performed under the name "The Daddies", "The Bad Daddies," and similar variations within Eugene, but performed under their original name while touring elsewhere. As the Daddies retired the theatrical elements from their later live shows, the controversies surrounding the band waned and they returned to using their full name everywhere. Some minor complaints resurfaced during their mainstream success in the late 1990s. National touring and independent success (1994–1996) Throughout the early 1990s, the Daddies continued to remain a reliably popular and profitable draw in the Pacific Northwest and Northern California club circuit. Despite earning critical accolades from the local music press, including winning SF Weeklys title of "Best Unsigned Band" in 1994, the Daddies struggled to achieve wider recognition and distribution. Following a number of changes in their member and managerial lineups, the group embarked on their first national tour in the fall of 1994, which was highlighted by a set at the CMJ Music Marathon festival and convention in New York City. Upon returning to Eugene without any advantageous deals, the Daddies instead bought and constructed their own independent record label and recording studio, Space Age Bachelor Pad Records, where they self-produced and self-recorded their second studio album, Rapid City Muscle Car, which was released in December 1994. Described by Perry as "an idea album" and "very psychedelic", Rapid City Muscle Car was a distinct departure from the upbeat dance music vibe of Ferociously Stoned, showcasing a diverse range of disparate genres including ska punk, psychedelic rock, country, rockabilly, big band, hard rock and lounge. While Perry has retrospectively cited Rapid City Muscle Car as his personal favorite Daddies album, he revealed in a 1995 interview with the Los Angeles Times that the album sold "okay" but ultimately didn't surpass sales of Ferociously Stoned. The Daddies began dedicating themselves to full-time touring in 1995, playing over 200 shows across two or three national tours per year, including spots at prominent music festivals such as South by Southwest in Austin, Texas. As the band gradually built fanbases and markets around the country, they began attracting interest from several high-profile record labels, among which reportedly included Hollywood Records and producers including Roy Thomas Baker and Terry Ellis. However, when the suggestion or stipulation was made that the Daddies stick to one genre, Perry invariably rejected these offers, not wanting any outside influences controlling the band's sound. In a similar mindset, not