LP version includes a fully artworked inner sleeve.
TA was started in May of 2001 at the band's own space National Recording Studios (NRS) in Washington DC. The band spent six months writing, demoing, and recording. After the songs were honed during live shows this past fall the album was re-recorded almost in its entirety. The band having perfected the idea of "total control" with virtually no outside help on its previous recordings, decided it was time for a change. Embracing the theory that true love is letting go, Trans Am relinquished control over the album, allowing engineer Jonathan Kreinik almost completely autonomy in mixing the album. The resulting fourteen tracks offer elements of New Order, Midnight Star, Funk Carioca, George McRae and The Cars (visible at points) among others, but are pushed to the melting point by abusive studio wizardry and aggressive mixes.
During the recording process the phrase "party album" was employed a lot. The band intentionally set out to make the re cord fun for themselves and those who came into contact with its content. The traditional Trans Am arsenal of beer-soaked and nearly destroyed analog keyboards and drum machines was bolstered by newer, more versatile technology for this album. TA also features the largest number of varied keyboard sounds ever on a Trans Am recording. Midi technology, an early 80's breakthrough, was used for the first time in order to keep dance grooves dead on. Of course as one would anticipate with a Trans Am record guitars scream, sax's glide, basses rumble. However the most dramatic addition on TA is that of the human voice. Formerly all instrumental, TA features vocals on all but two tracks.
In keeping with the laissez-faire principle for recording the band also sought the help of designer Alison Childs, who was given free rein for much of the artwork conceptualization. Taking its' cues from Ice-T's Power and covers by Master P and Kool Keith as it's major white-theme inspiration the band's intent was to have fun. A fourteen-hour photo shoot, nearly endless soul searching, and high-level consulations with Alison were necessary to create the artwork that would cover the band's most ambitious undertaking to date. The TA logo is both Daft Punk-like, yet intentionally jagged calling to mind Judas Priest and numerous metal references against a black background-definitely metal inspired, are hallmarks of Trans Am's noted appreciation for all things hard rock and kitsch. Nathan notes that while "not playing homage or mocking exclusively, it's funny. It's fun. It's a lot better than those fucking boring album covers that Nickleback-type bands churn out." Nicely put. Arriving fresh for 2002 TA is made for tomorrow, ready for today and not afraid to tackle yesterday whether it be 1980 or 1970. Don't miss your chance as your presence is requested at the Heavy Metal Discotheque.