Things You May Want to Know About Crank 3

An Introduction to crank 3

Love Songs for the Retarded is the second studio album by the American punk rock band the Queers, released in 1993 by Lookout! Records. It was the first of five studio albums the band would record for Lookout!, and their first by the lineup of singer and guitarist "Joe Queer" King, bassist Chris "B-Face" Barnard, and drummer Hugh O'Neill. It was also their first collaboration with Screeching Weasel frontman Ben Weasel, who produced the album and co-wrote two of its songs (he would also produce the band's next two studio efforts, and co-wrote a number of songs with King which were used on later Queers and Screeching Weasel records), and the first of three Queers albums recorded at Sonic Iguana Studio in Lafayette, Indiana with audio engineer Mass Giorgini, who would continue to work with the band on and off for the next 14 years as a producer and engineer. Love Songs for the Retarded became the Queers' highest-selling album, with sales surpassing 100,000 copies.

After the Queers rescinded their master recordings from Lookout! in 2006, Love Songs for the Retarded was reissued by Asian Man Records the following year, having been remixed and remastered by Giorgini.

Track listing of crank 3

All tracks are written by Joe Queer, except where noted

Recording of crank 3

Love Songs for the Retarded was recorded in November 1992 with audio engineer Mass Giorgini at his Sonic Iguana Studio in Lafayette, Indiana, where Screeching Weasel had recorded their album Wiggle that summer. King, B-Face, and King's roommate Harlan rented a cargo van and drove over 1,000 miles from the band's hometown of Portsmouth, New Hampshire to Chicago, meeting up with Livermore, Weasel, and Screeching Weasel guitarist Dan Vapid to head south to Lafayette. O'Neill, who was flying out from Boston, missed his flight and did not arrive to the studio until the afternoon of recording. According to the album's liner notes, the recording session lasted from 9:30 PM on Saturday, November 7 to 9:30 PM the following day "with about five hours in between for an uneasy slumber".

At the time, the Queers were heavy drinkers and regular drug users. B-Face later recalled "We partied like crazy. It's all I knewI had no idea there were other punk bands that weren't like us ... Lord knows Joe and Hugh did ... I generally just stuck to booze, although I got my first taste of hard drugs from those guys." This party lifestyle followed them into the studio, as Livermore recalled: "If you've seen the album cover photoa bleary-eyed band surrounded by a staggering array of bottlesyou'll have some idea what the recording session looked like ... I was tempted to say something as I helped unload cases of Budweiser along with the band's signature bass cabinet with its spray-painted slogan, 'THE QUEERS ARE HERE'. But I kept my mouth shut ... Ben had the sense to go easy on his own drinking, and Mass didn't drink at all, but a couple band members were on the way to being completely blotto by the time we were done setting up the mics." Nevertheless, he found that the band was so well-rehearsed that their intoxication hardly affected their performance, the songs flowing almost effortlessly while Giorgini worked eagerly and Weasel kept everyone on task: "Ben was determined to crank out the album in two days flat. He approached it the same way he had Screeching Weasel's 1991 album My Brain Hurts: one or two takes and done for nearly every song ... It helped immensely, too, that the band came in with a fully developed and rehearsed set of songs. In all my years working with the Queers, it was the only time that would happen."

King similarly recalled the session going swiftly, but felt that the material on the demo tape was better in some respects because the band had been more relaxed and not as rushed as they were during the album session: "We busted out all the songs and the next day O'Neill few out around 2 PM. I did vocals and we banged it out quick. It was fun, though all of us in the Queers knew we could have done better at home. Still, if Lookout was paying for it we were honored to go do it. Ben was a real inspiration, as even then I highly respected his songwriting." Weasel shares writing credit with King on two of the album's tracks, "Fuck the World" and "I Can't Stop Farting". A version of "Fuck the World" recorded by Screeching Weasel was later included on the 2005 reissue of Wiggle. "I Can't Stand You" was written by Ron Nole, aka Ronnie Parasite, of the New Jersey punk band the Parasites.

Though uncredited, Livermore and the others at the studio performed gang vocals on the album, including the songs "You're Tripping" and "I Hate Everything". To his disappointment, Livermore "couldn't quite nail" the backing vocals on "Debra Jean", despite having practiced the song for weeks in advance. King's roommate Harlan performed the guitar lead on "Night of the Livid Queers". B-Face did the artwork and layout for the LP sleeve and insert, to which Lookout's Chris Appelgren added illustrations including a "borrowed" Felix the Cat comic strip in which Felix demonstrates the five senses by getting drunk, and an image of Felix playing the banjo from the 1927 Educational Pictures feature Uncle Tom's Crabbin'; Appelgren later developed this into the "Queers cat", a character he included in the artwork of several of the band's subsequent releases. He also adapted B-Face's layout for the compact disc release of the album.

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