I enjoy old time radio programs and have ever since I started listening to syndicated reruns of THE LONE RANGER, THE SHADOW, THE GREEN HORNET and GANGBUSTERS in the early Sixties. There are a lot of shows available on-line, and I wish I had more time to listen to them. I may have to start making some time. The most recent program I've listened to is HERE COMES McBRIDE, which my friend Brian Ritt told me about. From May of 1949, it stars Frank Lovejoy as private eye Rex McBride, who appeared in pulp stories and novels by Cleve F. Adams. I've read and enjoyed some of them but had no idea there had ever been a radio show based on the character. I don't know how many episodes there were, but only one, the first one, appears to have survived. McBride is actually an insurance investigator based in Los Angeles in the radio version. But as the episode opens, he's in San Francisco on a case, trying to track down a valuable stolen necklace. Unfortunately, he finds a corpse in his hotel room and winds up having to solve that murder, and another that follows it, while navigating the usual troubled waters of nightclubs, crooked gamblers, suspicious cops, beautiful but maybe not trustworthy dames, etc. It's standard private eye stuff but done pretty well, and Frank Lovejoy, an actor I've always liked, is good as McBride. If they had ever made any Rex McBride movies, he would have played the character quite well, I think. One nice thing about this program is that Cleve Adams is mentioned in the opening credits "above the title", as it were. I always like to see the guy who created something acknowledged. The episode itself was written by someone named Robert Ryf, who wrote some early cops-and-robbers TV in addition to his radio work. This single episode of HERE COMES McBRIDE is available in several places on-line. I downloaded it here, and you can also just listen to it there if you don't want to download it. Also, SABOTAGE, the first of Adams' novels about Rex McBride is in print from Altus Press, if you want to check out the original version of the character.
It's hard to go wrong with a Norman Saunders cover, but this one is particularly eye-catching, if you know what I mean and I think you do. But of course there's more to any pulp than a beautiful blonde on the cover, and in this issue of TEN DETECTIVE ACES are stories by the dependably entertaining G.T. Fleming-Roberts, Joe Archibald, John H. Knox, and Maitland Scott, better known as R.T.M. Scott, the author of the first two Spider novels. The other authors I've only vaguely heard of. I don't know if the cover alone would have prompted me to buy it if I'd been around in 1937 and had an extra dime in my pocket . . . but I would have had to think about it, at least.
This issue of STAR WESTERN from April 1954 is one of the latest appearances I've seen of that trio who appear on so many Western pulp covers: the stalwart cowboy, the redheaded gal, and the old geezer. Often the girl is toting a gun and sporting a fierce expression on her face. Not so much this time, but the way the figures are arranged, she could have a gun in her hand and we just can't see it. Anyway, this is far past the glory days for STAR WESTERN, but there are still some pretty good authors in its pages: Joseph Chadwick, Will Cook, William Vance, Paul W. Fairman, T.C. McClary, Richard Ferber, and Robert L. Trimnell. A pulp still worth reading, I suspect.
BLONDE VERDICT (the title of the original Australian
edition) is the second book in the Lt. Al Wheeler series by Carter Brown, who,
as you all know, was really English ex-pat Alan G. Yates. A revised version was
published in the U.S. by Signet under the title THE BRAZEN, but the real deal
is available in Stark House’s great series of omnibus reprints of the Al
Wheeler series, from the start in chronological order.
This is still not quite the Al Wheeler those of us who grew up reading the
Signet editions know and love, but he’s pretty darned close. Or rather, Al is
the same guy, but his supporting cast is slightly different. He works for
Captain Parker, and the police commissioner is named Lavers. In the Signet
editions, Al is a sheriff’s department investigator working for Sheriff Lavers.
There’s a Sergeant Mcnamara mentioned, but no Sergeant Polnick.
A later, retitled Australian edition
Doesn’t matter. Al is still the same wise-cracking hotshot with an eye for
beautiful babes, of whom there are plenty in this book, starting with the
blonde Al is with in a nightclub when one of the other patrons drops dead at
his feet. Turns out the guy is a lawyer with a beautiful wife who hates him, a
beautiful mistress who’s really in love with somebody else, and a partner with
a good reason to want him dead. Oh, and there’s the gangster who was being
represented by the dead man in a murder trial, and the even bigger gangster
that guy works for, and . . . But you get the idea. Lots of suspects for Al to
interrogate and cheerfully insult, and plenty of babes to come back to his
bachelor pad and listen to his hi-fi with him, as well as giving him an alibi
when he’s accused of one of the many murders that take place.
An early Signet edition
It’s hard to believe any book could race by faster than this one. It’s like an
early Sixties Warner Brothers private eye TV show several years before there
even was such a thing. Great pace, funny lines, a very likable protagonist, and
a workable plot. I’ve been reading Carter Brown books for more than fifty years
now and still really enjoy them. Thanks to Stark House for reprinting these
original editions, and I hope there are many more to come. (A second collection
is already out, and a third one is coming soon.)
I remember it was kind of a big deal when the movie FORT WORTH played on TV when I was a kid, because it took place in, well, Fort Worth, 15 miles down the road from where I lived. Not that it was filmed there, of course, although the California locations don't look too unreasonable for the setting. I hadn't seen it in more than 50 years, so I decided it was time to watch it again. And, of course, it stars Randolph Scott, and I'm always ready to watch Randolph Scott. (At least once in every movie he's in, I hear the line from BLAZING SADDLES in the back of my head: "You'd do it for Randolph Scott.") Anyway, in this one he plays a former gunfighter turned newspaper publisher who comes back to his hometown of Fort Worth with his partner just in time to get in the middle of a romantic triangle with his old buddy David Brian and the girl they both love, Phyllis Thaxter, as well as efforts to get the railroad to come to Fort Worth and a gang of cattle drivers who don't want the railroad to come in because it'll ruin their business. It makes for a movie that's a little on the talky side, but some nice action scenes crop up along the way. There's also a good supporting cast, with Ray Teal, Bob Steele, and Paul Picerni among the bad guys. The problem with this one is that the script by veteran screenwriter John Twist has numerous holes in it, and the direction by journeyman Edwin L. Marin keeps things pretty bland. (This was the last movie Marin directed.) Several scenes that could have been pretty good are set up but then nothing really happens. Despite that, FORT WORTH is a watchable Western because, well, Randolph Scott. He's perfectly cast as the noble, dignified, crusading newspaperman who can still buckle on his guns and be a tough hombre when he needs to. It's a minor entry in his career, but I enjoyed it anyway.
Al Wheeler was Carter Brown's most popular mystery series, and these are his seventh, eighth, and ninth adventures, reprinted from the original Australian editions. The first two were revised for their U.S. Signet editions as THE BODY and THE BOMBSHELL, but CHORINE MAKES A KILLING has never been published in the U.S. before. NO LAW AGAINST ANGELS In which Lt. Al Wheeler investigates the murder of two young ladies-- both of whom worked at the Haven of Rest Mortuary-- both of whom had a tattoo on their upper shoulder in the shape of a dollar sign that turns into a snake-- and both of whom worked at part-time call-girls for the mysterious fellow known as Snake Lannigan, a man no one has ever seen. DOLL FOR THE BIG HOUSE In which Lt. Al Wheeler is reassigned to the Eighth Precinct under Captain Bligh in order to-- find Lili Hertz, whose sister has reported her missing-- track her to the big house of Absolem Kirch, despotic owner of a newspaper empire and the man behind a lot of dirty politics-- and crack the kidnapping ring that provides Kirch with the young girls he keeps in his mansion against their will. CHORINE MAKES A KILLING In which Lt. Al Wheeler turns in his badge to become a private investigator for a lawyer's firm in order to-- investigate an open-and-shut murder case involving Walter Byrne, friend of the lawyer and now married to the lawyer's ex-wife-- determine just who really did kill the chorus girl, who was also Byrne's mistress-- and figure out who is trying to kill Byrne's wife Myra, while fending off the advances of the man's sexy daughter. (I'm really glad Stark House is reprinting these original Australian editions. They're fast, funny, well-plotted, and great fun to read. This collection will be out in March and is available for pre-order now.)
You know, I've never read any of this series. Are they any good? With the lead novels being written by Laurence Donovan under the name Wallace Brooker, I imagine they'd at least be entertaining. This first issue also contains back-up stories by Harold A. Davis, Carmony Gove, and Kenneth MacNicol.
This issue of FIGHTING WESTERN is almost all reprints from various issues of SPICY WESTERN STORIES, but among the multitude of house-names can be found stories by James P. Olsen, Edwin Truett Long (twice each), and Laurence Donovan, all stalwarts of the Spicy pulps, as well as pulps from other publishers. And all pretty darned good writers, too, making me think this would be an entertaining issue. The cover is by the prolific and dependable H.W. Scott.
(This post originally appeared on March 22, 2008.) This book is almost one of those little gems that you find in unexpected places. Forget the sleaze novel trappings. LUST TYCOON is actually a hardboiled mystery yarn that reads more like a Fifties Gold Medal than a Sixties Nightstand Book. The narrator is Tom Dash, a former New York City police detective who retires because he accidentally killed an innocent bystander during a shootout with an armed robber. Dash buys a wrecked ketch, rebuilds and refurbishes it, and charters it for cruises on Long Island Sound. He’s just begun a casual affair with a beautiful young woman who works for him when she’s murdered. Dash isn’t a suspect in her killing, but when he starts investigating her death on his own, two more murders quickly follow, and the cops do think he committed those. So in classic fashion, Dash has to go on the run from the police while trying to find the real killer. There’s nothing in this book you haven’t read a hundred times before, but whoever the real author was behind the J.X. Williams house-name, he tells the story fairly well and keeps the pace crackling right along for most of the book. There are some nice turns of phrase along the way and some decent action. The character of Tom Dash bears a certain resemblance to Lawrence Block’s Matt Scudder and Donald Westlake’s Mitch Tobin, but the writing isn’t that good. I don’t think either Block or Westlake wrote LUST TYCOON, but I wouldn’t be surprised if the actual author was published under other names, too. Reading LUST TYCOON isn’t quite the same as discovering a previously unknown Harry Whittington or Charles Williams or Gil Brewer novel, but it’s pretty entertaining. The plot sort of falls apart at the end, as if the author couldn’t quite figure out how to wrap things up properly. I’m still glad that I read it, and if you happen to run across a copy somewhere, you might consider picking it up.
Someone is murdering prominent Wall Street financiers in New
York City during the first year of the Civil War. Is the culprit a
disgruntled investor? Marxist revolutionaries? A Confederate
conspiracy to destabilize the Union banking system?
To make matters worse, a crime wave has been engulfing New York City since the
War Between the States began, as if that conflict has loosened the darkest
passions in the hearts of men and women. Amidst this turmoil, the
Detective Precinct is under political pressure to figure out who is killing
financiers. Unfortunately, the best detectives have enlisted in the New
Out of desperation, Deputy Chief of Detectives Timothy Flanagan hires a former
army officer wounded at the Battle of Bull Run, and a former Southern Belle
stranded in the Empire City. Flanagan calls her his secretary because
women can’t be detectives, but she carries a revolver and does actual detective
Their investigation takes them from Fifth Avenue mansions to the dangerous slum
called Five Points, from Gramercy Park to Battery Park, from fashionable men’s
clubs to elegant and not so elegant whorehouses, gambling dens, the glittering
Broadway theater district, and the Peyster Street docks where a man’s life
isn’t worth a dead fish.
Will the Detective Precinct solve the case? They dare not fail. The
future of the war and fate of the nation is at stake!
(This is a really top-notch historical mystery, and I'm proud to have published it.)
Dan Spalding, former State Police investigator and owner of Spalding's Groove, a vintage record store he inherited from his late brother, is back in BACK MASK, the third novel in this fine mystery series by Richard Prosch. As most of Dan's cases do, this one involves a record that someone wants to get their hands on, an old gospel recording by the former pastor of the local mega-church, who has passed on but left his son, who has political ambitions, in charge of things. In trying to turn up a copy of the album, Dan is attacked, as well as an old friend of his, and he discovers that there may be some sort of sinister message embedded in the album if it's played backwards (the back-masking of the title, which is also clever because some readers . . . coughs, raises hand . . . can't help but think BLACK MASK when they look at that title, BLACK MASK, of course, being the most iconic hardboiled detective pulp of all time). But I'm wandering off into the weeds here. BACK MASK is the best book in this series so far, with echoes of Ross Macdonald in the plot (secrets of the past affecting the present) and Robert B. Parker in the great dialogue and the characterization of Dan and his friends. Plus the setting, the tourist town of Ozark City, is always interesting. There's also a very good dog in it, always a bonus where I'm concerned. In the short space of a few books, this has become my favorite current mystery series. Reading them in order isn't absolutely necessary, but I'd certainly recommend it. I give BACK MASK and all the Dan Spalding books a very high recommendation.
I'll bet Fred MacIsaac's serial (Part 1 of 5 in this issue) isn't as funny as STRIP FOR MURDER, the similarly themed Shell Scott novel by Richard S. Prather, but the title is still intriguing. Just the idea seems unusually racy for DETECTIVE FICTION WEEKLY. Elsewhere in this issue are stories by Cornell Woolrich, J. Allan Dunn, Laurence Donovan, Richard Howells Watkins, and John H. Knox, so it looks pretty good.
This is a pulp I own and read recently. The scan is of the
copy I read. The cover is by Kirk Wilson, one of the lesser-known pulp cover
artists who did about a dozen and a half covers for various Western pulps
during the Fifties, as well as interior illustrations for men’s adventure
magazines during the Sixties. That’s really all I know about him.
For many years, THRILLING WESTERN was the home of the Walt Slade series by A.
Leslie Scott, writing as Bradford Scott, as well as the Swap and Whopper series
by Syl McDowell. By this point in its run, those series had dried up and the
magazine was publishing all stand-alone stories. The lead novel in this issue
is “Satan’s Range” by Joseph Chadwick, and at 55 double-columned pages, it
actually is long enough to be called a novel, at least one that could have been
published as, say, half of an Ace Double.
Years ago I read some of Chadwick’s pulp novels featuring the Thrilling Group’s
series characters Jim Hatfield, the Rio Kid, and the Range Riders, and I didn’t
like them much. The writing was okay, but I felt like he didn’t have a good
grasp of the characters. So I’ve tended to avoid his work. In recent years,
though, I’ve read some of his stand-alone Western stories that I liked a lot
better, so it may be he was just one of those authors who’s not cut out for
writing series books. “Satan’s Range” is an excellent hardboiled range war yarn
that finds the protagonist, rancher Ed Conover, caught between the local cattle
baron/range hog and the smaller ranchers in the area, who are not very
trustworthy or likable, either. Conover has enemies on all sides, but the
situation worsens when he has to testify in the murder trial of a neighboring
rancher, who is married to a beautiful woman for whom Conover has fallen,
although he’s too honorable to act on his feelings. Chadwick really puts
Conover through a lot in this story, and every time it looks like he’s going to
come out on top, something else bad happens. I enjoyed “Satan’s Range” quite a
bit, enough that I’m going to have to pull some of my Chadwick paperbacks down
from the shelves, and I may see if I have any of the hardboiled mysteries he
wrote under the name John Creighton.
John Prescott wrote a number of paperback Westerns during the Fifties and
Sixties, none of which I’ve read, but based on his short story “The Medicine of
Malpais”, he was a pretty good author. This tale of a couple of prospectors in
Arizona and their encounters with a band of Apaches is very well-written and
doesn’t play out like you might think it would. Prescott does a good job with
the narrator’s distinctive voice.
D.D. Sharp wrote both Westerns and science fiction and turned out a couple of
dozen stories in his career, but I don’t recall ever reading anything by him
other than his short story in this issue, “Tenderfoot Beef”. It concerns an
elderly sodbuster put on trial for rustling and is also well-written, but it
suffers from never really amounting to much, plot-wise, and reads almost like
the first chapter of a larger work.
“If We Die, We Die” by Worley G. Hawthorne has an unusual setting for a Western
pulp yarn, the end of the Civil War, as a stagecoach driver faces problems
delivering the message that the war is over. It’s an interesting plot and the
story has some good action. Hawthorne is totally unknown to me and has only
three stories listed in the Fictionmags Index, all around this time and
appearing in Thrilling Group Western pulps. I don’t know what happened to him,
but based on this story, he had some talent.
There’s one novelette in this issue, Ray Gaulden’s “Me, Gunman”. It’s a bit of
an oddity for the Western pulps in that it’s written in first person. The
narrator is hired gun Wes Durgan, who’s on his way to a job when he comes
across a beautiful redhead taking a bath in a creek. Before you know it, he’s
mixed up in a mystery that involves not only the redhead but also a beautiful
saloon singer who’s an old flame of Wes’s. He’s accused of murder, and while he’s
never in any real danger of being convicted for the crime, he still wants to
get to the bottom of things, which he does in very good hardboiled fashion.
This is the second pulp story of Gaulden’s that I’ve read in recent months, and
I enjoyed both of them quite a bit. I really do need to read some of his
There are also assorted features in this issue, which as usual I skimmed but
didn’t really read. The features aren’t why I collect Western pulps, although I
do enjoy the occasional poem or column by S. Omar Barker. Overall, this is a
really good issue of THRILLING WESTERN. The Chadwick and Gaulden stories are
excellent, the Prescott is pretty good, and the other two are reasonably
entertaining. If you have a copy on your shelves, it’s worth pulling down and
When I was a kid, one of the comic strips I always read in
the “funny paper”, as my dad called it, was BUZ SAWYER, created, written, and
drawn by Roy Crane, although as was often the case, Crane had the assistance of
other writers and artists in producing the strip. (I didn’t know or care about
any of that at the time.)
When I was reading it, BUZ SAWYER was an adventure strip featuring a lot of
international intrigue, but when it started in 1943, it was a war yarn, as you
might expect. Buz Sawyer is a young Navy pilot who flies a Douglass SBD
Dauntless dive bomber off the aircraft carrier Tippecanoe in the South Pacific, along with his rear gunner/radioman
Rosco Sweeney. After a few dogfights with Japanese Zeros, Buz and Sweeney are shot
down and wind up on a Japanese-occupied island, along with a German planter who
owned a plantation there before the war and his beautiful American stepdaughter
(the first of many beautiful girls to be featured in this comic strip).
Another stretch of air combat follows, and in one of the dogfights, Rosco
Sweeney is wounded and winds up in the hospital at Pearl Harbor. Buz is picked
to fly a captured Japanese Kate bomber on a secret mission to deliver an
American intelligence officer to a Japanese-held island. Of course, once they
get there everything goes wrong and Buz winds up in a lengthy storyline
involving a guerrilla band led by a beautiful young woman known as the Cobra.
(As a jealous buddy comments, Buz can stumble on a beautiful babe no matter
where he is or what he’s doing.)
Following that adventure, Buz is sent stateside for a 30-day leave and returns
home to Willow Springs, U.S.A., taking a now recuperated Rosco Sweeney with
him. He winds up in a romantic triangle with a local society deb who’s long had
her eye on him and figures they’re going to get married, and the tomboyish girl
next door who’s grown up into a lovely young woman. Nothing is resolved before
Buz’s leave is up and he’s sent to a base in California to train on some new
torpedo bombers before returning to combat status. He also runs afoul of a
tyrannical new commanding officer, and things are complicated even more by a
visit from the society girl who’s still after him.
After that it’s more combat and some harrowing adventures, all the way to the
end of the war and the unexpected return of an old friend . . . or is that an
This is an excellent collection of a comic strip that’s faded from most people’s
memory. Roy Crane has often been compared to Milton Caniff, and there are
definite similarities in the use of light and dark, the beautiful women, the
exotic locations, the unmistakable air of high adventure. I still prefer Caniff—TERRY
AND THE PIRATES will never be topped as an adventure strip—but Crane is very,
very good and may be Caniff’s equal in the military stuff. I was a little
surprised that the homefront storyline turned out to be my favorite in this
volume. Sure, the plotting is a little hokey and predictable, pure soap opera,
but Crane makes it work extremely well, thanks to some great dialogue and
characterization. Those strips really capture the era and form a wonderful
piece of Americana.
There are several more volumes in this series, and I’m thinking I’ll read at
least one more of them and maybe the whole run if the quality holds up. If you’re
a comic strip fan and have never checked out BUZ SAWYER, or if you read the
strip decades ago and remember it fondly, like me, I give this first volume a
very high recommendation.