James Young Phillips, a/k/a James Atlee Phillips, a/k/a Philip Atlee, was my father. The man lived large and was somewhat of an enigma to us all. He was married three times and his last marriage was to my mother, Martha Phillips. Singer-songwriter Shawn Phillips is my half-brother from a previous marriage.

   I am the Copyright Holder of Record for all of his written works, excepting the screenplays which are the properties of the studios for whom he wrote them. We are working to get the books into digital format, including an unpublished autobiography, and at least one short story compilation. Jim wrote several unproduced screenplays as well, but the publication rights to those items is a bit more tricky. We will see what happens.

   To answer a few questions: My father resisted having his photograph taken under any circumstances. He reluctantly relented for obligatory family functions and even then often did so with a pair of his trademark dark sunglasses on. He was the subject of several newspaper articles over the years and always used the same picture — black turtleneck and dark glasses.

   Said photograph was taken for an article published in a Hong Kong newspaper in the late ’60s/early ’70s. There will be plenty of photos in the autobiography, including that one. The work is slow as I am at it by myself and struggled with serious health issues for over a decade. Thankfully, those problems are now fully resolved and I am capable of doing work again.

   The man pictured on the cover of the Joe Gall novels is an Irish bartender whose name may be lost to history. He was discovered by either Jim’s agent or a representative of Fawcett/Gold Medal and seemed to fit the description of Joe Gall. He was paid a flat fee for a photograph session and was thereafter pictured on the covers.

   We have had numerous inquiries over the years re: Joe Gall film projects. We had Clint Eastwood calling in the ’70s/80s and most recently David Mamet. We’ve also had some discussion about audio books and graphic novel versions, but the process is what it is in each case. There has never been any hesitance or reluctance (or greed) on my part, I can assure you. I, too, am a fan of the works and would love to get them out there for people to enjoy in whatever format I can.

   Jim went through life traveling light — he regularly discarded of documentation and paperwork for all aspects of his life. He did so to such a degree that the sum total of his possessions at the end of his life were a few pieces of clothing, a typewriter and a box of blank paper, and a few scribbles on notepads. Clarity on copyright, history, origins, all of that stuff, has been elusive to say the least.

   My intention is to get the works, including SOME of the unpublished material, onto Amazon this year. Digitizing via OCR, proofing, artwork – for a 22 book series, plus 5 other novels, and the short stories – is a MASSIVE amount of work for even a group of dedicated people. But we are determined! The autobiography will take a bit longer, what with the photos and so forth. The book itself is quite the read from a very opinionated character who didn’t have a PC bone in his body and we are all the better for it!

   I have cruised by Mystery*File over the years, but had nothing to add as I was too ill for even the obligations of a muted correspondence.

   I want to thank every single person who has said such positive things about my father and his works (and my brother as well). You are all truly appreciated and recognized. I hope that we can do your interests justice and produce material that meets your standards and that everyone can enjoy. Many thanks to all of you amazing people!

       The Joe Gall series —

The Green Wound. Gold Medal k1321, July 1963 [New Orleans, LA]
   — Reprinted as The Green Wound Contract, Gold Medal, 1967.
The Silken Baroness. Gold Medal k1489, 1964 [Canary Islands]
   — Reprinted as The Silken Baroness Contract, Gold Medal, 1966
The Death Bird Contract. Gold Medal d1632, 1966 [Mexico]
The Paper Pistol Contract. Gold Medal d1634, 1966 [Tahiti]
The Irish Beauty Contract. Gold Medal d1694, 1966 [Bolivia]
The Star Ruby Contract. Gold Medal d1770, 1967 [Burma]
The Rockabye Contract. Gold Medal d1901, 1968 [Caribbean]
The Skeleton Coast Contract. Gold Medal D1977, 1968 [Africa]
The Ill Wind Contract. Gold Medal R2087, 1969 [Indonesia]
The Trembling Earth Contract. Gold Medal, 1969 [U.S. South]
The Fer-de-Lance Contract. Gold Medal, Jan 1971 [Caribbean]
The Canadian Bomber Contract. Gold Medal T2450, August 1971 [Montreal, Canada]
The White Wolverine Contract. Gold Medal T2508, Dec 1971 [Vancouver, Canada]
The Kiwi Contract. Gold Medal T2530, Feb 1972 [New Zealand]
The Judah Lion Contract. Gold Medal T2608, Sept 1972 [Ethiopia]
The Spice Route Contract. Gold Medal T2697, April 1973 [Middle East]
The Shankill Road Contract. Gold Medal T2819, Sept 1973 [Ireland]
The Underground Cities Contract. Gold Medal M2925, Feb 1974 [Turkey]
The Kowloon Contract. Gold Medal M3028, August 1974 [Hong Kong]
The Black Venus Contract. Gold Medal M3187, Feb 1975 [South America]
The Makassar Strait Contract. Gold Medal P3477, March 1976 [Indonesia]
The Last Domino Contract. Gold Medal 1-3587, 1976 [Korea]

STEVE MUDD – The Planet Beyond. Popular Library/Questar, paperback original; first printing, September 1990.

   There is an elite among the population of Seelzar, and only they have access to the powers provided by the mysterious Wells. Cross them and wham! You’re in exile before you know it.

   As for me, I know I’ve read far enough when: I’ve read five chapters and suddenly realize that I haven’t come across anything of interest so far.

   I know I’m right when: I read the last page, and find that the last sentence is “It was going to be a challenge indeed to get out of this alive, let alone with the Scepter.”

[UPDATE]   I’ve just done some online research about this book, something I couldn’t have done back in 1993. What I’ve discovered is that this book is actually a sequel to an earlier one, Tangled Webs (1989), a fact not at all indicated on either the covers or the blurbs inside this one. Not only that, but another source suggests that this book was intended to be the middle of a trilogy (as that last line indicates), but for whatever reason, the concluding volume was never published. I have come across no information on the author himself.

ED GORMAN, MARTIN GREENBERG, LARRY SEGRIFF & JON L. BREEN, Editors – The Fine Art of Murder. Carroll & Graf, oversized trade paperback, 1993. Galahad Books, hardcover, 1995

   What can I say about a book that has pieces by: Bill Crider on Texas Authors; Marv Lachman on Rockey Mountain Mysteries; Ellen Nehr on Cat Mysteries, Dog Mysteries, and the Doubleday Crime Club; Walter Albert on Researchers; Bob Napier on Fandom; Janet Rudolph on Conventions and Mystery Weekends; Peggy Albert on Nancy & Jessica; and Steve Stilwell interviewing Al Hubin.

   Well, I can say that I can’t imagine any real mystery fan not finding enough of interest to make the book worth the $17.95 purchase price. Besides the luminaries listed above, there are pieces by such lesser lights as Larry Block, Bill DeAndrea, Harry Keating, Ed Gorman, Max Allan Collins, John D. MacDonald, Vin Packer, Carolyn G. Hart, Bill Pronzini, Margaret Maron and a further cast of dozens.

   Jon Breen contributed the introductory remarks for most of.the`various sections. Many pieces are original, some are reprinted, but all were written by people who know how to write and write well, and did. My own favorite sections were on pulps and paperbacks, but there’s something (and more than one something) for everyone. It’s a browser’s delight that covers just about every aspect of the field, written by a group of people who know their subject.

DAVE J. GARRITY – Dragon Hunt. Signet P3203, paperback original, 1967.

   Even if you’re a staunch Mike Hammer fan — and, yes, Virginia, of course there are — chances are still good that you’ve never heard of Peter Braid. One of Hammer’s best private eye drinking buddies.

   You don’t believe me? Don’t just take my word for it. Here’s the quote from the front cover: “Guts, action … the kind of stuff I like to read.” So says Mickey Spillane. On the back cover is a photo of Spillane and Garrity together, presumably comparing notes on each of their heroes’ latest adventures. And the coup de gras: on page 74 of the book in hand, Peter Braid is in a jam, and who does he call on to keep an eye on his client’s granddaughter? Mike Hammer. That’s who.

   Apparently none of the Hammer mystique rubbed off, however. No so far as the buying public was concerned. According to Al Hubin’s Bibliography, none of the other four Garrity/Gerrity books were vehicles for Peter Braid, although, one, The Hot Mods (also published by Signet, 1969), might be. Hardly a sign of significant commercial success, wouldn’t you agree?

   Braid refers to his lady acquaintances as hairpins. Cigarettes he calls nails. He has a wide propensity for wiseass leers, and the case he’s working on is plotted in comic book proportions. I liked it.

   His client is a wealthy Wall Street retireee. He fears his son has evil designs on his granddaughter, Braid is St. George. Cain DuMont, son of Adam DuMont, is the dragon, the Dark Man, the man in black. His mind is twisted.

   As much as they were intended to, the edge-of-the-chair climax and the accompanying heroics include no real surprises. They were effectively done, however, and the make for a fitting close to a tough guy novel Which probably means exactly what you think it does. Garrity wrote and thought in cliches, but as sure as anything, he enjoyed what he was doing. If there ever was another Peter Braid case after this one, I hope somebody out there lets me know.

   A nice Ron Lesser cover, by the way, apparently of the granddaughter, wearing next to nothing at all. (Yes, Virginia, it’s in the book.)

HIGH SCHOOL HELLCATS. American International Pictures, 1958. Yvonne Lime, Bret Halsey, Jana Lund, Suzanne Sydney, Heather Ames, Nancy Kilgas, Rhoda Williams. Director: Edward Bernds.

   With a film title like High School Hellcats, you know you’re almost certainly in for a movie that is more exploitation than artistic. Did I mention it’s an American International Pictures production? They more or less had a corner on the teen and juvenile delinquent low budget market back in the 1950s. This particular product – er, film — is true to form. It’s got wild teenagers doing bad things, worried and strict parents who just don’t understand the younger generation, and a misbegotten romantic couple struggling to make things work despite the chaos that surrounds them.

   What makes this particular story different from many of the similar juvenile delinquent and hot rod movies churned out at the time is that the focus is on a female gang. You read that right. The leader of the gang may be mean, but her lieutenant is downright sadistic.

   When innocent, but rebellious Joyce Martin (Yvonne Lime) shows up at her new school, it doesn’t take long for her to be bullied by the Hellcats. Soon enough, she’s joining their ranks at a late night initiation ceremony at an abandoned movie theater. It doesn’t take long, however, for Joyce’s romantic life to be strained by her membership in the Hellcats. When the gang’s leader dies under mysterious circumstances, Joyce realizes that she has signed up for more than she has bargained for.

West Coast big band jazz from 1961:

JANE. BBC 2, 1982-84. Glynis Barbera as Jane Gay, Robin Bailey as Colonel Henry, Max Wall as Tombs, Dean Allen as Georgie Porgie, and Suzanne Danielle as Lola Pagola. Written by Mervyn Haisman; based on the long-running British The Daily Mirror comic strip “Jane” by Norman Pett. Title song written and performed by Neil Innes. Graphic Design Director: Graham McCallum. Illustrations: Paul Birkbeck. Producer Ian Keill. Directed by Andrew Gosling.

   JANE was an odd and dated series even when it first aired in 1982. Jane Gay was a cheerful innocent blonde beauty whose love for adventure always resulted with Jane trying to save the day while wearing nothing but her underwear. Her loyal companion was her dog Fritz, a dachshund (aka wiener-dog).

   JANE was based on a popular British comic strip created by Norman Pett, the comic strip JANE (aka JANE’S JOURNAL, OR THE DIARY OF A BRIGHT YOUNG THING) ran exclusive in The Daily Mirror from December 5, 1932 to October 10, 1959.

   Jane has been adapted to other forms. Chrystabel Leighton-Porter played Jane in a burlesque stage play in the 1940s that traveled Britain entertaining the troops and town people during WWII. Leighton-Porter also played Jane in a 1949 film, THE ADVENTURES OF JANE directed by Edward G. Whiting. A 1987 movie JANE AND THE LOST CITY starred Kirsten Hughes and was directed by Terry Marcel.

   The humor was juvenile, sexist and full of double entendres. The most unique aspect of the TV series was the settings. The actors performed in front of a green screen. Later a drawn background to resemble a comic strip background was added. The result featured an unusual look of the real actors performing within comic strip-like panels.

   The TV adaptation was an hour long made up of five ten minute long episodes. The YouTube video of JANE has merged all five episodes together. There would be a second series two years later in 1984 called JANE IN THE DESERT.

   Popular British actress Glynis Barber starred as Jane. Barber is better known for playing the strong independent roles of Soolin in Series Four of cult science fiction BLAKE’S 7 (1981) and Police Sgt. Harriet Makepeace in successful cop show DEMPSEY AND MAKEPEACE (1985-86). Jane was certainly a different type of woman for Barber to play, much to her credit Barber excelled in all three roles.

   Set during WWII the story begins when Colonel Henry ask Jane to join him on a secret mission. The two are to meet a Professor in a haunted mansion. Before they can find the Professor they learn there is a Nazi spy in the area. Luckily for England, even stripped to her underwear does not stop Jane from fighting off Nazis and the Colonel’s advances.

   JANE is a good example of a form of entertainment rarely seen today. That is a shame in a way. Jane was a determined woman who refused to let the limits she faced in that era’s culture stop her from experiencing a life of adventure. The men were all idiots for never seeing Jane as more than an object. Wisely, Jane willingly sacrificed her modesty for good of the entire free world — a job jolly well done.

JOHN & EMERY BONETT – Dead Lion. Doubleday Crime Club, hardcover, 1949. Pocket #738, paperback, 1950. Perennial Library, paperback, 1982.

   John and Felicity Carter Coulson (who write under the names John and Emery Bonett) have collaborated in a fruitful mystery career as well as a marriage. Their official joint debut came with the publication of Dead Lion, a fine example of the post-World War II British mystery.

   Simon Crane comes to Britain to meet his famous uncle — critic, author, and BBC intellectual Cyprian Druse — for the first time. Instead, he finds Druse’s body, his head stuck out a window and his neck bloody and broken. It soon becomes clear that many people wished to break Druse’s neck: the many authors he destroyed with his vitriolic criticism, and the many women he seduced, humiliated, and abandoned.

   When Simon finds himself in love with one of his uncle’s embittered conquests, he no longer wishes to play sleuth. Unfortunately, Professor Mandrake does. Mandrake, an anthropologist by trade, had been a BBC colleague of Druse’s. More important, he is a natural-born busybody and student of humanity just waiting for a chance to try his hand at detecting. While Simon tries to shield the woman he loves, Mandrake continues to happily meddle, eventually triggering the novel’s tragic conclusion.

   Dead Lion is an exquisitely crafted classical mystery. But besides providing a satisfying puzzle, like its many Golden Age predecessors, this novel also features three-dimensional, modern characters with psychological quirks and motivations. With small touches, the authors also manage to convey what life was like in England after the war. Theirs is a classic puzzle with new depth and Professor Mandrake as a lovable series sleuth.

   The fat, homely professor appears in two other books — A Banner for Pegasus (1951) and No Grave for a Lady (1959). Later Bonett novels with a Spanish sleuth and Costa Brava locale are well constructed but lack the charm of the Mandrake mysteries.

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

The Roaring 420s is a current band from Germany about whom one online source says:

“Sounding like a weird marriage between the Beach Boys and The Velvet Underground, this five-piece combo delivers surf and psych pop as catchy as a fever.”

NILES N. PEEBLES – Blood Brother, Blood Brother. Pyramid X-2042, paperback original, 1969.

   There’s not much known about the author. It does appear to be his real name; Hubin’s Crime Fiction IV lists possible birth and death dates for him as 1928 and 1980, respectively. The first adventure of private eye Ross McKellar was entitled See the Red Blood Run, published a year earlier than this one, also by Pyramid. This is the second, and this was it. There are no others.

   McKellar describes himself as underemployed, and as definitely not the independent type. He’ll do any kind of job that pays money. He is as admitted admirer of Hammett and Chandler, but in this case at least there are no mean streets to go down. An old buddy now a big name in the pubic relations business needs big help. A profitable blackmailing scheme seems to be backfiring. McKellar’s investigations are conducted in the world of high finance, and not at all in the deep dark shadows of the underworld.

   When it comes time to cuddle the old buddy’s widow after he’s gone, a woman he’s loved in silence all these years, McKellar suddenly becomes shy. Hands-offish. That’s the kind of guy he is.

   Some envelopes are missing and have to be chased around. Interesting, but not intriguing. Catching the murdering blackmailee is not the work of brilliant deduction, but is the result of a gimmick instead…

   For what it’s worth, the book is easy to get through, and it has a pretty good twist at the end. It should also be noted that whoever wrote the synopsis on the back cover pretty obviously never read any of the story at all.