TA-80: Angry Young Computer e.p.

Angry Young Computer





"Angry Young Computer" is the 11th TA-80 release. It is a 4 song e.p recorded in Russ' laundry room studio and was released in an extermely limited 20 or so copies, that were only given to close friends and family members, in December of 2008.

This was shortly after Melissa 80 left the band and Russ returned as drummer, and aong with me, Amy and Jens, I referred to this at the time as the "All-Star Line-up." We were all finally on roughly the same page and we all fully understood TA-80.

The first track on the e.p was a song I had just recetly written on a break while I worked at Citibank, called "Late Night Breakdown." This song appeared later in a slighlty different version on the "Born Insecure" l.p. This is one of my favorite TA-80 songs. It has a late 50's - early 60's feel that's fairly common in pop-punk, but is something we actually don't do very often (except for maybe "Stop the Clock" on this same e.p.). But this version is very much still a work in process.

The remaining three tracks are from an abandoned(?) project called "Weekly World News of the World", which was basically going to be an album of new recordings of our old material. The thing about our old albums is that the songs aren't necessarily always bad but the recordings and performances often were, and we had played alot of these countless times live over the years, so we thought we'd revisit about 13 or so of them. All in all we only finished five.

"Never Forget" was a live favorite from "Junk Car Grand Prix" that was plagued by the shittiest drum sound ever put to tape. This new version is cracking though.

"Stop the Clock" was a re-recording of an old "Hepatitus Bees" song me and Russ wrote back in the day about a particularly boring trip to the mall to buy socks. It's great fun though, and I love Jens' "Heathcliff" vocal at the end.

"Warm Kites" is a frantic, high speed revision of the "Junk Car Grand Prix" song, which usually gives us a reason to freak out during our live shows. I originally wrote this for me and Jens' side project "Admiral Fantasticus & the Zodiac Shower Curtain", which was devoted to bizzarro music that would never fit on a TA-80 record, but Amy wanted to use this paticular one for TA-80, and we still play it live quite often.

We are actually planning on re-issuing this e.p along with a few more rare and unreleased tracks in the very near future. I love the cover for this record. It was basically a collage made out of an old Starlog magazine and a book of 60's magazine ads. Like I said, only about 20 were given out, but I still have a big pile of these lying around but they're not mastered and we've remixed this substantially since the original release, so the re-release should be pretty cool.

Track Listing:

1. Late Night Breakdown
2. Never Forget
3. Stop the Clock
4. Warm Kites

Note: we've actually played all of these live.

- Jamin 80

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This E.P. opens with a track from our (then) upcoming album, "Born Insecure". It's still one of my favorite tracks from that album. This is a slightly different recording than the one that appears on "Born Insecure." For one, this one is definitely not mastered. It also has a completely different lead vocal part (notice how bored I sound? I fixed that later...) This version is also severely lacking backing vocals. It wasn't finished but we knew it was good and decided to let everyone hear what our new rough mixes sounded like.

As for the older, re-recordings of songs on this E.P., well....We have much better recordings now and we're going to reissue this E.P. and get everything mastered, so when anyone reading this finally hears the E.P., it should sound pretty damn good. However, the original release of this was rough, to say the least. But it was the most amazing release we had put out. Even in its roughest stage (the original release) it was a million light years ahead of "Junk Car" or anything on "Atari." This was when Russ came back into the band and we re-entered the studio with full-fucking-force.

We got back together with Russ and it instantly felt better and sounded better than anything we had ever done. This was the first time the line-up included Jamin, Jens, Russ and myself. Maybe it all comes down to the right timing, but something about Russ coming back at that exact moment seems like something more than just a happy coincidence. Maybe not. It just worked really well and I'm still excited over it.

"Stop The Clock" was an old song of Russ' that he recorded with his old band, The Hepatitis Bee's. This side project included Russ, Jamin and a bassist named Mike Parker. There is an old split that Phat Phorty put out with the Hepatitis Bee's and Rainy Day Schedule. I'm sure there will be more on that later...

"Never Forget" was pretty old at this point but we had never gotten (what we considered) a good recording of the song. We decided to try it one last time with this new, seemingly unstoppable line-up. That did the trick. I had to completely redo the vocals. The original release of this had some pretty rough vocals that I did in the midst of being almost deathly ill for 2 months. I went back and resang them several months later and they came out great. We finally did this song some justice. I've always felt like this is my best pop-punk song. Apart from the vocals on the pre-chorus, I wrote everything on this song and I'm damn proud of it. It's only a tiny bit pretentious. Not bad!

"Warm Kites" was always one of my favorite songs off of "Junk Car" and especially one of my favorites to perform live. The version that appears on "Junk Car" had a long, ridiculous bass solo/outro that I've always been embarrassed of. As soon as we started to practice it in our live set, I insisted that we come up with a better, punchier ending. The result, I believe, was completely Jens' idea. It's always nice having a punk rock band that is comprised of people who have spent their lives listening to and picking apart some of the most awesome punk rock out there. As soon as I said, "Let's punch it up," Jens simply held the notes of the pre-chorus a couple extra beats and we came up with a nice vocal harmony outro that nailed in the hook. Everyone always either calls this song "Breaker, Breaker" or "911". Either is fine. But the actual name is "Warm Kites" and it does say the title in the song. Twice.

- Amy 80

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Recordings...yea, put that..pretty good...

- Klae 80

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I like this, the re-recordings were good...I liked the new stuff. The cover was really funny.

- Jens 80

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TA-80: Atari Du Cirque

Atari Du Cirque



"Atari Du Cirque" is the 10th TA-80 release. It is a compilation of mostly pre-released material, however there are 6 never-before-released songs. It was released on August 1st, 2007.

There are 2 songs from "Are Go!", 6 from "Junk Car Grand Prix", 3 from "4", "Peppermint Girl" comes from the "God Save the Queers" compilation, and the "Think Tomorrow" single.

About the previously unreleased tracks:

"Small Moments" was recorded in the same 2005 sessions that yielded the "Think Tomorrow" single, it was recorded in the Basement studios with Randy Curtis and at the time we were in=between drummers so for the first time since "80-83" Amy 80 plays drums on a song. Amy also plays bass, I did keyboards and Jens 80 played guitar. I like this version a lot better than the one on "Are Go!", although my old D.C band-mate, J.J., claims the original version is better (he would also be completely wrong). We actually re-recorded this song a 3rd time in 2008 for the abandoned (?) "Weekly World News of the World" L.P. However we'll probably re-release that in the near-future along with "Angry Young Computer" (more on those later). I think this is the first full-fledged TA-80 song Jens plays guitar on.

"It's Always One Step Away" was recorded in 2006 in a one-off session with a producer named Eric (I totally forgot his last name) who was yet another producer trying to turn TA-80 into a pop band. This one was more egregious than "4" even, in that Eric totally replaced ALL the music we recorded. God knows who is really playing this. Yet somehow the results are better than "4". I actually like this, due to the fact that the song was pretty well-written to start with and I think Eric actually liked the band. Amy's vocals are great here too.


There are also a couple of songs from Jens' old band The Rummage League, "Capsul Countdown" and "4-1 Against Maybe". We decided to include these since Jens had just joined us and the other musicians on the recordings were Amy and Russ anyway, so it seemed appropriate. It was a good way to introduce listeners to Jens and I think these were recorded at the exact same time we started "Junk Car Grand Prix".

"The City Sleeps With One Eye Open" and "Marginal" are demos from the unreleased "40 oz. Rose" sessions (MUCH more on that on a later post).

"The City Sleeps With One Eye Open" was recorded in 2006 in our spare bedroom using Powertracks. It was a real turning point for me. With the last couple of albums I had really tried to guess what other people wanted to hear. I made sure that the intros were the right length and that there weren't too many or too few chords, but at this point it honestly looked like the band might be doomed, so I threw my arms in the air and said "fuck it!"

I was literally recording exactly what I wanted to hear. The song only has 2 chords? Fuck it! The vocals are mumbly and go out of tune? Fuck it!

So in a way it was a callback to the dreaded old days but somehow we had improved a whole lot since "Psychic Headache." So even though we were doing exactly whatever we wanted to do and were recording it with zero regard for what other people thought, the result was actually fairly listenable. I still kinda think it's one of the best things I ever wrote. We had no drummer at the time so both this and "Marginal" have programmed drums. "City Sleeps" will always be special to me because it features the heavily reverbed meow of my black cat "Padme" who died shortly after the recording.

Oh yea, it also got us on the Queers tribute.

"Marginal" was also written at about the same time as "City Sleeps" but it took about, oh... a year, to write a chorus for it. So this is from around late 2006 or early 2007. I have fond memories of sitting around the Bambi Bar at night with Amy, pounding pitchers of Budweiser and coming up with lyrics for the third verse(I guess I have written drunken lyrics since 'Junk Car'...). We are currently re-recording this for the upcoming "TA-80 Will Bury You" LP.

Track Listing:

1 Peppermint Girl
2 Psychic Headache
3 Small Moments
4 It's Always One Step Away
5 The City Sleeps With One Eye Open
6 Marginal
7 Everything's Okay
8 Warm Kites
9 Capsul Countdown #2
10 Occupy Her Mind
11 (I'm Giving You) All Of Me
12 Super Slob
13 Think Tomorrow
14 4 - 1 Against Maybe
15 Spinny
16 Writing Songs For You
17 Soft Noise
18 Heaven?
19 Mambo #80

We only made about 50 of these and there are maybe 3 more left at http://interpunk.com/item.cfm?Item=68094&. After these last 3 sell I'm not so sure we'll reissue it. I'm not that proud of most of the older material, yet at the same time it's the only place to hear old TA-80 and all the post-"Junk Car" material on it is pretty good, and I still love the liner notes... so the fate of the cd is up in the air at the moment. Whatever you do, just make sure it's not your first TA-80 album. Buy "Born Insecure" first. It's much better.

Jens did the album art, we basically just stole the art off the cartridge of "Circus Atari" (which is 'Atari Du Cirque' in french (at least according to babel fish)). I don't know if anyone else ever caught this or not but the front cover says "15 Super Songs!" When in all reality, there are 19 songs on the CD. Oh well.

- Jamin 80




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"Atari Du Cirque" came to be because it was already taking too long to get "40 oz Rose" recorded. As Jamin said, MUCH more on that later. It also came out of people (horribly confused and misguided people) who kept asking for us to reissue our old albums. Even in 2005 or 2006 (whenever we credited this as coming out) we knew the old stuff was mostly unlistenable. We had a handful of new or unreleased songs, some demos, some of Jens' demos from The Rummage League Cowbell Sessions, and a decent sized group of oldies that we could actually stand. We threw them together with a couple of the singles we had done and called it good.

This was the first album we made available for sale online. Jamin posted the link above so I don't think I really need to post it again. Just scroll up if you missed it the first time. Anyway, this was a big step for us. I had started really doing online networking for the band and found a few places (and people) that liked our music and this made us all confident in bothering a place like Interpunk to sell a measly few of our retarded albums. We sold a good amount and still have a few left. Grab 'em while they're luke. Luke-warm? No, Luke Skywalker, you fucking inbred.

This was release right at the end of when things had completely fallen apart for the band. After living with us for a couple years and randomly helping us on shit here and there, Jens officially joined the band with the recording of "Small Moments." Jens did an amazing job both mimicking the original and also coming up with his own new twist on the song that made it even better.

Now, Jens is my brother. The thought of working with Jens instantly brings back memories of our parents making us do house and yard work together as kids, which usually ended with a huge fight (sometimes physical) and someone crying (not ALWAYS me). Jens and I have always gotten along great but we've never been able to work together. A few times in school we had classes together...our poor teachers. They could do nothing but sit back and let us yell obscenities at each other until we calmed down and got to work on class stuff. Getting away with this type of shit (I think) was only possible because we were either too funny or too smart to interrupt. So, I had some serious doubts of how us working in a band together would go.

In fact, Jens wanted to join us years earlier. When Jamin and I moved out to Arizona he wanted to join us. Instead I joined a band he had put together with this drummer he knew. He acted like a total ass at the first practice, I yelled at him and told him I could never work with someone who was such a bully to new people and also said he would never be in These Acoustic 80's and left. I stuck by that until he joined us in 2006. He was on a very tight leash for a while and was basically told to keep him mouth shut and do what Jamin and I wanted until we knew we could trust him to be civil. He surprised us. He was and continues to be a great asset to this band and I was a fool to keep him out of it for so long. So we even included a couple of his solo songs just to show our love and appreciation for his work. He brings a helluva lot to the table. Good stuff.

I do need to take a moment and talk about "City Sleeps" and "Marginal." These two songs are still (maybe, on certain days) my favorite two TA-80 songs. Hearing these now, I'm still excited about what we're going to do with them. The versions on this album are only the demos. And this is pretty much what our demos sound like now, if not slightly more fleshed out and with more complex vocals. Canned drums, muddy bass, muddy guitars, a butt-load of keyboards and some rough ass vocals recorded on our Shure Beta 58a's (a pretty damn decent mic for instruments, in my opinion) because we don't even keep our vocal recording microphone around here all the time. These were the first demos we ever did that came out so amazing. At this point, these sounded better than anything we had recorded before. The songs were a million times better than anything we had written thus far, for sure.

"The City Sleeps With One Eye Open" started as one of Jamin's crazy ideas. He explained it to me before I ever heard it (something he does with almost every song he writes nowadays) and I have to be honest, I was more than a little worried. The things he was describing reminded me of "Expansive" and I told him that I wasn't convinced that heading back down this road was such a good idea. He assured me that I would like the song and went ahead and put together the drum loop and a rough demo of him singing and playing acoustic guitar.

When I heard the song, I was floored. I thought it was amazing. I still think it's amazing. I immediately threw on my vocal parts and we decided to keep Jamin's vocal on the 2nd chorus. A lot of people love Jamin's vocals, me being one of them. I've never been a fan of cutting Jamin out of a singing role. However, we've heard from many more people that they prefer hearing someone singing who is a bit more accessible and on top of that, Jamin's never been that fond of singing. He likes doing the hardcore stuff and back-ups and throwing in "Hey's!" wherever they're needed, but that's about it. But his vocals on this song are spot on. You can hear a couple parts where he goes slightly flat but he never loses the note and that imperfection creates such a warm, indie-rock vibe that I adore, there's no way I wanted to cut it out completely. My vocals can be too cookie-cutter perfect sometimes and music isn't perfect. Sometimes you need a bit of the dirt to give it some depth.

This song also opened with Padme's purry meow. I miss her so much. She was a good kitty, even though she shit everywhere except for the litter box. This song is Padme's song. She was inspiring. I wish we had more of her work, but like so many amazing artists, her life was, sadly, cut short, and we all miss her dearly. I love you, Padme!!!

"Marginal" was a bit of a chore. We had the opening verse and bridge for about a year before we finally got around to writing the rest of the song. I'm pretty sure we actually wrote the rest of the parts several times but Jamin and I always wrote at the bar, on napkins, and we would either lose the napkins with the new part or look at the napkins the next day and wonder how the hell we had been singing it the night before. I will say that I came up with the music for the chorus at the bar, maybe a month after we wrote the song and we never worked on it again. For a year I kept telling Jamin that I remembered it and that we didn't need to even worry about it. Once the rest of the song was written and we were ready to do the full demo (the version you hear on "Atari Du Cirque"), I had to remember, or at least figure out something as good as, the part I had come up with so long ago. It must've been great because the first time I picked up the guitar to prove to Jamin that I remembered it, I played it perfectly. I could've shit. My memory sucks so this rarely happens to me. But, it's a great chorus and one that definitely sticks with you.

I played piano, acoustic and bass on this song. I'm not great at piano, though I have been playing that longer than guitar. Just not as consistently. I modeled the playing after the piano part on "Imagine". I've never known how to play that song but I knew that style would fill this song out nicely, keeping it nice and slow while still moving at a steady pace because of the quarter notes. It's music geek shit but it works. I do think about this stuff sometimes.

Well, that's about all I have to say on this little compilation. "Mambo #80" is still awesome. I just realized I never really told the story of how that came about. It's quick and simple. Jamin was going through Fruity Loops trying to find a loops he liked and every time he played a new one, I'd play the bass line you hear on that song. When he hit the mambo style drum loop and heard my bass part, we both busted up laughing and recorded it. After that, I left the studio and Jamin and Russ took over and finished it. Many beers later that night I heard it and loved it. It still cracks me up. See, being obnoxious CAN be good!

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"Atari Du Cirque" is cool Daddy-O. Nawwww...don't say that...

- Klae 80

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TA-80: Peppermint Girl (from the "God Save the Queers" tribute cd)

Peppermint Girl (from the "God Save the Queers" tribute cd)



"Peppermint Girl" is the 9th TA-80 release. It's contained on a compilation album called "God Save the Queers", released overseas by CR Japan in 2007 and in 2008 by Asian Man Records in the U.S. It was partially recorded in the basement studios by Randy Curtis and partially recorded in our bedroom by our own damn selves. The line-up was Amy, Jamin, Jens & Pat.

In 2006, when Joe Queer asked us to contribute a song to the upcoming Queers tribute album, the first song to pop in my head was "Pepermint Girl." I loved the song and it was the only one I could imagine us pulling off. Although, shortly after reording "Peppermint Girl" I finally heard the Queers "Today" e.p. and I remember thinking if I had heard "I Don't Want to Go to the Moon" earlier I would have covered that one instead.

We were really excited to do this. I had been a longtime fan of The Queers and it was a hoot to see our name on a cd along with other band's I had admired growing up like Screeching Weasel and the Dwarves.

As for the final results, I have to say I'm a little mixed. I love the second half of "Peppermint Girl" but not so much the first half. I wish we would've used something other than the "Rugrats" style keyboard sound...but I think the harmonies at the end really pointed the way to where TA-80 were headed. Also the Mellotron at the end? Hell yes! Strawberry Fields forever and ever!!!

This was a good thing to have done. It really got us out there. Every night on tour somebody would come up to us who was a big fan of our cover and we still get album orders from all over the world (Japan, Spain, etc.) Not to mention a later tour we did with the Queers.

Track Listing:

1. Love Me (Dwarves)
2. Danny is a Wimp (Screeching Weasel)
3. Kicked Out of the Webelos (Teengenerate)
4. This Place Sucks (New Bomb Turks)
5. I Don't Wanna Work (Black Tie Bombers)
6. I Like Young Girls (The Nobody's)
7. Goodbye California (Toys That Kill)
8. Boobarella (Beer Bellies)
9. Burger King Queen (Groucho Marxists)
10. Rambo Rat (The Jolts)
11. You're Tripping (The Hard Ons)
12. Monster Zero (Disgusteens)
13. Granola Head (Cletus)
14. Daydreaming (Parasites)
15. Hi Mom It's Me the Front-I Hate Everything (Toothless George)
16. Fuck the World (I'm Hanging Out With You Tonight) (The Unlovables)
17. Teenage Gluesniffer (Le Volume Etait Au Maximum)
18. Too Many Twinkies (Teenage Rehab)
19. I Didn't Get Invited to the Prom/Debra Jean (The Steinways)
20. Peppermint Girl (TA-80)
21. I Only Drink Bud (City Mouse)
22. Stupid Fucking Vegan (The Secretions)
23. Homo (Snot Rockets)
24. I Wanna Be Happy (The Femurs)


By the way, Le Volume Etait Au Maximum's cover of "Teenage Gluesniffer" totally steals the show here. Buy it and find out for yourself! It's available at http://www.amazon.com/God-Save-Queers-Various-Artists/dp/B0010V9086 or
http://interpunk.com/item.cfm?Item=154713& .

I have no idea how many of these were printed, thousands and thousands I'm sure. We've never played "Peppermint Girl" live I don't think but we have played in practice once or twice. A slightly different version of the song is also available on "Atari Du Cirque" avaialbale at http://interpunk.com/item.cfm?Item=68094&.

Hell yes.

- Jamin 80


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We've all had our shaky moments in life. The few months preceding the recording of this song is mine. I had been working at AOL for a few years and I was really happy and comfortable. The band had broken up and gotten back together for what seemed like the hundredth time. I was 22 years old and wondering if I should keep striving for a pretty much impossible dream. I had a total breakdown one night and told Jamin that I was done with the band. The only people up until now that had ever heard us were family and friends and it was starting to look like we weren't ever going to do anything seriously. This disappointed and defeated me and I broke down. Jamin said enough to keep me going for at least another week. In that week, I decided to send a message to Joe Queer and ask him to listen to our music.

I didn't expect anything from it. I figured he wouldn't even respond to me. Much to my surprise, he responded to my retardedly long winded email and said that he'd love to hear some of our music. I sent him a copy of "The City Sleeps With One Eye Open", hoping that his love of Jesus and Mary Chain might win us some sympathy. I also sent him a link to our myspace. A few days later, he responded back saying he had listened to the song and the songs on our myspace and that he loved it. He then mentioned his tribute album and said he'd love for us to do a song on it and that he'd call me once he got off tour. Sure enough, my phone rang early one Sunday morning and when I answered, I heard the thick North-Eastern accent of Joe Queer asking if I was Amy. That conversation led into Joe formally asking TA-80 to record a song for a Queers tribute album he was planning on releasing later that year. I said, "Absolutely" and emailed him within an hour, telling him that we had decided to record "Peppermint Girl." He thought it was perfect and the 15 month journey of recording "Peppermint Girl" began.

We had worked with Randy before on "Think Tomorrow" and "Small Moments". I thought he did an okay job on those songs and felt confident in bringing him on to record "Peppermint Girl". We had Pat 80 playing drums for us at the time. He was a good drummer. I wanted him to work because he was the brother of our old drummer, Matt, but he didn't work at all. We stalled out majorly while Pat was in the band. He didn't want to be in a band. He did a good job with us but it wasn't what he really wanted to do and I think you can hear it in the recording.

The recording of this song was a real eye-opener for us. We demoed the hell out of this song and figured out an extremely complex vocal arrangement for the end. We listened to Joe's version and we were all left feeling that it should've been more. I can hear where Joe wanted to go with it, but based on conversations we've had since then, no one else in the band (at that time) was into doing a big Brian Wilson outtro. We weren't afraid to do it, though. Joe coached us along the way and I constantly sent him demos to make sure that he liked what we were doing. He gave us clear and un-opinionated feedback. Joe is great at telling us exactly what we should hear and not at all what we wanted to hear. I appreciate all the guidance he gave us and could never bring myself to talk shit about him. Despite anything that eventually happened, he helped us so much and I will forever appreciate that.

We recorded this song in some all night sessions with Randy. I remember coming out of the Basement studio at 7 a.m. and watching the zombies wander around downtown Tucson (at the bus station). Creepy shit. It was good fun, though. The recording of this song ended (promptly) with Pat leaving the band and Melissa joining. I wish we could've had Russ on drums for this. I don't mean to slight any former members of TA-80, but the line-up we have right now fully understands and loves this song (the original). It would be amazing if we did it now. Even recording with Randy wasn't great. I still had to take the masters home and add all the vocals onto the ending that you can all hear now. Randy didn't get it. I think he wanted to but he just didn't. Sometimes, we're the only ones who know what's best for us. That's just the way it goes.

- Amy 80

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Wow... "Peppermint Girl" This was cool. Uhhh.. Man, I'm really distracted by the Johnny Carson best-of we're watching right now... Okay, um, let's see, here. We did it at Randy"s Basement Studios which was the first time I got to record in a "real" studio and... Waitasec, Charles Grodin's book and stuff... Yep, and the great Flydini. Uh-huh. It's a good bit, the eggs are funny. Oh, yeah, and the phone, too. Man, I'm really glad we watched this. Yeah, and so we recorded this thing at Joe Queer's request and, damned if'n it didn't do wonders for us. When we went on tour, there were people at the shows that actually knew our shit and that was, no shit, amazing.

I guess, now that they've gotten to the Robin Williams/Bette Midler horseradish, I could prolly mention how the whole studio experience really did teach us a thing or two. Namely, that most studios aren't set up to handle anything like what TA-80 needs when we record, even back then. Fer Christs sake, we went into this with the implicit goal of achieving what Joe hadn't on the original, i.e.: a big crescendo of music and vocals a la Brian Wilson. It had to be big. Huge! And we did it, but we had to do it at home to finish it. Apparently, the "studio" couldn't handle the multi-vocal arrangements that we were recording and we had to beef 'em up with our own, new, set up. And the drums got a treatment, too (this is technically the 'or two' part of what we learned, but it would be inaccurate to say we completely quit compromising on drummers). "P-Ting!!!" The ring. Amy did the punch-ups and they sound great. Pat coulda finished this, but he didn't. His decision, not ours. It ended up sounding pretty good in the final mix anyway, but when we got it back from mastering, it had an inexplicable click in it and the ending had a fat fuckin' fade in the outro (originally, my favorite part of the song). Whatever, it was a cover. I hate doing covers. I'll come around eventually, but when I have to learn a non-TA-80 song, I buck like a spring colt. All in all, though, I do like this track.

Discounting "Small Moments", I think this is the first TA-80 song I was on that was recorded and it sold all over the damn world. Wherever the Queers are a-shuckin' merch, there's a CD with me on it. That's worth whatever shit went down while we were makin it. Plus, we requested (and finally got) the Japanese release of the album for our library, and man, that is pimp.

- Jens 80