HOT WIRE MY HEART Punk Noir Potboiler OUT NOW!

Hot Wire My Heart is now available for your entertainment and continues my string of punk noir novels, which include Every Good Boy Dies First and Every Bitch For Himself. It’s a punk take on Sweet Smell of Success, a whirlwind ride through the 1978 San Francisco punk scene through the eyes of gossip columnist Dante Sterno. He dishes out all the dirty gossip on all the local punk heroes and heroines for Ripoff Magazine, a cheap local zine.

Dante’s pursuit for more and more dirt on popular rockers in the scene becomes more and more shameless and scurrilous as the book goes on, and it finally reaches a point where his dirty scoops catch up with him. To ensure his survival he hires the services of car thief and protection thug Big Jason Gulliver, back again from Every Bitch For Himself (which chronologically follows this novel).

Big Jason provides some much-needed protection but unfortunately raises the ire of a prominent politician, who in turn contracts rival car thieves and gunmen to liquidate Jason. In between the action there’s lots of sex, violence and hardcore punk. There’s even room for a roller derby match in between all the skull cracking.

The character of Big Jason was based on a real punker I knew, a tough, amoral thug – Irish, of course – a cross between Lawrence Tierney and Matt Dillon. He really did protect people, sometimes for money but mostly for the thrill of kicking assholes around. A man like that is instant gold for noir; a thug who’s capable of making any kind of trouble is as noir as it gets.

Hot Wire My Heart, named after a Crime song, was a chance for me to reminisce about the old days of San Francisco punk, a scene that many of us Southern California punks would trek up the coast periodically to enjoy. San Francisco punk was more art damaged than LA punk, beneficial because it resulted in less aping the London scene, which LA sometimes indulged a bit much.

Bands like The Avengers, The Offs, Crime, UXA and The Sleepers made art on their own terms. Since the average punk audience back then was so small there wasn’t a lot of money to be made, resulting in no need for compromise and creating the most original and exciting punk of that era. I hope Hot Wire My Heart recaptures some of the energy of those electrifying San Franciscan nights.

Hot Wire My Heart retails for only $3.99 and can be bought at these eBook retailers:

Amazon Kindle:
https://www.amazon.com/Hot-Wire-Heart-Andy-Seven-ebook/dp/B09CRVJHL1/ref=sr_1_3?dchild=1&keywords=hot+wire+my+heart&qid=1629249084&s=digital-text&sr=1-3

Apple Books:
https://books.apple.com/us/book/hot-wire-my-heart/id1581407105

Barnes & Noble Nook:
https://www.barnesandnoble.com/w/hot-wire-my-heart-andy-seven/1140023225?ean=9781098399412

Kobo (Canada):
https://www.kobo.com/us/en/ebook/hot-wire-my-heart

Scribd:
https://www.scribd.com/book/520407943/Hot-Wire-My-Heart

BookBaby Bookstore:
https://store.bookbaby.com/book/Hot-Wire-My-Heart&b=p_fr-ho-bl

Punk Rock Retirement Home

This was a three-night engagement I played at The Whiskey A Go Go with my band Arthur J. and The Gold Cups, which was an all-star punk big band (I played saxophone), The band also featured the late Brendan Mullen on drums, Geza X on guitar, Paul Roessler on keyboards and a host of others.

Because it was a three night engagement we had a different band open the show each night, and as you can see X opened one night and The Alleycats opened another. The Avengers headlined and were absolutely amazing. I think Penelope Houston is the best punk rock singer I've ever heard, bar none.

Brendan designed the poster and organized the show.

In September of 1978 I was asked to play sax with The Screamers at The Whisky A Go Go. Pat Delaney from The Deadbeats and I joined them for their exciting encore of The Germs' Sex Boy, re-titled Sax Boy as a tribute to us.

Lead singer Tomata Du Plenty and synthesizer man Tommy Gear prowled the stage like a pair of wild leopards singing the Darby classic while Pat and I honked away. At one point I was given a short sax break and I tooted the riff to Punish Or Be Damned. Tommy winced painfully. Good times.

My friend Lisa Brenneis joined Richard Meltzer's new band Vom as the bass guitarist. Meltzer just moved to Los Angeles from New York, which was a big deal because he was one of the most idiosyncratically New York rock writers around that time. He put together a pretty interesting band, which besides Lisa also included Metal Mike Saunders and Gregg Turner. I may have missed one or two other guys; it was a long time ago.

Vom played their first show at the Whiskey A Go-Go and Lisa invited me. What I didn't count on was being recruited during sound check to act as their official "bodyguard". In order to distinguish me at this dubious job they gave me one of their custom made shirts (seen in the photo). This meant keeping the crowd from killing them, because Meltzer made a few disparaging remarks about Hollywood punks being phony and plastic. He wasn't being serious about it; in fact he was method acting like a locker room wrestler trying to rile the local kids up, and it worked. A little too well!

The club was filled with all the usual local punks ready to boo and heckle the band to death. The entire staff of Slash magazine was there heckling the band to death, as well. Vom went into all their killer numbers like I'm In Love With Your Mom, Electrocute Your Cock, and Broads Is Equal. Kids were picking up anything in sight and flinging it at the band, and it was my job to admonish these twerps from throwing things, like a stodgy old school teacher. Nobody listened to me. I hated it.

Meltzer even chided me from the stage. "Hey, do your job, Tall Guy in the Vom Shirt. You're supposed to be protecting us. By the way, the fat punk chick in the front, you look like a piece of shit with lipstick!" Try defending someone who talks like that.

Not content to merely piss off the audience, they now incurred the ire of the club itself, when they went into their intense rendition of The Doors' My Eyes Have Seen You, which featured Meltzer and Turner pulled out a pickled jar of cows' eyeballs and bursting them on stage and throwing them out into the dance floor at all the heckling punks. The floor was sticky and slippery from formaldehyde goo with crushed eyeballs all over the place.

Well, after this Vom-itous bit of show business the sound man, like the voice of Zeus, thundered over the PA, "OKAY, ASSHOLES, GET OFF MY STAGE! NOW!!!" Of course, this made all the punks cheer as if God himself stepped in and sent the band to Purgatory.

There's a happy ending to some of this, of course. Meltzer shortly after got a hot radio show on KPFK-FM where he invited every punk band he previously insulted and they all played phony kissy face with each other, and then my picture showed up in a crummy fake "New Wave" magazine. Of course, all the idiot Hollywood punks chastised for posing wearing a Vom shirt. Never mind that these were the same people that couldn't kiss Meltzer's ass hard enough to get on his show.

Come to think of it, Richard Meltzer was probably right the first time. Hollywood punks are a bunch of phony assholes, after all.

I Thought It I Said It I Did It So There

As a general rule I don't make a habit of attending punk rock reunion shows. So many of them have the air of a high school reunion, people checking out each other to see who's still carrying off their punk rock moxie and who isn't; Who's held up through the years and who hasn't, and even worse, people who were never friends in the past blowing kisses to each other like phonies. But all those anti-reunion sentiments were blown out of the water when I heard about the Dangerhouse Records Show at The Echoplex on November 9, 2014.

The lineup, which featured The Alleycats, Rhino 39, The Deadbeats, The Avengers and The Weirdos, couldn't be beat. The show was amazing on several levels. Not only were all the performances top-notch but the bands stuck pretty close to the script: each set was a brilliant approximation of what it was like seeing any of those bands at the peak of their musical power in 1978. Every set was a perfect replication of what each band sounded and looked like back in the day.

The Alleycats played a locomotively charged set that was high on energy and low on frills, just like the old days. Randy Stodola was reliable as usual, although I thought his guitar could have used better grounding and a reunion with his signature Big Muff from the past. A lot of people were asking about former bassist Diane Chai, but like all punk legends she's just a ghost in the ethereal ozone.

Rhino 39 were pretty clever by doing a batch of Dangerhouse covers, like The Randoms' classic "Let's Get Rid Of New York" and Black Randy & The Metro Squad's "I Slept In An Arcade", so even if you weren't a fan of the band they still had your attention with their cool choice of covers.

The Deadbeats mixed their weird theater with atonal jazzisms and it was great to hear "Muggsy" and "I Just Shot A Girl Called Maria" again after all these years. Scott Guerin's voice is still pretty dynamic and it was great to see Geza X playing his awesomely warped guitar. I wish I caught their previous reunion show with my pal Pat Delaney on sax but there's always You Tube to catch some of that wildness.

The Avengers came on and played everything I remembered from the shows we used to play with them at The Whiskey in 1978. It was so close to the old days I was stricken with an overwhelming case of melancholy, and I don't even drink anymore. One great song followed another: covers of Paint It Black, Money, and the classics: Car Crash, The American In Me and White Nigger. The only blemish was Greg's overly chorus-laden guitar, a little too BritGoth for my taste, but there was no question that Penelope Houston is the queen of West Coast Punk and one of the first (I did a show with her at Mabuhay Gardens in the summer of 1977).

The nostalgia flashback got to be too much and we decided to leave The Echoplex - no Weirdos tonight but I'm sure they were great. Watching Dix Denney walk around the club in septuagenarian Keith Richards drag was disturbing enough! The show was sold out even at a ticket price of $22 - I remember when these shows were a quarter of that price, but nevertheless it was a priceless night watching old friends play and simply enjoying the fact that you can't go home again but every once in a while it doesn't hurt to pretend.

*****************

If there's anything I like it's a band that doesn't take themselves too seriously and Status Quo are all that. I discovered a terrific collection by them of their songs played "unplugged" (they call aQUOstic) including their cover of The Everly Brothers' "Price of Love" as well as their classic "Paper Plane", sounding surprisingly less like the metal heads they once were and more like Nick Lowe's Rockpile. There's some great stuff going on here!

By no stretch of the imagination am I a big Everly Brothers fan but I'm loving this strange album they recorded around 1967 time called "The Everly Brothers Sing". Their arrangements take a more psych-pop approach to the great Everly's vocals, and there are several cool drug songs on here, too, like Talking To The Flowers, Mary Jane (MURRRRAAAY JANE!!!!!) and A Voice Within, which was the B-side to the equally great Love Of The Common People. Also check out their awesome cover of the Buffalo Springfield classic "Mr. Soul", which features slide guitar and mandolin from Ry Cooder, the premier session demon at Warner Bros. during the psych era. You can find Mr. Soul on You Tube - you won't believe your ears.

***************

Rebecca recently played at the Steve Allen Theater in Los Feliz on November 5, 2014 with her pop-up band Cat Sabbath. In addition to Rebecca from Frightwig, Cat Sabbath included the great Sara Landeau from Julie Ruin,

Marissa DeMeglio from Wolf Prize and a mystery singer. Rebecca's growling and crackling guitar was as menacing sounding as ever! It was quite a spectacle: four witches dressed like cats playing Black Sabbath songs like "The Wizard" and "N.I.B.", 21st Century variations on the "Double Bubble Toil and Trouble" incantation from Macbeth. Yeth!

By the way, if you're really into wimmyn rockers or Riot Grrl music you might want to check out my latest eBay auction: The Courtney Love & Hole cover issue of Flipside Magazine, which also includes Bulimia Banquet and Mudhoney. Here's the link, folks:

http://www.ebay.com/itm/171562661930?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

***************

Lately I've been feeling pretty nostalgic for the good old days of rock brought to you by Circus Magazine, the gnarliest and ugliest rock magazine of all time. Although Circus was big in the late Sixties they really hit their stride in the mid-Seventies when they ran some of the most unflattering photos of rock stars performing. We're talking about live photos of Freddie Mercury coated in sweat with his hair getting nappy, Bryan Ferry singing with boogers hanging out of his nose or Ian Hunter from Mott The Hoople emoting with spinach leaves or stale pussy hair sticking in his teeth. You couldn't beat Circus Magazine in the disgusting factor.

Yes, hard-working musicians were shot at angles aimed right under their nostrils or luckily capturing their double chins, and there was always plenty of angles getting all those hairy chests just holding up all that valuable rock star sweat. Yum! Who couldn't resist dynamic snapshots of Ian Gillian's sweaty armpits with arms raised in the air? It's like that Junior High School newspaper covering the latest sports event.

The very pages of Circus just dripped ooze no matter how you sliced it and it was two steps away from being Scratch & Sniff. Why, Hit Parader Magazine almost turned green with envy. They tried to compete with their own brand of sweaty, smelly looking rock stars but they were no match for the true herpes festival that was Circus Magazine! Excelsior!