Wild Dog Zine

Josefus and An End to LSD-Laced Oranges at Milby Park (1970)

Prior to Houston’s first wave punk scene, the city held its own during the psychedelic underground of the late 1960s, with legendary venues such as Love Street Light Circus downtown and its own version of Woodstock in Milby Park every Saturday and Sunday.

Local psych and garage rock bands performed for free on the rolling hill where nearby trees concealed coolers full of LSD-laced oranges. The venue at Milby Park ended abruptly, once again under the boot of an antagonistic HPD.

Formed in Houston in 1969, Josefus was a latecomer to the Houston psychedelic circuit, which included 13th Floor Elevators and Red Krayola, two of the most notable Texas acts from this era. Playing at Milby Park and other local venues, Josefus’ darker experimental sound bridged acid rock and blues-infused Southern rock; however, the sound was not harmonious with Summer of Love psychedelia.

Dead Man, the band’s first full length album, was released in 1970. While the band dissolved shortly after this debut, it was revived again in 1978 with a new lineup, and Josefus released several singles on its own Hookah label. Josefus continues to perform sporadically as of 2013.

Simultaneous to Houston’s earliest punk bands, WILD DOG zine acknowledged the garage and psych rock music that influenced — yet created a rift within — the newest wave.

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(Media courtesy of Wild Dog Archives.)

Wild Dog Zine: The Hates on Destruction at the Island (1981)

“In the past there have been alot [sic] of situations where people were up and pogoing, but there has never been fist fighting and destruction as went on at my last two shows. There were things being thrown at us, and I liked it.” — Christian Arnheiter on performing at the Island, WILD DOG #5 (1981)

Christian Arnheiter formed Guyana Boys Choir with bassist Robert Kainer and drummer Mike McWilliams in 1978. The band’s first live performance took place December that same year as an opening act for Louisiana Zydeco performer Clifton Chenier, at the downtown Masonic Temple.

Guyana Boys Choir was short lived, and Arnheiter regrouped as Christian Oppression with drummer Glenn Sorvisto and bassist Ed Felch. The band was renamed The Hates after Kainer rejoined Arnheiter. The Hates’ first two EPs were recorded at Wells Sound in Houston in 1979 on the band’s private label, Faceless Records.

“The punk scene in Houston is systematically suppressed,” Christian Arnheiter said in WILD DOG #1 (April 1979). Arnheiter commented in a 1981 interview (pictured) with WILD DOG that punk shows were becoming more violent at the Island — and that he enjoyed this response.

“There’s a punk crowd in Houston, and this is part of that hardcore crowd,” he said. “It’s building up; before you just had a few people going crazy in the crowd. There seems to be different factions, too…they really didn’t get along, and I thought it was great.”

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(Original galley courtesy of Wild Dog Archives.)

Grass Roots Activism, Rock Against Racism (1979)

Before WILD DOG zine, Henry Weissborn, a sociology student at the University of Houston and President of the Direct Action Committee (Yippie Chapter), edited the organization’s underground zine, ULTRA (1978-1979), which covered civil disobedience, gay rights, feminism, marijuana reform, anti-nuclear campaigns, and the counterculture.

In 1979, Weissborn booked New York’s Joy Ryder and Avis Davis to headline a Rock Against Racism (RAR) outdoor concert/event at the University of Houston. The Yipster organized show was cancelled at the university campus, and the lineup was rescheduled at the Paradise Island club. Houston’s first RAR concert on April 1, 1979, featured first wave punk bands Really Red, Legionaire’s Disease, and Christian Oppression (The Hates). Vast Majority, a band Weissborn later joined as Henry “Bad Guitar” and helped to produce its only release on Wild Dog Records, made its first appearance at the venue, as did AK-47.

ULTRA #4, Weissborn’s last issue, covered Houston’s emerging punk scene in its last pages and notified readers about an April 1 “Be In.” Only weeks after the RAR showcase, WILD DOG #1 debuted in April ’79.

“We’ve only just begun,” Weissborn said in his inaugural Editor’s Note in WILD DOG. “The Houston punk scene is getting off the ground…the April 1 Rock Against Racism brought out virtually all the punk bands in town. Wild Dog hopes to keep the heat on!”

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(Students of the University of Houston. Houstonian 1977 – Seniors: Voigt – White. Houstonian Yearbook Collection. Special Collections, University of Houston Libraries.)

Wild Dog Zine: X on Chicano Punks, L.A. and Selling Out (1981)

“Obviously, the scene we come from is gone. But we still believe in the whole thing…All the bands in L.A. that started out three years ago are still doing what they believe in and they don’t do it for money.” — Exene (interview with WILD DOG zine)

Henry Wild Dog sat down with members from L.A. band X in 1981, four years after its debut 45, Adult Books, was recorded.

In this exclusive interview, Exene Cervenka (vocalist) — with a copy of WILD DOG #4 in hand — and John Doe (bassist) discuss an appearance in the Decline of Western Civilization, Mexican punk bands in L.A. and Houston, feeling “creepy” about being on the road, the death of The Germs‘ Darby Crash and the band’s unwavering resolve to stick it out with an indie label. x-interview-wd-5 (1)

(Official galley courtesy of Wild Dog Archives.)

Bottle & Chair Throwing Melee (1981)

Two DEAR HENRY WILD DOG letters from the Helen Wheels Band reference a Ritz riot ignited by the John Lydon (aka Johnny Rotten) outfit Public Image Ltd., Texas Punk, Wild Dog, and a mention of Houston’s Island rock club (see bio below from “25 Legendary Houston Music Venues”).

The Island

Known variously as Rock Island, Paradise Island and just plain the Island, this former Mexican restaurant on Main Street was Ground Zero for Houston’s punk rock scene between 1978 and 1983. In addition to providing a stage for local upstarts such as The Hates, Mydolls, Really Red and the Judy’s, the Island also hosted legends from the Dead Kennedys, Black Flag and X to like-minded Texas groups Butthole Surfers, Big Boys and MDC. The atmosphere was rank and the threat of violence and police harassment lingered over many gigs, but the DIY scenester spirit of the place made it fertile ground for no-rules rock experimentalism. — Houston Press

TRANSCRIPT

March 8, 1981

Dear Henry,

I was real glad to get your letter, cause although I get fan mail from all over the USA & some Europe, I’ve NEVER gotten a letter from Texas, & I know Texas is BIG & there must be lotsa real rock n roll & not just boogie music. I think Wild Dog #? (that you sent me) is a great fanzine though I was not familiar with some of the bands (texas?). Was proud to see me on P. 20! ….

If you ever get to NY (or whenever we make it to Texas) I’d like you to be our guest at a show. We hope to have some T-shirt/buttons & most of all a record deal soon, but for the time being we could send you a couple of ravaged guitar picks if you want some HWB memorabilia….

Yours in Rock n Roll,

Helen Wheels

TRANSCRIPT

June 1, 1981

Dear Henry,

Hope things are going well for you in Houston & I thought I’d drop you a few lines to let you know how things are going with us. First off, we were called in especially to headline The “Ritz” on Sat. May 16 after the riot that “Public Image Ltd.” was responsable [sic] for the previous night. It seems that “P.I.L.” refused to come out from behind The Ritz’s video screen and then shouted obscenities at the crowd which caused a bottle & chair throwing melee.

No announcement was made about “P.I.L.’s” cancellation for the 2nd night & all of The Ritz’s stage hands warned us that we were in for the same, however, we got 2 encores at the end of the night! They called us at 5:00 p.m. to do the show that night and it was amazing how quickly we got it together.

I’m writing you from the Secret Sound in N.Y. where we’re recording our new 12″ 6 song E.P. It is being produced by “Blue Oyster Cult’s” Joe Bouchard and engineered by Corky Stasiak who worked with Lou Reed and The Clash so you know it will be “state of the art” work…

Thanks for your info on Texas Radio. I unfortunately misplaced the list, so if you were to be so kind, when next you write, please send out the list again. Also, I’d love to get some info on stores in your area where we could sell the record for CASH UP FRONT ONLY. We will be selling it via mail order, however we are looking for stores that we can sell the record for upfront money. When it comes out, we’ll of course send you a copy for review and place an ad in “Wild Dog” as well as sending a copy to Phil Hix & Richard at the “Rock Island” in Houston…

Sincerely,

Name Unknown [Road Manager for HWB]

P.S. by Helen Wheels

Hi, Henry — You won’t believe this record — It’s gonna be a world-wide hit.

Room to Rage, Destinations Unknown (1983)
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TRANSCRIPT

No date

Hi Henry! Long time no hear — How you doin? How’s Wild Dog? Did you receive the record we sent you? Thought you might enjoy this pic from Halloween — We may be going to Japan in August! “Postmodern Living” is currently receiving airplay in 38 states!

Best Always, Helen

(Image courtesy of Wild Dog Archives.)

Halloween at the Old Spit (1981)

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halloween-letter copy

TRANSCRIPT

October 26, 1981

Dear Henry Wild Dog —

Nice to hear from you & glad of your continuing interest in the band — Here’s a couple flyers on some of our upcoming gigs. Yes the record has been quite delayed in release, but the package is STUPENDOUS & unique (& almost complete). Also guitarist Jack Rigg is no longer with the band & has been replaced for the time being w/ Scott “Top Ten” Kempner — formally of The Dictators. (He was my guitarist for about 1 1/2 yrs w/ an earlier HWB [Helen Wheels Band]). Loved the irreverent [sic] ISSUE. Hope Disc will be out in a couple weeks. You will be receiving a complimentary review copy. Thanks again for your interest. Too bad you can’t attend any of these Halloween shows — I’ll be dressed as a vampire/devil!

Keep Rockin’

Helen Wheels

(Images courtesy of Wild Dog Archives.)

R. Crumb, Helen Wheels and NYC Punk (1981)

Houston’s Henry Wild Dog was a prolific letter writer. And by prolific, we mean he has a mind bending collection of correspondence with more than a few punk icons from the early underground music scene nationwide. Out of a stack of ZIGZAG magazines, we culled out a manilla package with Henry Wild Dog’s scrawl titled, “The Helen Wheels Band Promotional Materials,” including flyers, letters from Helen to WILD DOG zine, Houston’s own first wave punk rock fanzine, an original WILD DOG galley proof featuring the band, and this R. Crumb print dated 1976 and autographed by Helen Wheels in 1981.

Our favorite underground cartoonist of the day, R. Crumb was a fan and friend of the fierce Helen Wheels (Robbins), heralded as one of the “original punks” and “one of the best unrecorded acts in rock ‘n roll” during the formative years of the first wave. According to her record label’s promo flyer for “Postmodern Living,” the band’s premier EP, Helen was a performing staple on the NYC punk rock scene since 1977 and well known before that for her songwriting with Blue Oyster Cult.

Even today, examples of Helen’s early work and music are scarce. We did come across a video of Helen from a NYC punk rock archival project courtesy of Pat Ivers and Emily Armstrong, whose punk-era concert footage is being digitized at NYU.

What follows are some reviews from the height of her career courtesy of the archives:

“Heavy is Helen Wheels, who you probably don’t know (but you will). The only way you might forget Helen Wheels would be if someone gave you a frontal lobotomy. Of course that someone could very well be Helen herself. In other words, Helen is unforgettable.” — Creem

“A total original with brains, boas, tattoos, and a long history of outlaw lovers.” — Damage

“Wheels looks like a punk interpretation of Sheena, Queen of the Jungle…Her songs have real flair.” — Newsday

“A cross between Johnny Rotten and Blondie.” — Cashbox

“That woman is a ball-bearing bitch strutting around and wielding an array of formidable looking daggers…offstage Helen Wheels is a charming young lady who’s highly intelligent and very articulate when it comes to her music, which she views as an art form.” — Philadelphia Inquirer

“Helen makes love to one of her daggers as she sings — The New Wave of Sex.” — Penthouse

“Gutteral, erotic, soft-textured hard rock with depth. You’ll get a rush off her will.” — Wild Dog

And from Crumb…

“Helen Wheels has the toughest ass in show business, if not in all America.” — R. Crumb, cartoonist in Punk

 

Taking Inventory (2012-2013)

From only a few of the boxes found in the Wild Dog Archives we managed to log some 193 news-based countercultural and music publications, including early issues of SPACE CITY!, ABRAXAS, HYMNAL, OVERTHROW, REsearch, and a full run of V. Vale’s San Francisco, Beat-funded SEARCH & DESTROY, quite possibly our favorite punk zine next to our own Houston’s WILD DOG.