|Vintage Pulp||Nov 19 2017|
|Vintage Pulp||Oct 23 2017|
“It is at this point—still on the Great Plains, but with the towering mountains so close that it seems as if a man could reach out and touch them—that Skyline City occurs. The city itself has had many incarnations. At first it was no more than a stagecoach stop, a fort and a trading post. Then, with the advent of cattle ranching on the plains and the discovery of gold in the Rockies, it grew and prospered. It became a center of trade and finance—the capital of an enormous Western empire."
These days Denver is the capital of an enormous collection of immigrants from other states. More than three-hundred thousand came from California, mainly fleeing the west coast's culture, taxes and—ironically—its immigration. Such people would not recognize the city described in Sex on Arrival, but indeed, Denver was once a live-and-let-live paradise where the foolishness described by the author wouldn't have raised an eyebrow. And we're talking about during the eighties when we were young. We can't even imagine what the city was like in 1968.
Thus the book, though set before our time, is a bit of a nostalgia trip for us. On the whole it's a love story—with numerous sexual detours of semi-explicit variety. Semi explicit as in: “Then she wriggled around and her lips were on him. And the sensation radiated outward from his groin in stronger and stronger waves. It was almost more than he could bear. Almost more than any man could bear.” It's racy but not pornographic, and the interludes are short and widely spaced, as actual plot rears its ugly head.
Midwood sleaze titles were generally written under pseudonyms, and this particular author was probably Donald E. Westlake, who admitted producing close to thirty books as Marshall and Alan Marsh. But other authors used the Marshall name too. It isn't possible to know whether this is Westlake—at least not for us—by looking for hints of his style. Whoever wrote this worked fast, and the haste shows. But if you can pick it up cheap—and we mean real cheap—it's worth a read.
|Vintage Pulp||Oct 15 2017|
Above, just another brilliant effort from illustrator Paul Rader, this time for The Reluctant Nympho by Joan Ellis, 1968.
|Vintage Pulp||Sep 6 2017|
This is a cover we've seen around the internet more than once, but we don't mind that it's been used a bit. Nympho Librarian was written by Jake Moskovich under the pseudonym Les Tucker, and the copyright is 1970. The art was painted by Paul Rader, and we rate it a top effort from him, possibly even iconic, considering these days you can buy this cover as a refrigerator magnet. Quick question: do you go to the library? Well, you should, because with usage declining, doing the above without getting caught is probably easier today than ever. Give it a try. Nymphos are in the stacks right between nutrition and oceanography.
|Vintage Pulp||Aug 9 2017|
If hands could have erections this is what it would look like, because to us the guy on the front of Paul V. Russo's This Yielding Flesh seems about to lose it in a messy way. But the book is not actually about a guy with overly sensitive hands—it deals with a woman who runs into some shady characters at a music festival, and who then attracts a protector determined to save her from the evil counterculture and its rampant sexual deviancy. Drugs, lesbians, and hippies—but no hand orgasms—all under the umbrella of light sleaze. Paul V. Russo was a pseudonym used by Gilbert Fox, and this effort dates from 1961, with art from Paul Rader, who outdid himself.
|Vintage Pulp||Aug 3 2017|
Here's another mid-century novel for the ever growing lesbian corruptor bin, When Lights Are Low, by sleaze maestro Dallas Mayo, 1963, for Midwood-Tower. Mayo was a pseudonym inhabited by Gilbert Fox, who apparently wrote this when Midwood honcho Harry Shorten conjured the title out of thin air at lunch and told Fox to produce a book to go with it. You can read that tale at paulrader.com. Fox was super prolific, writing many books as Mayo, as well as under the names Kimberly Kemp and Paul V. Russo. The cover art is yet another brilliant effort from Paul Rader. It's inspired us to go have a snack of our own.
|Vintage Pulp||Jul 15 2017|
This cover for Rock Anthony's 1963 novel Fringe Benefits was painted by Paul Rader and ranks as one of his most famous pieces. You see it everywhere. But as far as we know, nobody posting the art has bothered to read the story, so we bought a copy of this Midwood Books classic and sat down with some cold white wine. It took just over three hours to read, which was perfect timing because we were out of wine by then. Basically, you have a corporate drone who has his pick of women but isn't inspired by any of them. There's Adele, the society woman who's the major shareholder of the company. There's the boss's smoldering cougar secretary Mildred. There's the drab but sweet office assistant Nina. There's Gladys, the always available member of the steno pool. And eventually there's the eighteen-year-old new girl Dolly. We have no idea which one is supposed to be depicted in Rader's cover art. Probably Mildred, though she's a redhead in the book.
Anyway, the protagonist's continual scheming to get laid leads to him landing an executive position, and from there he finds himself in the middle of a takeover war. If he makes the right moves he'll end up as company president, and if not—well, at least he still has love. And is there any doubt who he'll end up with? Take a guess. Of course it's the drab but sweet Nina—but only after she transforms herself into a super hotty. Fringe Benefits may be a classic in the pantheon of mid-century sleaze art, but don't be fooled into reading it. There isn't enough humor or sex to maintain interest, and with vocabulary like “sarcasmed” and “sideglanced,” the writing might make you wonder if Rock Anthony got his break because he had an uncle in Midwood's executive suite. You know what the real fringe benefit is? We read the bad books so you don't have to.
|Vintage Pulp||May 31 2017|
Above, The Teaser, by Jason Hytes, aka John Plunkett, for Midwood Books, with top notch brushwork by the wizard of sexually suggestive paperback art Paul Rader. The story: a virginal girl is taught about sex by her eager lover, but shows such an aptitude for it that her desires grow to the point where they become perverse and freaky. Sounds like the perfect woman to us. Copyright 1963.
|Vintage Pulp||Mar 25 2017|
Above, a cover for a rare triple novel featuring the sleaze work of Joan Ellis, Jill Hammond, and March Hastings. We like how the stories cover three different stages of life—Teen-Age Sex Party is high school, Office Playmate is the working world, and Experiment in Adultery is married life. A follow-up triple included Middle-Aged Miscreants, Retired but Desired, and One Dick in the Grave. Well, not really. But we missed our calling, don't you think? The cover art here is from Paul Rader, and the copyright is 1968.
|Vintage Pulp||Feb 4 2017|
A gringo detective with an agency in Mexico City is hired to locate his crooked ex-partner, who has bailed with the agency's money, and now is causing trouble for the client. The PI takes the job, glad to be paid to track down his betrayer, and starts in the Mexican town of Rio Bravo where the partner immediately turns up dead. From there the hero delves into local corruption, crosses the border to Texas, uncovers a human trafficking ring, meets a cantina dancer named Arden Kennett, deals with a dangerous wife, watches murders pile up and the police begin to suspect him, and learns that knives can be thrown just as effectively as they can be brandished.
The book was published in the U.S. as an Ace Double in 1959 with Paul Rader art and bound with Charles Fritch's Negative of a Nude, but the rare edition above is from Aussie imprint Phantom Books and appeared in 1960. We can't identify the artist, which is an affliction we've been dealing with quite a bit of late. But don't blame us—as we've mentioned once or twice before, including just a few days ago, Phantom didn't credit art, possibly because much of it was copied from U.S. editions. Many of the covers do, however, look like the same hand, so hopefully someone will be able to ID the owner of that hand at some point in the future.