R.E.M. and said he would pay him a million dollars. Like an actual million dollars. That always made me happy to hear."

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And now, back to Kurt Bloch!

Who were bands you liked to tour with? And/or, a classic Fastbacks tour story?

We had some great west coast tours with DOA in the early-to-mid ’80s, they were definitely an early inspiration to go head-on and charge through best you can. They certainly blazed a trail for the rest of us to follow, doing everything themselves, like Black Flag did from Southern California. The ’80s were a rocky road for the Fastbacks. We played a lot of shows in Vancouver, BC, as well as Seattle, but it was a lot of problems and fighting, ha, and it wasn’t until the ’90s that we actually went out for any length of time – certainly getting into occasional serious trouble with The Meices, Motocaster, Gaunt, and even the New Bomb Turks!

Pearl Jam asked you to do some stadium shows in 1995, arguably the peak grunge year. How did you relate to the whole fame/stadium situation surrounding those shows?

It was January ’95, Pearl Jam asked us to play a radio show from their rehearsal space. I kinda didn’t know what they were talking about, and maybe sort of blew it off. I was trying to finish a Sicko record that night, couldn’t be bothered. I did like their Vitalogy record, “Not For You,” “Spin The Black Circle.” The rest of the Fastbacks were all, “C’mon, we’re doing this!” And I grudgingly told Sicko I was going to have to leave early. I didn’t even bring a guitar, I knew that Stone had a cool ‘50s Gold Top, maybe I could use that.

Then of course we get there and it’s really fun, just a big party scene, tons of buddies and band cats. We played three songs on the Pearl Jam gear setup, maybe Kim talked on the radio, drank some beers, great time! That was cool enough, but then they asked us to open a few shows at the end of the year, Salt Lake City and San Jose I think, and we’re all like, “Hell yeah!” And everything went well, then, “Would you want to go do a U.S. tour, oh and maybe a Europe tour following that…?” And we were all, “Hellz yeah!” And that all went great, clearly we would be the next big thing, the world is gonna love us, nothing holding us back now! We had a great record out, New Mansions In Sound (Sub Pop, 1996). Man, that was it – lots and lots of fun, great shows. We invented an auxiliary opening band for some of the shows, The What. We played Who tunes with Eddie Vedder incognito with a wrestling mask. We drag Mike McCready out for jams, Stone Gossard to sing one of his PJ songs, Eddie did “Leaving Here” with us a couple times, just great rock times in the giant venues. Somehow it didn’t lead to us being the Next Big Thing, but it was fun to pretend for a few months.

1994

Any good backstage shenanigans stories?

There weren’t a whole lot of super shenanigans. They had an espresso machine onstage every night, so we’d all slug down coffees, blast through our tunes, and then get drunk and watch Pearl Jam. Sometimes we would annoy their wonderful crew by being loud and boisterous aside of the stage, spilling bottles of wine or whatnot, but not much more than that. Everyone got along really well, and it was well-protected against after show bullies or negativity. We’d just keep on our course, often ‘til the huge sports arena closed down and they’d kick us out after everything had been loaded out – and we’d still be back there cranking tunes and running around.

It was totally like an arena-sized version of a living room party most every night. Their crew moved all the gear, we barely had to do anything except play every night.

I know you knew some of their members from earlier in the scene, but did you know Eddie Vedder before he got asked to join Pearl Jam?

I might not have met Eddie until the live radio show we did? He came up from San Diego. Didn’t know him before then at all, but we were fast friends. We would spend hours talking about the Who and riding around on the catering carts and smashing into the walls of the arenas. Come to think of it, we were probably very annoying. But no one, like, smashed up their hotel rooms or anything. It was probably comparatively tame.

Might sound weird, but while playing in the Seattle scene -- which is generally described as kind of serious, or dark, or junkies, or you know, “grungy” – did you and the Fastbacks feel kind of out-of-place; or are those kind of definitions of grunge and that town/time not correct?

The Seattle “thing” certainly was a dark, serious sound. That isn’t to say that every musician was dark and serious, but that darkness prevailed. To say The Fastbacks felt a little out of place at that point would be correct; but I always thought we were here first. It’s not like we didn’t dig lots of the bands, but it also wasn’t like we would try to take them on at their own game. It just wouldn’t’ve happened. We did do a version of “Swallow My Pride” – Green River’s, not The Ramones – on Sub Pop 200 [compilation], after a Soundgarden version too; but it ended up being menacing only in a Blue Öyster Cult sort of way, rather than ala either previous version. Slow and heavy just wasn’t in our DNA.

Columbus, OH, 1993 (Courtesy of Bela Koe-Krompecher)

I remember when Fastbacks stayed with New Bomb Turks while on tour in 1993, you guys, well I think specifically Lulu, made an amazing Thai meal for us. Did you always cook for bands you crashed with, or just for us ‘cuz we’re so awesome and nice?

Ha. I think the wonderful cooking was a bit of a rarity. We weren’t much of a crash on people’s floor kind of band by the ’90s, but sometimes it was great to have a day off and some good ideas! Remember that Metallica VHS box set had just come out, and we watched it ‘til the end because Lulu and I both worked on the film crew for the shows they filmed in Seattle, and we wanted to see if we, several years after the actual shows, got any credits at the end… and sure enough we did. Reason to celebrate!

Columbus seemed to love you. What were some other fave towns you played?

Always a great time in Columbus. Not necessarily Cleveland though. We weren’t the hard-touring road warriors that a lot of the other (more successful) bands were. It was whatever city we had friends in that were the best. Vancouver BC, San Francisco, L.A., NYC, maybe Albany, Columbus, Istanbul…

Contract and ticket for 1993 Columbus, OH show. (Courtesy of Bela Koe-Krompecher)

Highly technical and professional stage diagram implorations, Columbus, OH, 1993 show (Courtesy of Bela Koe-Krompecher)

I could be wrong, but you didn’t go over to Europe a lot, did you? Were you able to procure any production work from Euro bands you met whilst on tour there?

Oddly, not a lot of Euro tours… Seems like we should’ve done more, but there was always something. Young Fresh Fellows did some great trips, especially in Spain. Fastbacks Spanish tour was a bit of a dog’s breakfast. Not because of the people in Spain, no sir. We certainly lit it up in Japan once, though!

I did a couple albums for Les Thugs, the French band. One of them in Seattle and one in Angers. May have been bookended with some music travel. It’s amazing to look back at the old calendars and see that between tours with the Fastbacks and Young Fresh Fellows, recording with those two bands and recording other bands. Man, there were times when there was nary a day off, those ‘90s months were packed! Gotta consider myself pretty lucky. And so many killer records I got to be part of.

As a producer, do you feel you are mainly bringing an “ear” to finding the sounds the band wants, or do you try to gently impose a certain style and sensibility over the whole production?

Always try to keep the kickass factor high. I would never try to impose anything other than to try to keep everyone happy so they could do their best work, and not do the same bit over and over and over. Work hard and play hard, but not to overanalyze every little thing. Not under-analyze either, but if it’s killer, it doesn’t matter if everything “lines up” perfectly, or if the choruses speed up a little bit. Try to capture what is great about a band live in concert, and not dilute that if you can help it. Don’t add a bunch of crap just to put your mark on a project.

It's interesting how you professed a love for prog, but you had an innate sense of not always overdubbing too much – note your comment about loving bands that only had one guitar, etc.

The true exciting prog bands started coming out around 1968 and ’69, Yes, Genesis, King Crimson, Van Der Graaf Generator; Pink Floyd and Moody Blues had already been around but maybe weren’t quite included. Recording technique at the time was still fairly straightforward for the most part, there was of course room for overdubbing on an eight-track machine, but most of the first-wave prog bands’ recordings were not overloaded with overdubs. The magic was what they did with their four or five musicians, the arrangements you hear on the record were the same instrumentation as they played live. Some of the songs would have been concocted in a studio, but it wasn’t until later that walls of overdubs became commonplace.

That’s where the greatness of the original bands lies – cool vocal arranging and melding several songs’ worth of ideas into one track. Not a lot of room for squirminess either, it wasn’t so easy punching in on a giant eight-track tape machine in 1968. You made one mistake on that verse? You do the whole thing again!

Okay, gotta ask, with as much exposition as you’d like – what was your favorite recording session(s); and worst recording session(s)?

Pretty much always subverted the disasters. A time or two I told a band, after seeing a live show, that they weren’t quite ready to record yet; play a few more shows and practice a lot, record your practices and actually listen to them constructively. Studio time is expensive, practice time is (or at least was) cheap. You don’t have to have every bit of every song nailed down exactly, but do have most everything pretty well figured out, and be ready for criticism during the recording. If the rhythm isn’t working, be prepared to fine-tune your part so it is; if your harmony vocal is a half-step off, go ahead and adjust!

Some of the great sessions are those where I feel that I learned things, a new piece of gear, a new way of looking at things. Overwhelming Colorfast, Supersuckers, Les Thugs in France, The Meices in Florida… Or the records that just slammed out of nowhere. Devil Dogs, Flop, Supersnazz, Nashville Pussy. So many first albums by bands where they have been playing the songs at shows for a year or two, the tempos are up, the blood is pumping, get rid of the headphones and make it like you’re playing a gig. Play the song three times without stopping. Play three different songs in a row without stopping.

1999 (Courtesy of your's truly)

You’re still actively producing. What have you worked on recently you’d like to highlight? And what’s coming up?

There’s always some great Seattle band records going on – Bürien, 38 Coffin, Once For Kicks, Insect Man, The Drolls, Zack Static. These days, some records take a while to finish, I suppose it’s the nature of the business now. Trying now to clean the slate and get these out the door before starting new ones!

And there’s maybe a new Fastbacks coming, no?

There was no plan of any sort. We were having lunch as we sometimes do, and started talking about a couple songs it would be fun to learn and maybe record. Our pal Joe “Meice” Reineke had recently finished an ambitious and fantastic recording building in his back yard; wouldn’t it be fun to check that out….? Well let’s call him and see what his schedule is. Oh! he’s got a day open, whaddayasay, let’s take it. Well there’s a few other songs we could learn, let’s make it two days… I guess we’d better practice… What if we did enough songs for an album? Maybe we did! Got some band tracks, everyone played their butts off! Now we gotta make more magic. No target completion date nor avenue to release, but everyone is excited to finish it!

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Post Script: This article sprung from an editor at a national mag asking if I wanted to do a story on Kurt Bloch, which of course I said yes to cuz Kurt's a great guy and I've been a Fastbacks fan for a goodly spell. But some months passed and plans changed, and so here it is! Also, I would've put more videos in this piece because the Fastbacks have a ton of great songs, but I guess I just learned there is a 10-video limit for a tumblr post. Who knew?

All images courtesy of Kurt Bloch, except where noted.

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