Editing Hell-O (section)

==Overview==
The band play sooth-sayers to the United States ("Americanized" and "Ollie North") and modern human civilization in general ("Slutman City"), who have come to torture and enslave Earth for their own perverse sadistic pleasures ("Time For Death", "Bone Meal", "War Toy", "I'm In Love (With a Dead Dog)").

Despite having superpowers, Gwar is not without enemies - a character known as Techno-Destructo has followed the band to Earth to recruit or enslave them to serve "The Master" in a holy jihad against the universe ("Techno's Song"). Don Drakulich plays Techno on the album (the part would soon be taken over by [[Techno Destructo|Hunter Jackson]]). Other songs follow similarly crazy themes - the "Gwar Theme" is a car-eating anthem, "Je M' Appelle J. Cousteau" features famous aquanaut [[Jacques-Yves Cousteau]] in a [[Dada]]-esque romp, and "AEIOU" disputes whether the English alphabet is the property of [[Satan]] or [[America Must Be Destroyed|Gor-Gor]], another Gwar character who would later surface in the song/video of the same name.

"Rock N' Roll Party Town", the first song ever written by the band, concludes the album in scenes of rock debauchery vaguely reminiscent of [[Kiss (band)|Kiss]], of whom the band, with their showmanship and larger-than-life personas, seemed to be an 80s underground version. The original vinyl album contained a comic book about the band, featuring artwork parodying [[Pablo Picasso|Picasso's]] ''[[Guernica (painting)|Guernica]]'' (renamed "Gwarnica" here) and poking fun at the "this is your brain on drugs" commercials ("This is your brain on Gwar...").

The album's cover art features the band gleefully terrorizing Earthlings, particularly [[skinheads]], who would attend the band's early shows and harass them with heckling, violence and throwing food, such as toast, onstage, and bulldozing their bodies into ditches.

Musically and conceptually, the record fits in with and came from the arty 80s [[noise rock]] or "scum rock" scene ([[Butthole Surfers]], [[Pussy Galore (band)|Pussy Galore]], early [[Ween]]) with similarities to grunge ([[Tad (band)|Tad]], [[Mudhoney]]), funny punk ([[The Meatmen|Meatmen]], [[Angry Samoans]], [[Dead Milkmen]], [[Happy Flowers]], [[Nig-Heist]]), punk ([[The Mentors]], [[Misfits (band)|The Misfits]], [[Black Flag (band)|Black Flag]], [[Samhain (band)|Samhain]]), hardcore ([[Dead Kennedys]], [[Bad Brains]], [[Ministry (band)|Ministry]]) and heavy metal ([[M.O.D.]], [[Stormtroopers of Death|S.O.D.]], [[Slayer]]).

This last genre would be where the band would move on later releases (similar to the transition [[Suicidal Tendencies]] underwent between first and second albums). As such, when the album was released on CD, it was remastered (possibly remixed) to bring out the bass and make the production smoother. However, the original vinyl release finds the band squarely in the punk or [[indie rock]] universe. In this context, producer Kramer's work on the album makes sense.