The Butcher #35 - Gotham Gore

You know how a schlocky action movie will promise you all kinds of crazy, high-velocity mayhem on the DVD cover, but then the movie delivers little or nothing of that and you’re left feeling ripped off?

Well, that happens with action/adventure novels sometimes, and “GOTHAM GORE” is a standout example. It’s the 35th and final novel in the Butcher series, written by Michael Avallone under the pen name Stuart Jason. 

The first disappointment an unsuspecting reader will face is that the Butcher doesn’t live up to his name. If you’re hoping (as I was) that he’s a kill-crazy vigilante psychopath, forget it. He’s actually a former Mafia guy who turned secret agent for the government. Oh well.

As always in this series, the novel opens with the Butcher having to deal with a would-be assassin. Once that’s out of the way, we slowly work our way into the slow-moving story, and slowly begin to realize that none of the cool stuff depicted on the front cover of the paperback will be forthcoming. 

The blurb on the back assures us that the novel has “something to do with black magic, hand grenades and a Demon Master--- with a little Nazi know-how thrown in for good measure.” Well, here’s what you’re led to expect, and what you’ll actually get: 

What you want: The evil Satanic ritual depicted on the book cover, with the human sacrifice of a busty virgin 

What you get: The Satanist is about as creepy as your dad’s accountant; the girl is no longer a virgin (ladies can’t resist the Butcher) and there will be no ritual and no human sacrifice

What you want: The Butcher blowing away bad guys with a machine gun, like he does on the cover

What you get: One pistol, no machine gun. The Butcher shoots only two or three people in the entire book

What you want: That Nazi with the “know-how”

What you get: The Satanist’s henchman is a German guy who never does anything remarkable, other than getting the drop on the Butcher several times but stupidly never killing him

What you want: That “Demon Master”

What you get: No demon, no master

What you want: The Satanist is scheming to blow up New York landmarks like the Empire State Building. Let’s see stuff get blown up!

What you get: Nothing gets blown up but the Satanist and his hide-out

What you want: The book’s called “GOTHAM GORE”, so let’s have some!

What you get: No gore, just a couple of explosions, and they don’t happen in Gotham 

What you want: A fitting conclusion to the saga of 'The Butcher', since this is the final book in the series

What you get: He calls Headquarters, gives the boss his report, that’s about it (mitigating factor: the book is finally over)

Johnny Rotten once asked his audience, “Ever have the feeling you’ve been cheated?” Why yes, Johnny, I have. I’ve read “GOTHAM GORE”.

Fargo #02 - Panama Gold

Ben Haas, as John Benteen, released this second 'Fargo' novel, “Panama Gold”, in 1974. It was featured with several publishers, with different artwork, and most recently reissued as a digital Ebook by the great folks at Piccadilly Publishing. The tag-line is: “Fargo got $20,000 to kill a man and stop an Army. The price was just right”. That conclusively nails down what amounts to be a really entertaining story with all of the familiar conventions we associate with this lionhearted adventurer. 

Fargo served under Roosevelt's “Rough Riders”, and has an allegiance to the “Colonel”. The book's premise has Roosevelt sending Fargo into Panama to stop a 300-man force from delaying the Panama Canal's construction progress. The assignment is to knock off the leader, Cleve Buckner, for a cool twenty grand. Buckner, under protection by Columbia, has been hired by the Germans in what amounts to a logical, albeit confusing, attack on the Army Corp of Engineers. The idea is that Germany will attack France. England will then come to France's aid, thus drawing them into the opposition. If the canal is closed, the the British Pacific Fleet will be blocked from quick entry into the Atlantic. The overall objective is so Germany can build a first-class naval force despite the British threats, thus the war is inevitable. Simplistically, Fargo needs to kill Buckner and we want him to. With his shotgun.

The familiar narrative has Fargo infiltrating Buckner's force through trial by fire. There's a side-story on Fargo's feud with a Major Kane, and a fling with Kane's wife. Hotel fights, dirty cards and horse soldiers are all packed into a fast-paced, light read at 140-pages. It's easy on the eyes and provides tremendous bang for your buck.

Fans of the series will appreciate the author's flair for weapons, incorporating Fargo's trademark arsenal of Fox shotgun, .38 revolver and the handy Batangas knife. These propel the action and keeps it all consistent within the character mold. Next installment is a trip up north for “Alaska Steel”.

Death's Sweet Song

Apparently in the 1950s, American highway motels were often organized as a series of small, stand-alone cabins on a plot of land. For some reason, the cabin-style motel was often used as a setting for hard-boiled crime novels, including “A Ticket to Hell” by Harry Whittington and “Vanishing Ladies” by Richard Marsten (Ed McBain).

“Death’s Sweet Song” by Clifton Adams is a compelling 1953 crime paperback with a dilapidated cabin motel as the setting. Adams was mostly known for his writing in the western genre, but his contemporary hard-boiled crime novels were absolutely top-shelf entertainment, and this one is no exception.

Right off the bat, Adams does a great job of establishing a setting filled with dust and despair. Our narrator, Joe Hooper, owns a super-crappy cabin motel and gas station along Route 66 in rural Oklahoma. No self-respecting tourist would ever stay in Hooper’s unattractive and sweltering cabins in the blistering summer heat. But that’s not the only thing that’s got Hooper down. In addition to the depression of economic failure, he’s also experiencing the malaise of an unenthusiastic relationship with an unremarkable girlfriend. Hooper is a man with a theory: everybody gets one shot in life to make it big, and if you squander that opportunity, there won’t be another. Seething with bitterness over his own failures, Hooper is worried that he either missed his one shot or that it will never come at all.

Enter Mr. & Mrs. Karl and Paula Sheldon.

When the seemingly upscale Sheldons arrive at Hooper’s motel, he is immediately suspicious. Why would a classy guy with a super-hot wife stay in a dusty fleabag? Why is Karl Sheldon lying about having car problems? And why is Paula Sheldon being so flirtatious with Hooper? Some snooping and eavesdropping reveal that the Sheldons are planning a payroll heist in the nearby town. After some proforma ethical waffling, it occurs to Hooper that this heist could be his fabled One Shot to make it big if he can convince the Sheldons to make him a partner in their scheme. The fact that this would entail working closely with the impossibly sexy Paula is an added bonus to the riches that await him now that his potential big break has arrived. But first, Hooper needs to sell Karl on the idea of taking him on as a partner.

Of course, complications arise, and that’s the fun of these femme fatale short crime novels of the 1950s. Not everyone’s agenda is clearly spelled out, and the honor among thieves is always in question. The author keeps the tension and anxiety high by constantly putting the reader inside Hooper’s inner monologue for the entire 150-pages. There is also a scene of brutal violence like nothing I’ve seen in a novel from the 1950s.

Heist novels are a blast, and this one is no exception. Fans of Richard Stark and Lionel White will be able to sink their teeth into this one as crime fiction comfort food. And thanks to a recent reissue from Stark House - packaged as a double along with “Whom Gods Destroy” - you can enjoy this Clifton Adams paperback without breaking the bank. Highest recommendation.

Rogue Lawman #02 - Deadly Prey

“ROGUE LAWMAN”, the first novel in Peter Brandvold’s series, is a very fine adult western. It’s not adult in the sense that there’s a sex scene every fifty pages (there isn’t). It’s adult in the sense that the characters are fleshed out enough to seem like real people rather than pulp archetypes. 

Much of the book’s action is prompted by a tragedy, in which Deputy Marshall Gideon Hawk’s little boy is murdered by an outlaw. Even more devastating for our hero, grief weighs so heavily on his wife’s mind that it drives her to commit suicide. His own anguish is all but unbearable, and when the outlaw beats the murder rap, Hawk goes rogue. Now he’ll devote the rest of his life to hunting down and killing the West’s worst predators, unburdened by the need to gather evidence, apprehend suspects, and wait for the courts to succeed or fail at dispensing justice.

That first novel is excellent, although ironically the author does such an effective job of conveying Hawk’s grief that the book’s entertainment value is dampened somewhat. This is not at all your typical pulp western material, in which good guys shoot bad guys and all’s well with the world. Hawk is a different sort of hero, grim, taciturn and obsessed, with a hunger for revenge that can never be satisfied.

The second novel in the series, “DEADLY PREY”, is consistent with the first, but some of its rougher edges have been sanded down. Hawk’s sadness has been replaced with acceptance. The action is more exhilarating, the outlaws are both menacing and colorful, and there are a few surprisingly sexy interludes, although there still isn’t much actual sex to interrupt the story. 

Brandvold has a knack for making his scenes vivid by salting his prose with lots of tiny descriptive details. For example, other writers will tell you there’s a fire in the fireplace, but Brandvold will tell you about the popping sounds made by exposed sap in the pine logs in that fireplace, and what the distinctive aroma of the smoke is like. Occasionally this kind of thing weighs down the action, but not often. Usually it just helps bring the scenes to life, and his attention to historical detail is another advantage.

Most of “DEADLY PREY” involves Hawk’s efforts to slaughter a huge gang of killers which has invaded a tiny Colorado town just as a snowstorm hits. Essentially, that means finding ways of killing them one or two at a time, without getting caught or killed himself, and it’s a very satisfying read, with plenty of tension and a few surprises. Along the way the reader will meet some unexpected characters, from the grizzled prospector whose only friend is the skeleton he shares his cabin with, to the outlaw who gets gunned down and farts on his way to the floor, to the roaring bisexual sister of the outlaw leader, who’s every bit as vicious and deadly as he is.

I visualize John Russell (of the old TV western “LAWMAN”) in the role of Hawk, and he’d have been perfect for it. I’m glad that two of my favorite genres--- the western and the vigilante story--- intersect so perfectly with this series. I’m also glad that there are several more 'Rogue Lawman' books on my shelf, yet to be read. And with any luck, Brandvold will write a few dozen more!

Dakota #02 - Red Revenge

“Red Revenge” is another top-notch effort from author Gilbert Ralston. It was released in 1974 through the popular Pinnacle Adventure line and marks the second installment of modern western series 'Dakota'. As I mentioned in my review of the series debut, “Dakota Warpath”, this character is strikingly similar to what Craig Johnson would do years later with his 'Longmire' character. 

This book mentions some of the events that transpired in the series opener. Ralston almost has a hometown feeling to the book, by outlining and describing all of the characters that make up this colorful Carson Valley town. Some were introduced in the prior book, some are new. Dakota has a love interest here named Alicia, and based on the book's ending she could be a recurring character throughout the series. The storyline of Dakota's sick father continues and concludes in this book. Also, the young Native American that Dakota assisted in the prior novel is a steadfast character here - sort of the action-assistant or inexperienced ally. Louis serves as a dialogue direction as Dakota explains to the reader what he's doing with the case.

The Board of Directors of Grayson Electric have been kidnapped for ransom in Lake Tahoe. The employees' families reach out to Dakota to offer assistance. They need to pay three-million in bearer bonds to the kidnappers, or heads will roll. While they sort out the collateral, Dakota starts the search for where the men are being held. This is about half of the book and is a really entertaining nod to detective fiction – checking leads, interviewing potential witnesses, etc. Eventually, Dakota taps a location and loads the guns.

Dakota, being Shoshone, has two blood brothers that join him for the rescue attempt. Ralston absolutely nails the liberation, from hunting and killing to an all-out assault. It's done remarkably well, and includes a fair amount of car run 'n gun and a robust body count. After the high-impact finale, Ralston doesn't just throw the sheets on the corpse. He lets us stick around for 20-more pages while the story is ironed out, bodies are named and Dakota himself explains his actions to law-enforcement. It's a unique angle that few authors rarely conceive and deliver. What happens when the smoke clears and the hero has killed the bad guys? It's not as black and white as the end credits make it seem. Ralston understands that and I applaud him for giving us a little more than standard volume feedback. 

Dakota hits the Big Apple next for “Cat Trap”. 

A Hell Of A Woman

Among the crime authors who rose to prominence in the 1950s, Jim Thompson seems to get more modern praise in literary circles than his paperback original contemporaries. His work is spoken with a kind of reverence that Harry Whittington, Charles Wileford, and Bruno Fischer never seem to receive. Was Jim Thompson really that much better?

“A Hell of a Woman” was a Lion Books 1954 mid-career effort from Thompson. It’s a 200-page, first-person con-man story told from the perspective of Frank “Dolly” Dillon, a door-to-door salesman working for Pay-E-Zee - essentially a walking department store peddling goods on credit installment plans to rural rubes. As the novel opens, we learn that Dillon is working himself into a financial hole and has been skimming cash from his collections to make ends meet with a lazy, dumpy wife in his roach-infested home. 

Thomson doesn’t waste any time getting into the intrigue. In the first chapter, Dillon is trying to sell silverware to an old lady and immediately finds himself in a dark and sexualized situation with the old lady’s buxom niece, Mona. We learn that the old woman’s practice of pimping Mona for sex to traveling salesmen in exchange for consumer products is nothing new, and smitten Dillon promises to rescue the girl from this life of perpetual sexual trauma. 

Thompson’s willingness to mine the depths of human depravity must have been one of the things that set him apart from his crime novelist cohorts. And the murders that take place in this short work are more shocking and violent than others from this era. However, a mere race to the bottom would have been meaningless if he wasn’t such a damn fine writer. The text is very raw, and his descriptions of women, for example, are simply brutal. Dillon’s first person narration is conversational, but it’s also the vehicle for a deeper understanding of his nature - he’s a grifter with a real - though easily compromised - conscience. 

Thompson employs a first-person literary perspective trick halfway through the novel and periodically thereafter that bolsters the idea that he wanted his pulpy crime novel to be more literary than other books of the time. But otherwise, this is just a very entertaining, well-written, gritty noir novel filled with anti-heroes, femme fatales, and double-crosses. It’s a great read and a terrific introduction to Thompson’s body of work. Maybe it’s not breaking new ground, but if the paperback original crime fiction of this era is your thing (and it really should be), “A Hell of a Woman” is truly essential reading.

87th Precinct #01- Cop Hater

It's intimidating to write a literary critique for Ed McBain's kickstarter Cop Hater. Written by Evan Hunter, it's the mantle piece for the police procedural book and the debut of the highly respectable 87^th Precinct series. According to the author, it was written in 1955 after spending a lengthy amount of time within the NYPD researching and planning. In the Thomas & Mercer re-print, Hunter's introduction provides an intimate peek at the book's development (which you can read for free as an Amazon download sample) and the conception of the pseudonym McBain.

While the police procedural could probably be linked to a handful of novels a decade before, the 87^th Precinct series was probably only rivaled by the show that influenced it – Dragnet. While detective Steve Carella is featured as a main character, the series is one of the first (if not first) to feature a conglomerate hero, the squad of cops that make up the fictional 87^th Precinct. The squad is a character just as much as the unnamed fictional city is. Hunter, while struggling with placing the series in New York City, found it much easier to fictionalize the city while using NYC as a primary blueprint.

While not ruining it for the new reader, the concept of Cop Hater is essentially that – a madman targeting police officers of the 87^th Precinct. Like a good Agatha Christie whodunit, the mystery enlarges as the corpses stack up. While never explicit or terribly violent (or I'm just numb), we familiarize ourselves with these officers only to find them shockingly killed off before our very eyes. We're at the scene of the crime, but never know the killer's identity until the end. It's not a first-person narration like a majority of detective fiction, instead it's the author leading us through the alleys, buildings and squad rooms of this sweltering city. Detective Steve Carella is firmly embedded in the action, introduced here along with his fiance, the lovable Theodora Franklin.

The muggy July heat plays havoc on these characters, eroding patience, love and goodwill with a toxic, febrile blanket of exhaustion. Hunter would steadfastly utilize weather as a character itself, inserting climatic changes to these stories to enrich and enhance the atmosphere. At times the dialogue is as simple as the police interviews – Who, Where, What and the allusive Why. It's our struggle every bit as much as the cops. By the closing pages it's all a frantic chase for the pre-smoking barrel, stopping the .45 slug from finding the next blue shirt. 

Cop Hater is masterfully penned, properly paced and is worthy of the praise heaped on it for half a century.

Get a copy of the book HERE.

The Enforcer #03 - Kill City

Andrew Sugar's third entry in his vigilante series 'Enforcer' is “Kill City”, released in 1973 by Lancer. Like the prior two books, “Kill City” was purchased by Manor and reprinted in 1976 with new, more superior artwork courtesy of George Gross (who did early 'Executioner' books before Gil Cohen took over). Gross's artwork really captures the feel of the book, detailing many of the action sequences found within. The red, white and blue color scheme is important to the story fundamentals – Enforcer Jason is preventing a mass terrorist attack on major US cities. With the obligatory ticking time bomb comes some political intrigue and subtext regarding a nation divided by color.

Like the series debut “Caribbean Kill”, the novel starts by revealing a wounded Jason after the finale showdown. The author paints enough sketchy brush strokes to give us a feel of the story, but leaves all the details and plot planning for subsequent chapters. In those, Jason is mugged off-assignment and rescued by a vigilante force called The Patrol. In the incident, the mugger shockingly turns the gun on himself, committing suicide on the sidewalk. Perplexed, Jason takes the mystery to the institute (the place where they make a new body for Jason every 90 days in an effort to fight crime worldwide). Collectively, the institute formulates a tactical infiltration of The Patrol. 

Combining the institute's resources, Jason utilizes a black associate named Calvin to tackle the assignment. The Patrol is actually the Caucasian vigilante force. There's also an African-American version stereo-typically deemed Brigade of Brothers. While the surface level indicates no foul play, Jason and Calvin infiltrate the two forces, black and white, and unveil a global conspiracy to detonate Suicide Stimulators (called Suzies) across major US cities. The overall effort is conducted by one of Jason's rivals from the first book. 

Sugar really nails this one, fetching the same sort of intrigue, mystery and explosive action as the predecessor, “Calling Doctor Kill”. While the clone bodies, Jason's body jumping and his masterful art of Ki have all been elements of the prior installments, these inclusions are more expanded with “Kill City”. Beyond what we already knew, Jason stumbles on a few new tricks while fumbling with the two criminal factions. Sugar, always explicit, throws in some X-Rated steam as Jason works over Janet, his love interest from book two. 

Overall, “Kill City” is a thrill-ride of epic proportions and continues to catapult the series into the higher echelon of the genre.

Thanks to Bob Deis of MensPulpMags.com for the assistance on the book's artist and artwork.

The D.C. Man #02 - Search and Destroy

The D.C. Man was a four-book action series released in 1974 and 1975 by a former Roman Catholic priest named Peter Rohrbach under the name James P. Cody. The series tracks the adventures of a Washington lobbyist and political troubleshooter named Brian Peterson who uses guns, political connections and brains to solve sensitive problems for Capital Hill big shots. One doesn’t need to read The D.C. Man books in any order as they stand well on their own, and relevant facts from the hero’s backstory are well explained in the first few chapters.

In this second installment, Peterson is hired by the attractive daughter of a US Senator to investigate the validity of her father’s recent suicide. At first, Peterson is skeptical that the Senator’s gun-in-the-mouth routine was anything other than self-inflicted, but the reader can see where this is heading once we learn that the Senator has been quietly investigating the scourge of 1970s men’s adventure fiction: The Mafia.

The setup and setting for The D.C. Man books provided the author great flexibility for story ideas - credibly toggling between espionage, crime, and political intrigue. This one is more of a straightforward private eye novel. Peterson follows leads diligently moving from person-to-person conducting interviews. Periodically, unidentified goons try to hurt or stop him, and those scenes of violence are always well-written and exciting. A sexual interest arises with a comely female character, and the resulting coupling is slightly more graphic than most crime novels from that era (but less explicit than, say, a Longarm western). In other words, there’s not much to distinguish this story from a solid, workmanlike P.I. novel starring Mike Shayne, Johnny Liddell, or Peter Chambers.

One thing that sets The D.C. Man apart from its contemporaries is the setting and era. The smoke of distrust and corruption of post-Watergate Washington, DC is thick in this story. Peterson spends a lot of physical and mental energy to figure out if the Senator killed himself because he feared the exposure of his own corruption or whether his corruption lead to his murder. The idea that the late Senator deserves a fair shake isn’t even an option for Peterson until a character confronts him about his anti-politician bias several chapters into the book. The symbiotic relationship between elected officials, their staffs, lobbyists, and the press is the fuel that feeds The D.C. Man books. This is a sexy, violent thriller for American political junkies.

By the time Peterson solves the novel’s central mystery concerning the reasons for the Senator’s death, the body count begins climbing exponentially. The brutality of each subsequent death appears to increase as our hero veers deeper into Mack Bolan territory - a lobbyist’s war against the mafia, if you will. The many action scenes are legitimately exciting and filled with gunplay and gripping suspense.

Overall, this second book in The D.C. Man series was another winner in a series that deserves more accolades than it ever received as a new release in the 1970s. Thankfully, Brash Books has reprinted all four novels in new editions with an introduction by yours truly. Buy a copy of this book HERE.

Earl Drake #03 - Operation Fireball

 The general consensus is that Dan J. Marlowe's “The Name of the Game is Death” and “One Endless Hour” make the best of list for the hard-boiled genre. Those novels, released in 1962 and 1968, were riveting caper romps that symbolized everything we loved about the genre – peril, betrayal, guns and money. It's first person narration from the man with no name (or face!) was mesmerizing, painting a lifespan mired in corruption, vengeance, angst and adversity. While not overly complex, it was deep reading that allowed the reader a spot in the hotseat. We were staring down the barrel as much as the storyteller – the smoking gun a cautionary warning of the hot winds of Hell. While both of Marlowe's novels are held in high regard, those opinions are much weaker for the third and subsequent books of the 'Drake' series. Instead of jerking a .38 Special and navigating vault rooms, 1969's “Operation Fireball” provides M-16s, claymore mines and dodging MIG-17s. It's just a totally different style that isn't altogether bad...it's just seeing the characters on a different stage.

Three-fourths of Marlowe's “Operation Fireball” runs the same playbook as “One Endless Hour”. Earl Drake (his real name was never provided by the author) takes a heist job to steal millions from a Cuban military compound. Replace a Philly bank with a Cuban stronghold and you get the same strategy. The majority of the book is the assembly of players – Drake, Hazel (Drake's lover from the first two novels), Erikson, Wilson and Slater. Each have a role in the heist, complete from transmission, boats, firearms, locks and funding. The book methodically assembles the team, outlines the mission and provides the stakes in much the same way Marlowe aligned the team in the last book. It's the closing chapters that really set it apart.

International waters shows a metamorphosis from caper to spy. Drake is faking his way onto a US Destroyer ship, then faking his way into the Cuban military. From brothels to bars, the team penetrates Havana while dodging firing squads, fighter jets, machine guns and mines. Essentially, it's a new breed of Drake fiction that really showcases a completely different type of storytelling. The book's ending conclusively proves that the series is taking a different direction in much the same way Bolan transformed at number 39. It isn't necessarily a reflection of poor writing, as those books and this specific book still provide entertainment and enjoyment. It's just a different way to park the horse. Whether you continued the series post-1968 or not, Marlowe delivered quality storytelling on “Operation Fireball”. I've yet to explore the rest of the series or any of Marlowe's stand-alones, but based on this entry, I'm probably all in.

Buy a copy of this book HERE

The Executioner #77 - Hollywood Hell

Hollywood Hell, the 77th book in the durable Mack Bolan saga, is a transitional novel, sitting at the half-way point between Don Pendleton’s original vision and the quasi-secret agent stories we'll get later in the series. 

The novel keeps it vague, but Bolan seems to be working as a hired gun this time. The assignment is to find the wayward daughter of a Senate candidate, and get her out of the porno underworld. Actually, she’s in something like the underworld beneath that underworld, where drugged-up prisoners are forced into all sorts of awful things before being killed on-camera.

That’s a pretty strong premise, but what makes it better is that Bolan is back in Mafia-busting mode, because the local crime family is running the whole scummy show. In fact, it’s the very same family Bolan took down in the third book of the series, Battle Mask, now re-organized with more sleaze than ever before. On the other side of the law, Bolan’s old police nemesis Captain Braddock is still on the force, and he just might be willing to play a role in the big take-down Bolan is planning. 

Author Mike Newton keeps things moving pretty well, but the most interesting things aren’t the inevitable gun battles. Far more memorable are various scenes in which Bolan seeks out the kingpins of the flesh trade. There’s a great confrontation sequence in one of those ratty old Hollywood apartment buildings which escalates into a brawl involving mobsters, Mohawked punks and bikers. Another highlight comes when Bolan attends an invitation-only screening of a snuff film, and his rage against the masturbating creeps around him boils over. Scenes like these make his mission personal, and a little more meaningful than your typical Gold Eagle testosterone party.

So the book has its strengths, but I found the author’s prose to be clunky and long-winded. He also had an annoying habit of ending sentences with the word “right,” which I guess was meant to lend a conversational tone. (It works okay when you’re talking to someone in person, right? But when the narrator of a novel uses it over and over, it comes across as contrived and irritating, right?) The book’s dialogue was pretty good, but there wasn’t nearly enough of it. My final beef is with the climax. Without giving too much away, Bolan’s brother Johnny takes part in the big final showdown. Guns are still blazing when Mack is forced to leave the scene, and he takes us with him. As to whether Johnny lives or dies, who knows? He’s never mentioned again.

I’d still rather have something like Hollywood Hell than most of the later Mack Bolan books. For all its flaws, there’s some good stuff here. But if you haven’t read all of Don Pendleton’s original Executioner novels yet (#1-15 and #17-38), get hold of those first. 

Buy a copy of this book HERE

The Loving and the Dead

Beginning in the 1950s, Australia-based author Carter Brown (real name: Alan Yates) wrote over 300 short, sexy, formulaic, mystery novels starring largely-interchangeable American investigators including Al Wheeler, Danny Boyd, and Rick Holman. The books are great fun as long as the reader understands that these 120-page quickies are basically literary snack food. 

Between 1955 and 1974, Brown authored a dozen novels starring a sexy - but ditzy -female private eye named Mavis Seidlitz. These novels add a bit more humor to the mysterious mix, and they are often fan-favorites among Brown’s massive body of work. “The Loving and the Dead” (1959) was Brown’s fifth entry into the Mavis series, but these easy-reading novels can be enjoyed in any order. Unlike the books starring Brown’s male protagonists, the Mavis books are often laugh-out-loud funny with the patter clearly influenced by George Burns-Gracie Allen routines. Everyone that Mavis encounters quickly becomes the straight-man for her one-liners and double-ententes. 

In this one, the setup is simple and inspired by Agatha Christie. At the request of her partner, Johnny Rio, Mavis must go undercover for a long weekend as the wife of an heir to a great fortune. If the client and his “wife” can survive the family weekend, he stands to inherit millions. Participants and servants at the family retreat are occasionally murdered, and the killer is among them for Mavis to catch. If this doesn’t make much sense to you, please understand that this is a Carter Brown novel and the plot is a just pretext for sexy, madcap detective work among eccentric suspects. 

It’s no spoiler to reveal that Mavis gets laid, but this was written before Brown’s editors added graphic sex to his novels for U.S. consumption. She also has the opportunity to kick some ass and do some actual investigating in her push-up bra and short skirts. It’s hard not to feel real affection for Mavis who displays a likable combination of sweetness, naïveté, and toughness.

If there’s anything to criticize in this novel, it’s that things get a little too implausibly wacky at times. For example, there’s a character who walks around the whole time with a ventriloquist dummy, and the dummy does most of the talking for him. At it’s best, “The Loving and the Dead” feels like a comedic Donald Westlake crime novel, but there are times where the silliness descends into sheer farce. 

If you’re looking for a light, enjoyable, crime novel with some laughs, this one is a fine introduction to a lovable character with plenty to enjoy. Just don’t expect anything with more depth than an average episode of Scooby-Doo. Recommended if you want something light and insubstantial.

Violent Maverick (aka Wet Cattle)

Walt Coburn was first and foremost a cowboy. The Montana native was the son of Robert Coburn, the founder of Circle C Ranch. In the late 1800s, this was the largest ranch in the northwest (Montana didn't become a state until 1889). Coburn cut his teeth as a cowboy, and served in WWI before becoming a full-time writer in the 1920s. From that period through the 1940s, the author contributed over a hundred stories to the pulps, predominantly “Dime Western Magazine”. From the 1930s through the early 1970s, he wrote over 30 western novels, including “Wet Cattle” in 1955. In 1970, the novel's title was changed to the much more gritty sounding “Violent Maverick” via the Macfadden-Bartell line.

Penniless cowboy Pat Roper saved Mexican bandit Pablo Guerrero's life in a prior gun-battle. Pablo runs into Roper in a firefight over stolen cattle at the Arizona-Mexican border. Pablo gifts Roper the Two Block ranch, 25,000 acres of good feed, water and a some start-up cattle. The problem is that Pablo is running guns through it in an attempt to overthrow the Mexican government. Roper, not digging into the devil in the details, accepts the gift and takes the ranch. He later finds out that Pablo's lifetime enemy, Wig Murphy, borders the ranch with his own cattle empire, and he's crushing the Two Block ranch out.

Coburn's validity as a real cowboy is a catch-22. While his books possess dirty, dusty realism, they are written in “cowboy” terminology that's sometimes really hard to decipher. It's this element that dampened what was otherwise a well-crafted story in “Violent Maverick”. It's a short read at 140-pages, and has a breakneck pace that had me finishing it in less than two hours. Was I maniacally rushing so it was over quickly, or because I wanted to learn the fate of young sod-buster Pat Roper? Probably a little of both. The end result is just another dog-eared, yellowed western that passes the time.

Texas Fever

World War II veteran and author Donald Hamilton is best known for his 'Matt Helm’ spy series. That long running line ran from 1960 through the 1990s. Hamilton also contributed stand-alone crime novels in the 40s and 50s as well as six westerns penned in the mid 50s and early 60s. This novel, “Texas Fever”, was released by Fawcett Gold Medal in 1960, and reprinted again by the publisher in 1989 with a slightly modern cover (resembling something more akin to 80s Pinnacle or Zebra). At it's heart, “Texas Fever” is a coming-of-age tale, but it's wrapped in a dusty, rugged range war that emphasizes the “classic western” brand. 

Young Chuck McAuliffe is on a cattle-drive from Texas through Kansas. His father, Jesse is a Confederate veteran, as is his brother David. The family have been pushed hard, with their ranch nearing foreclosure. This drive hopes to net them $20 a head on a herd nearing 1,200. My guess on the time period is right around the late 1860s, a time when Texas and their steer were still considered scruff and repellent. Complicating matters is a cow disease that warrants the law and buyers to envelope the mid-west in a quarantine. After being forced west at numerous junctions, Jesse, back to the wall, stampedes the quarantine and is killed. 

The heart of the story is a cow theft operation that forces weary, tired and broke cattlemen to sell their stock at pennies on a dollar. Chuck sees through the scam, and takes his battle to the crooked preacher, deputy and outlaw. As Chuck is forced to mature and harden fast, he meets up with a con-woman who takes his virginity before trying to go clean in an alliance with him. Soon things get out of hand, and the barrels heat up.

Hamilton tells the tale well, pausing for backstory, to propel the narrative. The opening third is fisticuff action, all in the classic western mold – cattle thieves, cap and ball fire and well-defined “good guys”. The middle is bogged down with the convoluted alliances, a confused sheriff and the overall love-dove dialogue. The closing third returns to the prairie, with enough hard-charging mounts and gunfire to fully redeem itself. A quality, enjoyable read from a rare Hamilton western.

Stoner #04 - King's Ransom

Ralph Hayes conclusion to his four book series 'Stoner' was “King's Ransom”. It was released by Manor in 1978 and is the only entry that doesn't have the series name or number on the cover. I'm not sure why the publisher went this route considering the artwork leaves much to be desired. Perhaps that was the main issue? The lack of quality artwork to support the 'Stoner' title? While the previous three entries look fantastic, this one seems rather dull. But the contents offer us another quality entry in what amounted to a fantastic short-lived series.

Unlike the prior three novels, “King's Ransom” puts Stoner on the trail for a kidnapped corporate hotshot instead of a treasure or stolen relic. It's another urban installment, like the prior book “All That Glitters”. Set in Buenos Aires and Argentina, the novel has a militant group called the Mendoza Committee planning a snatch and run of Thurston King, head of an empirical oil company called AROCO. The terrorist group wants to rid corporate, and oil companies, from Argentina and wants to make an example out of King. The plot is to kidnap King and ransom him for three-million dollars. How this solves anything is debatable, but it's a surefire way to set up Stoner versus the baddies.

Argentina government contracts Stoner to assist the police in retrieving King. It's another $50K offer like the last jobs (I guess this is market rate for retrieval of stolen people and goods?) and Stoner takes the contract. On the flip-side, this Mendoza Committee ruthlessly kills King's son while mouth raping his wife. King is taken to a cottage in Buenos Aires, shot in the knee cap and left to starve, dehydrate and die while waiting for his employer to pony up. In a satirical way, the company finds King expendable and isn't going to pay a dime to liberate him. Thankfully, he has Stoner on the case.

This is probably the worst of the series, but the series is so good that even worst could be first when compared to other late 70s action offerings. While the first two books didn't showcase a whole lot of fighting skills from Stoner, these last two introduce a more formidable fighting force. Hayes, again completely oblivious to firearms, has the hero running around with the fictitious Magnum .38 revolver (he has it confused with the .357) and I cringed each time the bad guy screwed a suppressor on a revolver. It's trivial nonsense but as a firearm enthusiast it drives me batshit bonkers. Overall, you can't go wrong with “King's Ransom”. Hunt these four books down, turn your brain off and just have a damn good time.

Stoner #03 - All That Glitters

The third 'Stone' novel, “All That Glitters”, was released by Manor in 1977. I've grown fond of this rugged salvage hero, a loner that hunts treasure and thugs across the globe. Thus far, the second entry, “The Satan Stone”, has championed the series, but Hayes has a gift for storytelling and he has a lot of fun with this one.

“All That Glitters” runs that familiar scheme where everybody that touches the wealth is immediately killed by the next guy wanting to touch the wealth. It's a simple formula that has been done to death (even by 1977 standards) in all forms of media, but nevertheless it's entertaining. It revolves around the theft of the cherished Southern Cross, an ornamental bling-bling worth millions.

Hayes embeds us in the action very early. Zachariah Smith, a stealthy dealer, runs a museum heist, cleverly switching out a fake Southern Cross with the real one. He kills two guys in the exchange but pulls the snatch off with smooth expertise. It's only when he attempts to sell it to another nefarious dealer, Vlahos, that the chain of death commences. Before the transaction is complete, both are murdered and the treasure passes to the next criminal. This continues through a dozen hands, some planned, some sheer luck, throughout the alleys and backstreets of Athens. Stoner's involvement is a plush $50K to recover the cross and return it to the museum.

“All That Glitters” differs from the prior two books of the series. Those entries put the action in exotic locations in the jungles and deserts of Africa and South America. This book changes direction by placing Stoner in an urban environment. Instead of tanks, planes and horses, we get high speed car chases and alley sweeps. I like this change of direction and it adds a little more dynamic to Stoner's one-dimensional joystick of “punch, shoot, run”. The end result is another fine addition to a high-quality series.

To Kiss, Or Kill

Along with contemporaries Harry Whittington, Gil Brewer, and Peter Rabe, the Fawcett Gold Medal paperback original crime novels were defined by the work of author Day Keene (real name: Gunard Hjertstedt). Between 1949 and 1973, dime-store spinner racks were filled with affordable paperback output from Keene and his cohorts. 

“To Kiss, Or Kill” (1951) was Keene’s fifth published novel, and the setup is rather familiar: Our hero finds the corpse of a sexy, nude blonde in his Chicago hotel room and endeavors to clear his name since no one would ever believe that he didn’t snuff the dame. In this case, our wrongfully-accused hero is a former Polish-American heavyweight boxing sensation, Barney Mandell, who is freshly released from an extended stay in an insane asylum. Mandell can’t even be 100% sure he didn’t kill the blonde due to his drunkenness at the time of the discovery as well as his awareness that he’s - until recently, at least - certified crazy.  

Mandell’s quest to get to the bottom of the situation takes him into the world of his own humble beginnings before he was a famous prize fighter. One of the fun aspects of this story is that even though he’s been out of the ring for awhile, Mandell is a sports celebrity. People know him and vividly recall his 42 consecutive knockouts in the ring, and while he’s on the run, he’s also encountering fawning fans seeking autographs. 

Did Mandell kill the blonde and then suppress the memories? Why was he committed to an asylum? Why are the Feds creeping around this case? What does Mandell’s estranged wife have to do with all this? These are the questions that Keene teases out over the course of the thin paperback. 

Unfortunately, instead of a tidy and fast-moving investigation to find the killer, the novel puts the reader through long, rather dull, narrative stretches of exploring Mandell’s own sanity. Does an insane man have the introspection to know he’s crazy? As the bodies around him begin to pile up, it’s clear that Mandell is either completely loony or he’s being set up for multiple homicides. 

The ultimate solution to the novel’s central mystery is a bit of a let-down, and the road to get there has lots of dull, talky, repetitive stretches. “To Kiss, Or Kill” would have been a better 40-page Manhunt Magazine novella, but it felt padded at 160 pages. It’s not an awful book, but there are many better options with similar themes from the same era. 

Keene has done better, and so can you. Best to take a pass on this one.

Wilderness #05 - Tomahawk Revenge

The fifth book in the 'Wilderness' series, “TOMAHAWK REVENGE”, is another winner from author David Robbins (writing as David Thompson). 

The series is set in the late 1820s, and follows the adventures of Nate King, a nineteen-year-old New Yorker who follows an uncle to the remote Rocky Mountains and decides to stay. By this point in the saga, it’s time for Nate to learn how to make a living, and that means fur trapping. But that education is interrupted by a Blackfoot war party, and what happens next--- in fact, all the way to the end of the book--- is harrowing, savage and bloody.

As good as this series is, there might be a crack or two in its foundation now. After depicting a wide variety of dangers and adventures throughout the first four books, a touch of déjà vu is creeping in. There’s yet another grizzly bear attack, the third so far. (I’m tempted to claim that Nate King is attacked by grizzlies as often as Mack Bolan gets shot at, but that’d be a stretch.) And once again Nate faces hostile Indians. Boy oh boy, are these Indians hostile!

In “TOMAHAWK REVENGE”, Nate and his companions are not only attacked, but taken prisoner and subjected to various grueling tortures. It’s easily the most intense Indian action of the series so far, and I don’t know how Robbins will be able to top it (but I’m sure he’s up to the task). Imagine staggering naked through the woods, bleeding from an arrow wound, as shrieking, kill-crazy Indians bear down on you, advancing closer and closer. 

This novel isn’t necessarily fun, but it’s definitely powerful. The level of brutality and general misery here may be tough for some readers to take, and there’s also a bleakness that we hadn’t seen thus far. But don’t let that scare you off.

While most action/adventure series are about wish fulfillment (punishing the guilty, rescuing the vulnerable, accomplishing a vital mission or just getting rich), the Wilderness books are simply about the challenge of survival, the struggle to not get killed. They’re also a lot more compelling than the ordinary pulp action series. If you’ve never had a paperback grab you by your shirt and throw you across the room, get ready for “TOMAHAWK REVENGE”.

Stoner #02 - The Satan Stone

“The Satan Stone” is the second installment of Ralph Hayes' 1970s treasure hunting action series 'Stoner'. Our hero is Mark Stoner and this four book series focuses on the character attempting to find precious stones – thus the name could be duel usage. This book is my first taste of the series, but I've enjoyed the author's exceptional line 'The Hunter' (sometimes called 'John Yard'). It shares a lot of the same exotic locations as this series – sweeping African deserts and rowdy towns like Lagos and Nairobi. It wouldn't surprise me to see crossovers from each line, but I'm not sure Hayes' had publishing permission or the motivation. As I delve into each series more, I'd love to see a reference to the other books somewhere. I could easily imagine John Yard crossing paths with Stoner or even Yard's colleague Moses. These two series' run parallel to each other, so it would make rational sense to have them entwined.

The first 37-pages of “The Satan Stone” is intriguing and presents a phenomenal problem – how do you smuggle a 1,000-carat diamond out of a mining prison? That's the issue at hand for an engineer named McMillan. He has come to the mining prison of Shoshong, in the South African desert, to provide a new sorting machine. The arrangement is he receives profit sharing for a year in trade for this new machine. De Villiers, the book's dictator/prison warden welched on the deal and now a dejected McMillan is leaving the camp with nothing. Kicking some dirt and dust, he miraculously discovers an egg-sized diamond. The prison is notorious on security, and routinely beats (or murders) thieves. McMillan, fearing that he will be caught, hides the diamond on the undercarriage of a bulldozer with hopes of retrieving it and escaping. 37-pages later, the diamond is still securely dozing and McMillan has killed a helicopter pilot while escaping through the desert.

Thankfully, chapter three gives us a brief introduction of Mark Stoner. He's an adventurer and exporter based out of Key West (home of author Ralph Hayes). He globe-trots buying precious gems and artifacts. While wealthy and free-spirited, he's still a hunter for allusive treasures and antiquities. Thus, McMillan and his awareness of the prized diamond are an inviting challenge for Stoner. 

McMillan contracts with Stoner to have the diamond retrieved from Shoshong. The issues are aplenty – breaking in and out, passing security and dodging the mine's Gestapo-like cartel called The International Diamond Security Organization (IDSO). Plans are concocted to put Stoner inside the prison under the guise of a recently killed security inspector from the IDSO. Once Stoner infiltrates the prison, his exploits to retrieve the diamond are a bulk of the story. Hayes' is masterful in the cat-and-mouse tactics and leads the reader on numerous paths speculating the outcome. While not sounding overly complex, there's several side-stories that enhance the narrative – a suspicious guard, an inmate/laborer in the know and McMillan's own struggles escaping the IDSO in Nairobi. Surprisingly, this novel may have the most exhilarating scene ever involving a simple phone call. It's so elementary, yet the entire white-knuckle finale hinges on it. 

I've said this previously in my reviews of Ralph Hayes extensive catalog. The author takes seemingly normal, everyday people and places them in extraordinary circumstances to see how they react. It works well here as Stoner doesn't necessarily have the fighting skills or know how to solve difficult issues. Like 'The Hunter' and 'Buffalo Hunter', often Hayes leaves it to complete ignorance on the part of the characters or sheer luck to decide life or death situations. It's this aspect that makes his writing so enjoyable. It might be nonsensical, but you have to at least believe there's a “lucky shot”. That's the Hayes' style. 

I'm on my very own treasure hunt now, fueled by the anticipation of securing the entire series for my paperback museum. 

Stoner #01 - The Golden God

Ralph Hayes' 'Stoner' series kicks off with 1976's “The Golden God”. Like a majority of the author's work, it was released by publishing house Manor (which questionably may have been a tax dodge for Belmont/Leisure or a Mafia money laundering scheme). Regardless, the Hayes/Manor combo was a successful one for genre buffs and fans, producing nearly 25 titles that are still discussed nearly 40 years later. Along with series' like 'Buffalo Hunter' and 'The Hunter', 'Stoner' introduces another hefty dose of bravado in Mark Stoner, a treasure hunting exporter that is just damn good at everything. This novel in particular is a bit pulpy, capturing exotic jungles, ancient ruins and cursed relics. It's all plot bait to set-up Stoner versus a bunch of baddies. 

Oddly, the synopsis on back of the book mentions an Erik von Richter. There's no character by that name in the book. Instead, this Richter guy is actually Johann Strasser. I'm not sure if this was a late edit of the name or just a major miscommunication from the editor to artist. Regardless, the book has esteemed archaeologist Strasser acquiring a small Peruvian golden statue (The Golden God) called the Cuzcapac. I'm calling it “Goldie” for the sake of simplicity. The prior owner, an Indian named Idilio, is killed off by a duo named Diablo and Maltese, so it's just a matter of time for the next owner to be hunted and killed. The evil exporters are after Goldie and soon make a play on Strasser. Not only do they want Goldie's riches, but also the location of ruins where the statue was found. Big money, big money, no whammies.

Before Strasser is inevitably murdered, he passes Goldie to Stoner in Key West. With the treasure and a semblance of where the ruins are located in Peru, he travels to Buenos Aires to hook-up with Strasser's attractive daughter Ursula. Together, the two strike a bond and travel into the Peru jungles to locate the ruins. Maltese, Diablo and some goons simultaneously strong-arm their trek to the ruins, setting up the impending confrontation for the last 10-pages.

Hayes is a meat and potatoes writer and “The Golden God” emphasizes that. At 180-pages of exotic adventure, soldiers of fortune and buried treasure, Hayes delivers the goods. While the story-line is boiled down, the action is intense and moves at a rapid-fire pace. I read the book in a few hours and was thoroughly entertained. The book's sequel, “The Satan Stone”, is miles better than this, but the series grasps a good foothold here. Those looking for more pulp adventure will find plenty to like in this series.