Mobile Fidelity released Fighting Clowns with the "Carter" song on CD in 1993, and a double CD set of selected live performances from the 25th Anniversary Tour, Back From The Shadows in 1994. The sales figures of the CDs has caused CBS/Sony to not renew further licensing to Mobile Fidelity with the hope of doing their own reissues. In August of 1995 How Can You Be In Two Places At Once When You're Not Anywhere At All was released on the Sony/CBS Comedy Legacy series with the original artwork.

The Firesign Theatre also made a deal to market their own product creating More Sugar, offering mail-order sales of videos and audio cassettes, including the full-length version of Anythynge You Want To (1993), the video of Everything You Know Is Wrong (1993) and Martian Space Party (1995).

After all the hard work and promotion re-establishing themselves, the highly creative group began to feel stifled under the umbrella of a nostalgia act. With the countless same questions and the constant rehashing of twenty year-old material, The Firesign Theatre desired more of a current take on their visage as America's Comedy Theatre, and Electric Vaudeville. In the summer of '94 they booked a series of festival dates to subscription Theatre audiences in the northwest presenting yet another resuscitation of Anythynge You Want To, as an open rehearsal of a piece dating back to the very beginnings of Firesign. For some reason the troupe seemed moderately surprised that an upscale audience, who was mostly unfamiliar with their work, enjoyed themselves, and found them funny.

In April of 1995 The Firesign Theatre assembled in the studio together for the first time in fifteen years to record four Nick Danger radio spots for Pizza Hut's stuffed crust pizza. Also the guys were hired to provide voices for the animated series, The Tick. They then set up a Web site with a few cryptic messages. The group did an excellent job but they weren't out of the woods yet. Just when they thought things were starting to turn in their favor, they received several bad breaks.

The group's scheduled appearance at the Interactive Media Festival where they hoped to video-tape Shakespeare's Lost Interactive Comedie, still another evolution of Anythynge You Want To, for distribution, was canceled along with the entire day's events, due to the promoters lack of funds. Then their newly acquired manager quit, and along with that hopes for a summer tour dissipated with the winds of change. Frustrations mounted within the group, personality clashes re-surfaced and it seemed to be a rerun of the early 1980s with an impossibility to produce new writing.

With this realization they discovered that they themselves needed deprogramming if they wanted to survive as a unit in the 1990s. All of the sudden they were in their mid to late fifties with a whole new set of life experiences that had to be dealt with. But how to address these revelations in an era where the new comedy concept album is nearly non-existent, and the TV market is closed to groups of aging sycophants is quite a serious dilemma. The personal developments of the individual artists, spoiled by the freedom of calling their own shots for years, made it extremely difficult to conform to collaboration. How do you give up the survival instincts for an out of sync ideal? Was the fifth crazy guy dead or just asleep with the dreams of reason?

Again the solution seemed to lie in advanced technology. During the 1993-1994 reunion tour various companies approached the group with proposals in the CD-ROM arena. Peter Bergman had been turning his attention toward CD-ROM and computer games for several years and was on the brink of breaking through. If he was successful he promised to forward the flag and renew the group as he did in the early days of Radio Free Oz. However, in-fighting in the group again dissolved most of those plans.

Proctor and Bergman began writing a CD-Rom parody of the best selling game Myst. Eventually Bergman took over the reigns and assembled a team to record and produce Pyst for Palladium Interactive. The services of John Goodman along with Proctor and Ossman were used. A corresponding Web site was developed that was accessible from the disc.

Bergman took most of this troupe to New York City in June of 1996 to appear live at the Knitting Factory as part of the Toyota Comedy Festival. Presented as The Firesign Theatre's Radio Free Oz Big Internet Broadcast it was carried live on the Internet. The routines were run of the mill comedy sketches based around eccentric characters and musical numbers delivered in a radio format.

Phil Austin was unaware of the Firesign billing and again internal tensions mounted. The group was officially disbanded before writing on the projected Firesign album The Illusion of Unity was even begun.

Undaunted, Bergman forged ahead with his plans of reviving Radio Free Oz and set up RFO.net on the Web featuring streaming audio performed by himself along with Proctor, Ossman, Goodman, Edie McClurg and other members of the Radio Free Oz Players.

Firesign Theatre had been based on a continuing conversation but they were no longer speaking to each other. Firesign fans, however weren't willing to let the group dissolve. A publication, Firezine: The Official Official Magazine of The Firesign Theatre was started by Fred Wiebel and Chris Palladino to solicit articles and interviews with the various members. The plan was to feature an issue on each of the members and then the full group as the final instalment.

Wiebel was a big time Firesign recording collector and substitute radio talk show host for WEPM in Martinsburg, WV. While the regular host was on a week's vacation, Wiebel, took advantage of the situation and scheduled long phone-in interviews of the various individual members and played Firesign album cuts throughout the week. In a sense the group was working together and the conversation continuing.

Over the next year the fans networked together around Firezine and set up various Firesign web sites and newsgroups. The main goal being to get Firesign back together and generate enough interest to get their classic albums re-issued and numerous live and radio recordings archived.

The group eventually made up and desired to make a return to the recording studios. They decided to record a pilot for a radio program for NPR that was broadcast (2 January 1998) as Everything You Know Is Wrong About The Future for "Weekend Edition." A thirty-year Firesign career retrospective symposium was held a month later at the Museum of Television and Radio in Los Angeles. This led to the group producing a series of nine short fake commercials and news 'bytes' for an April Fool Broadcast on the nationally syndicated Radio Today network show "Pop Quiz."