benefit which they called "Queerstock" at a local bar; though the show ran late and the band only got to play three songs, they were able to raise enough money to purchase the tapes from the studio. Like the Felice-produced session, these recordings went unused until the 2007 reissue of Grow Up. According to King, the material on Grow Up came from three separate recording sessions conducted at Fort Apache, all produced and engineered by Sean Slade. O'Neill joined another band called the Two Saints and went on a European tour with them, so the Queers brought in a friend called Jeebs Pirhana to drum on one of the sessions, along with his brother Magoo playing bass. Reviewing the master tapes in 2007, King and Rassler tried to determine which drummers and bassists played on which recordings, but could not identify them all. "Back then it was a revolving door as far as the lineup", said King. "The bass players kept coming and going. At various times we had Kevin Kecy, Greg Urbatis, Evan Shore, and Magoo Pirhana. I even ended up overdubbing some bass parts myself. Hugh and I would have periodic fights so Jeebs Pirhana played drums on a couple of songs. Sean Rowley played rhythm guitar somewhere but don't ask me on what." They concluded that the Pirhana brothers played on "Squid Omelet" and "Strip Search", and possibly on "Burger King Queen", and that King, Rassler, and O'Neill played on everything else. Reissues The Queers' second album, Love Songs for the Retarded, was released in 1993 by Lookout! Records. Produced by Ben Weasel, who had brought the band to the attention of label head Larry Livermore, it was recorded by Mass Giorgini at his Sonic Iguana Studio in Lafayette, Indiana. It sold well, and the label made plans to re-release Grow Up. Weasel remixed the album for its reissue on Lookout!, but the basic production level of the original recordings made it difficult for him to improve the sound of the tracks. Livermore was uncomfortable with some of the lyrics, particularly the song "Gay Boy" and the line "we may be the Queers but we ain't no fags" in "Junk Freak", worrying that fans of the label would find them homophobic. "Joe and Hugh came from a different generation, both culturally and chronologically, than most Lookout punks", he later wrote. "They'd grown up—as had I—during a time