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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is poet-turned novelist Dave Malone @dzmalone
As a boy, I stayed up late without my parents’ knowledge, my ear chaffing against stainless steel of transistor radio. Huddled in my bed, I kept my 10-year-old attention alert for the opening to the CBS Radio Mystery Theater, hosted by EG Marshall.
In the country dark of the Midwest, my radio crackled until the bliss of hearing that creaking, almost screeching, door open the show. Then, ominous string and percussion, followed by EG Marshall’s distinct, authoritative voice. And lastly, words coming to life and bringing mystery stories into my bedroom. My imagination soared with dirty dealings, the macabre, and shadow.
While I’ve spent most of my writing life as a poet, I have never lost my love for mystery and detective stories. Living in the Ozarks provides quick and easy access to inspirational characters. Most Ozarkers are no-nonsense and a welcoming bunch — to a point. It was this kind of straightforward man I wanted in my private detective, Walt Records. In my novelet, Not Forgiven, Not Forgotten, I wanted him educated at college for a couple of years, before he considered it useless. And I wanted him a smart-ass, but wise. Tough, but tender.
Music is almost always essential for me to getting started, to diving down into the moment. Whiskey has a similar effect, of course. I like to write in the early afternoons. With a bourbon. Everything else fades away, except the characters, the moments.
My private detective keeps shop on the downtown square of a small Ozark town. About the only other private dick in the county, Records comments:
Jones ain’t as good as me. He’ll charge you double, and he’ll find the same shit I did.
For Records, I needed music dark and soulful. Something rural and tough. Something lean. And I found it, in The Hank Dogs. The British band’s eponymous album played throughout not only just the composition but the revision as well.
Mostly, I’m interested in the sounds of The Hank Dogs. The female vocals, the harmonies, the trailing guitar. However, I’m an Angel could well have been written by Walt Records himself who narrates the stories. The song’s sentiment is that we are being judged — not necessarily by Records — but actions have consequences on a person, and this is very much this private detective’s belief. Records is a dark, sarcastic anti-hero, yet he acts with integrity. Despite his fuck-ups and misgivings, he knows he’s ‘an angel by comparison’ to others, including a town preacher and the community’s leading philanthropist — who both are leaders in the town’s dark underbelly of drugs and scams.
There wasn’t anything better to get me started with the action of Not Forgiven than a pleasant three fingers of Wild Turkey and some Hound Dog Taylor and the Rockers. Upbeat, tough, mean, spirited, tender, poetic describes this powerhouse of an album. She’s Gone, Walking the Ceiling and Give Me Back My Wig are three winners. I played this CD while Records chased down leads: crashing Adam’s Rib bar, getting pistol-whipped by the corrupt preacher man, and flying through the night in his old Chevy Cav for the next clue.
The love interest, Madeline (Mads), is a lanky, tough, strawberry blonde, and according to Records
That girl is all fire and no rain.
Mads is strong and independent, and the Cowboy Junkies’s Witches set the mood I needed for Records’s arrival at her place when he wasn’t sure she’d be interested:
I wouldn’t say it. Cuz a man only says certain things to a woman. Madeline might have known I’d been clobbered in the face by the butt of a .357, but she didn’t say nothing about it when she answered her door at 10:14 that night. She hadn’t gotten a text from me, and she was a free woman, but I played the odds that on a weeknight, another rooster weren’t in the chicken house.
To keep me from getting too romantic, I drafted their love scenes by also listening to Billie Holiday’s God Bless the Child. It has such greats as I Don’t Stand a Ghost of a Chance with You, I Cover the Waterfront, Don’t Explain, and He’s Funny That Way. He’s Funny (lyrics here) plays into the spirit of both Records and Mads — tough Ozarkers, they ain’t beauty queens. But they’re real solid inside. And maybe despite town corruption and any personal insecurity, these two strong characters might find love in Not Forgiven, perhaps like a boy who found love so many years ago in an unexpected place — a storied voice on a transistor radio.
From the Missouri Ozarks, Dave Malone writes crime fiction and is also the author of five poetry collections, including Seasons in Love. His latest volume, View from the North Ten: Poems after Mark Rothko’s No. 15, is forthcoming from Mongrel Empire Press. His interests, bordering on obsessions, include Alan Watts, Ozark culture, crime fiction, gardening, and minor league baseball. He publishes a monthly e-newsletter, If I Had a Nickel, whose title derives from the sentiment of his rascally Ozark grandfather. For more, visit davemalone.net or find him on Twitter @dzMalone.
GIVEAWAY: 5 Kindle copies of Not Forgiven, Not Forgotten to be won! Dave is excited to give away a generous 5 copies of his novelet to commenters here – and as usual, extra entries if you report in your comment that you’ve spread the word on other media.
American Midwest, authors, Billie Holiday, CBS Radio Mystery Theater, contemporary fiction, Cowboy Junkies, crime, crime fiction, Dave Malone, Desert Island Discs, drama, entertainment, Hound Dog Taylor and the Rockers, literary fiction, literary novels, male writers, Midwest, music, music for writers, music for writing, My Memories of a Future Life, Mystery, mystery fiction, Nail Your Novel, noir, noir fiction, Not Forgiven, Not Forgotten, playlist for writers, poet, radio mystery theater, Roz Morris, The Hank Dogs, the Ozarks, The Undercover Soundtrack, undercover soundtrack, writers, writing, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2017. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
Find something unforgettable
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- ‘A dead soul, a journalist in a dystopian Scotland, and painful family memories’ – The Undercover Soundtrack, Philip Miller
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'