BLACK HUMOR-love god love one another LP (rare press)+ NOH MERCY-LP flipper kbd

$

30

 
BLACK HUMOR -LOVE GOD / LOVE ONE ANOTHER LP
(SUPERIOR VIADUCT )
COVER AND INSERT-MINT
VINYL-UNPLAYED/MINT

LEGENDARY SAN FRANCISCO PUNK/ART/NOISE!!!!
LIMITED PRESS RUN (500 MADE)

THIS PHOTO IS THE REGULAR COVER,THE ONE YOU ARE BIDDING ON IS THE ULTRA RARE VERSION HAND SCREENED BY PENELOPE HOUSTON OF THE AVENGERS(SEE LISTING PICTURES ABOVE). IT LOOKS EXACTLY THE SAME EXCEPT BAD HUMOR IS SCREENED IN BLACK INK!!!!!! (IT LOOKED DARK SILVER WITH THE PLASTIC BAG ON THE RECORD)

THE STANDARD VERSION WAS A REGULAR PRINTED COVER/NO HAND SCREENED BAND NAME BY PENELOPE.

ULTRA RARE, AND OUT OF PRINT!!!!!!

LOTS OF WATCHERS,SO BID HARD AND GOOD LUCK!!!!!!!!!!!!!!!!!!!

BLACK HUMOR was an experimental rock band from San Francisco in the early 80's. (Not to be confused with "blackhumor," alias of noise artist Frazer Hall.) They released just one, very hard to find LP on Fowl Records in 1982. Only 1,000 records were pressed, each with unique handmade covers: thick slabs of paint, collage, parrot feathers, dirt, whatever else happened to be laying around their Tenderloin flat. Many of these have since gone for high, collector prices or ended up in oblivion.

Existing in a parallel universe to other bands of the era, BLACK HUMOR's music is filled with jarring images of urban decay and desperation, bass-driven melodies, and layers of dissonant guitar and percussion. And perhaps the only known recording of a parrot that was taught to say "Fuck You."

This first time reissue uses the originally intended artwork for the album cover. Fully authorized and mastered from the original analog tapes. Includes new insert with liner notes by singer George Miller and engineer Tom Mallon. monstrous 1982 effort from Black Humor, the product of societal frustration and truly antagonistic lifestyles as meted out by two like-minded provocateurs unleashing their nihilistic agenda on the already dark template laid out by SF punk. Heavy punk dirge and tape loop gremlins provide a sturdy background for the misandry within, like a box of chocolates with its contents replaced by a big, smelly shit wrapped in pink tissue paper. The name Black Humor all but lays out what you’re going to need in order to get through a track like “Kill Them,” in which a long list of ethnic stereotypes and homophobic epithets are rolled out, the chorus inviting the demise of them all. But the reality of it is that artists Dan Houser and George Miller were likely well-aware of their privilege, laying out their ideas in a sarcastic fashion meant to shake up the staid atmosphere of the times through invective and First Amendment-guaranteed triggered/triggering response, the brainstem kneejerk that a lot of men go through when notions of political correctness don’t sit well with them. Almost everything about the record is designed to mash all of your buttons down at once, in a very easy and obvious way, down to the redesigned cover art of Reagan holding a crucifix behind an American flag where the starts are made of swastikas Original copies were reclaimed album sleeves from other artists, and occasionally a clump of dirt and some feathers from Houser’s pet parrot and constant companion, Rocker, but both editions feature some “LOLZERZ, 1S J0K3S” liner notes, which expect you to be in on the joke with them, with some new thoughts for the reissue (defense of the record’s contents/context from an early issue of MRR, engineer Tom Mallon describes the Black Humor studio session, where a friend of the band was beaten up by Houser, who was wearing roller skates and carrying a parrot around on his shoulder, as was his wont). It’s a funny story and underscores what I perceive to be the main shift of the album – “shock yourself out of your bubble with our wild and spiteful ideas, you fucking hippies” – but it seems that if Black Humor are going to be remembered at all, it’s going to be on even more divisive terms than when they were first around. 500 numbered copies, limited copies hand screened by penelope houston of the avengers.

FREE TO THE WINNER-

NOH MERCY-LP (SUPERIOR VIADUCT) LIMITED CLEAR VINYL , RECORDED IN 1979,COMES WITH A HUGE BOOKLET WITH INFO.PICTURES. etc....

LEGENDARY SAN FRANCISCO FEMALE FRONTED PUNK!!!!!!!!!!

Formed in San Francisco in 1977, NOH MERCY was comprised of only two women: Esmerelda and Tony Hotel. The band's motto was "No Boys On Guitars" as a reaction against male-dominated rock 'n' roll. They didn't need boys or guitars. They harnessed the angularity of DEVO, the punk/poet attitude of PATTI SMITH, and the art spectacle of ROXY MUSIC, all ground down to a minimalist core of voice and drums. Their only two previously released songs – "No Caucasian Guilt" and "Revolutionary Spy" – have long been considered essential recordings within Post-Punk/No Wave collector circles and by fans of other late 70's "girl" groups, such as X-RAY SPEX, THE SLITS, and THE RAINCOATS.

This album contains almost entirely unreleased material, unheard for over thirty years. Recorded by Fluxus artist and electronics genius Tommy Tadlock (TUXEDOMOON) during their peak in 1979. As prescient as bands come, NOH MERCY preceded the defiant queer rebellion of Riot Grrrl and the frenetic art minimalism of the early 21st century by decades

"Imagine a world before the commodification of Punk, before the invention of the despicable word lifestyle, before the co-optation of rebellion, before the corporatization and psychiatry-based marketing of individuality, before the widespread use of Prozac-type drugs. This world was full of flea markets, garage sales and thrift stores where designer dresses could be had for a quarter and then ripped, torn, safety-pinned and graffitied to make an outfit that might be destroyed by the end of the night. Best of all, almost nothing that might be construed as Punk Fashion could be found anywhere for sale brand-new. Even band t-shirts were scarce; few people knew how to silkscreen them at home.

"When experiencing any new art, an important question to ask is, 'Have I seen this before? If so, where?' When my friend Mindy Bagdon (filmmaker who made Louder, Faster, Shorter, a 1978 San Francisco Punk documentary) and I saw NOH MERCY play the Mabuhay in 1978, we knew we had never seen and heard this before: a wild-eyed, almost-crazy-looking female vocalist scream-shouting rhyming verses brimful of anger and provocation, over the propulsive yet super-precise and simpatico drumming of the young and beautiful Tony Hotel. In fact, we could not recall ever having seen a female drummer before – definitely not one with this concentrated ferocity and savagery. It was hard to know who to pay attention to: Esmerelda in front or Tony in back. This was stripped-down Punk Minimalism; as the competing sonics of guitar and bass were absent, we could understand every word crystal-clear – a rare treat.

"It's seemingly miraculous that tapes documenting these forerunners and prophets of Hip Hop, New Music, and Performance Art have surfaced 33 years later to make possible this audio premiere – long overdue. As ever, the history of women continues to be inscribed and thus receive recognition. We hope this release will inspire yet more women's creativity and historification . . . a more complete past will inspire a different future. And, goddess knows, we need a different future."

– V. Vale (RESearch)

COVER-NEW/MINT

VINYL-NEW/UNPLAYED/MINT

BOOKLET-MINT

.PAYMENT DUE IN 3 DAYS!!!!!!!!!!!!!

FREE MEDIA MAIL SHIPPING IN THE US!!!!!!!!!!!!!!!(INCLUDES CONFORMATION)

OVERSEAS POSTAGE-$16.00 PRIORITY INTERNATIONAL!!!!!!!!!!!!!!!!!!!!!!

TAKE CARE!!!!!!!!!!!!!

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