After that first, all night session, The Dynamic What-the-Fucks was quickly forgotten. Nobody mentioned getting together to play again or even what fun that night was. That is until one day in the fall when marching band decided to stay inside and do nothing. Matt and Nick started reminiscing about The Dynamic What-the-Fucks, and Nick decided that the band should have The 1998 Dynamic What-the-Fucks Reunion Tour which would be crowned off by a performance in the field behind Carlos' house called What-the-Fuck-stock. Matt and Nick described their plan to Carlos, and the band decided that on June 20, 1998 (the Saturday after June 15) the band would spend the night at Andrew Dimmitt's and make amazing music in celebration of the anniversary of the inception of The Dynamic What-the-Fucks. What-the-Fuck-stock was scheduled for sometime in August (the 15?). Ryan Conley (now of EBR fame) told the band that they could play on his stoop. Matt and Nick asked Piper Childs if she would let them play at her house but she said no. It has been a point of contention ever since.

Matt and Nick, in their infinite wisdom, realized that two songs (and the band did not even remember how "Gigantic Shit" went) would not be enough to entertain an audience. So while spending the night at Nick's house they decided to write more. Passing a pitcher of Kool-Aid between the two of them, they began what would become their most efficient song writing session ever. Nick hunched over his acoustic guitar and Matt clutched a pencil and notebook. They started with the manic guitar part that Nick wrote for "The Drunk Song" (or "Drop Dead Drunk" as it had became known during the band's hiatus). With a subject and a refrain all ready prepared, the new songwriting duo pumped the song out quickly. "Drop Dead Drunk" became the first ever Peak/Fasulo original.

The partners, high on their own creativity, quickly delved into their next song, another snippet from the first Dynamic What-the-Fucks session: "She's So Easy". With two verses and the chorus all ready written, this song also rolled out quickly. Nick, in a spark of genius, improvised the bridge completely.

Looking through the introduction Nick's Essential Songwriter's Rhyming Dictionary, Matt and Nick found inspiration:

"In addition to words that would probably never be used in a song, a few common words were left out that had only one rhyme, if that rhyme was a word that would be extremely unusual in a pop song. For example, the only strict rhyme for terminal is germinal, which, according to Merriam Webster's Collegiate Dictionary means 'relating to, or having the characteristic of a germ cell.' This book assumes you're not, in fact, writing that great pop song about the heartache of being a germ" (9).

Obviously a challenge was put forth, and Nick and Matt were ready to accept. Nick quickly whipped the chorus of "Germinal" chorus into shape ("I'm a germ / that means I'm germinal / I'm a germ / my disease ain't even terminal") and they duo wrote the song. Nick wrote a purposefully dissonant end to the bridge that Matt could not get even close to singing, but that was part of the fun. As they played through the completed song a couple of times, Matt and Nick discovered that the verses of "Germinal" and "Drop Dead Drunk" had the same chord progression, except in different keys.

In search of a new style to explore, Matt and Nick decided to write a blues song. "What should we write about?" asked Matt. "The wonders of sushi!" replied Nick after after remembering a story he had heard at the lunch table about one of his friends getting sick after going to a sushi bar. And so "The Sushi Blues" was born. The song contained Peak/Fasulo's most mature literary device to date: the allusion. The still live sushi "made a noise like it was Elmer Fudd." But the crowning achievement was the allusion to the movie Speed: "It flopped away from me with quite some speed / Like it was on a bus with Keanu Reeves / It wasn't going less than 55". Originally, our heroes had the speed set at 45, but, after they consulted a school chum, they realized that that was the wrong speed. It should be noted, if only to embarrass Matt, that he spelled sushi "suishi" for months until Nick corrected him.

Matt and Nick moved onto the next song, but were out of ideas. Nick found a dissonant sounding progression, but they could not come up with a subject for the song. Nick told Matt just to sing what ever came to mind and he came up with: "I live in a trailer court / My bedroom's only six feet wide". Nick struck by inspiration continued with "Not too many girls come around here / So you know what I'm doing on a Saturday night". Nick made a seamless transition into a chorus and belted out the now infamous line: "I sit at home and masturbate". The song was quickly titled "Sittin' at Home (An Ode to Carlos)" even though none of the lines in the song refer directly to him. They finished the song up making it their fifth composition in one night.

Matt and Nick were so excited about their songs that wanted to keep playing them and they wanted Carlos to hear them. Their solution: record the songs with a crappy little tape player Nick's brother had bought at a garage sale. They recorded their first tape that night. Then they went to sleep.