COURTESY OF SUB POP
They were once one mile high.
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"There are definitely people who think we're legendary, who think we're the greatest," says James Clower, guitarist for The Fluid. "I still can't get over the fact that people like us so much."
Granted, the affection of fans and their peers wasn't enough to turn Clower and his mates—lead singer John Robinson, drummer Garrett Shavlik, bassist Matt Bischoff, and guitarist Rick Kulwicki — into big-time rock icons. The Fluid was the first group based outside the Pacific Northwest to ink with Sub Pop. As such, it became a key component of a musical revolution that helped define late-'80s/early-'90s rock. But when a record contract with Hollywood Records turned out to be far less than advertised, the bandimploded in late 1993.
With each passing year, rapprochement seemed more unlikely. But an unexpected encounter between Robinson and Sub Pop's higher-ups—Jonathan Poneman and Megan Jasper—broke the ice.
"I ran into them at a Band of Horses showcase in New York, and they told me about the 20th reunion," Robinson says. Robinson notes that Poneman and Jasper "were very flattering about The Fluid in general and about what The Fluid meant to the Seattle scene and to the label early on, and strongly encouraged me, in a very positive way, to consider reuniting."
The evolution of The Fluid is an involved tale—one that emerged from the burgeoning Denver-Boulder punk movement of the mid-'80s. Shavlik, Bischoff, and Clower came together in White Trash, a band that Shavlik describes as "super-fast, really tight hardcore" that was "over-the-top political, but really stupid 18-year-old political."
Around the same time, Kulwicki was riffing with Frantix, a band Bischoff ultimately joined too. The most memorable Frantix cut was "My Dad's a Fuckin' Alcoholic." "Even though it's kind of a joke song, it's kind of not," Kulwicki confirms. "Seemingly everybody in the whole world said, 'Your dad's a fuckin' alcoholic? Wow, so is mine.'"
In the end, neither White Trash nor Frantix was built to last, so Kulwicki, Bischoff, Shavlik, and Clower formed a new unit with Augy Rocks, among Denver's more eccentric (and magnetic) vocalists; his credits include Pil Bug and MK Ultra. But when it became obvious that MadHouse (as the combo was dubbed) suffered from a split personality, the instrumental foursome turned to Robinson, a friend of Shavlik's who had precious little experience singing with a band—not that the drummer had any doubts about his ability. "He's very flamboyant and really fun and loud," says Shavlik. "I thought this might be a perfect fit. And it worked out famously."
True enough: Robinson became the extravagant, strutting focal point for the newly christened The Fluid, which nodded to past masters the Rolling Stones and MC5—even as it anticipated styles that didn't yet have a name. Before long, the group was among the biggest draws in Denver, and their album, 1986's Punch N Judy, brought them to the attention of Glitterhouse, a German operation that pressed the platter for European distribution and financed a second, 1988's Clear Black Paper. When the folks at Sub Pop heard the latter, they exchanged overseas rights with Glitterhouse to a recording by Green River, so The Fluid could be sold in the States.
Once the deal was done, the band traveled to Seattle for what Kulwicki deems "a killer show" with Mother Love Bone, Soundgarden, and Mudhoney. Later on in the visit, Nirvana opened for the group—a favor that would be returned when Nirvana was allowed to headline over The Fluid during their initial Denver appearance.
Clear Black Paper became the inaugural full-length on Sub Pop, following a string of singles or compilations, and the Coloradans would soon break more ground. The Fluid worked with producer Jack Endino on 1989's Roadmouth before Nirvana did likewise in connection to the same year's Bleach, and for 1990's Glue, the group collaborated with producer Butch Vig, who'd go on to helm Nevermind, Nirvana's seminal 1991 disc. Glue "was an experiment, and I think it was probably one of my favorite-sounding things," says Bischoff, who agrees that the band had "the hardest damn time" capturing its live sound on tape.
Nevertheless, The Fluid's sales failed to match the fervor of their boosters. Then, amid the Great Grunge Signing Frenzy, the Disney-owned Hollywood imprint set its sights on The Fluid. The firm's corporate lineage raised eyebrows, and a laughing Bischoff concedes that "our eyebrows were raised, too. To us, it was like poetic fucking justice. Like, see what happens if you dick around too much? You end up being gobbled up by Disney."
Soon enough, the wisecracks turned sour. The quintet headed to California to make 1993's Purplemetalflakemusic. Culture clashes sparked between the band and the label over just about everything, including tour allies. Although The Fluid received offers to travel with the Ramones and the Buzzcocks, Robinson says that "Hollywood wanted us to go out in support of the Goo Goo Dolls"—an astonishingly terrible fit. Finally, the band went out alone. After which, Clower recalls, "We were out for nine weeks, and I came home with 20 bucks in my pocket."
