Upon release, the album drew controversy regarding its violent content, especially from anti-obscenity campaigner Mary Whitehouse, who criticised what she felt was an "utter lack of responsibility" on behalf of the BBC.

It's surely the visual aspect of any horror film which sends tingles down your back and makes your hair stand on end.

[4][6] They recorded most of the grisly effects, such as the chopping of heads and breaking necks, by "mistreating" large white cabbages, which they cut with knives and cleavers and stabbed with pokers.

"[6] Sound effects on the album noted in commentaries for their violence include "Neck Twisted and Broken", "Red Hot Poker in the Eye" and "Strangulation".

[4] "It is important to remember that this is the latest in a series of sound-effects albums we are putting out for a specific market of amateur dramatics and home movie people.

13 – Death & Horror was released by BBC Records and Tapes in spring 1977 as a black LP which turned translucent blood red in colour when held up to a strong light.

In particular, noted anti-obscenity campaigner Mary Whitehouse complained about the album, announcing she was horrified at the BBC's "utter lack of responsibility" by deciding to release it.

[1] Alan Bilyard, who at the time was in charge of BBC Records' business affairs and finance, noted that the controversy "shook us a bit to start with."

[5] Roy Tempest, managing director of BBC Records, was pleased with Whitehouse's dissenting comments as he suspected they would help boost sales of the album.

[1] Amar Ediriwira of The Vinyl Factory called the album one of the most memorable releases by BBC Records and felt Harding captured the themes of death and horror "brilliantly."

[7] Billboard felt the sounds were "highly evocative,"[1] while Alex Marshall of the BBC felt that the contrast between an album of horror sound effects and "keep-fit music for new mothers" also released by BBC Records helped make the label stand out as "the world's weirdest record label.