Jimi After Dark is the second novel in what I think of as Stephen Mertz’s musical mystery series, which isn’t an accurate moniker since the books are as much about the time and place of the tales’ setting as they are about the music and musicians. The first, Hank & Muddy (2011), was set in the 1950s and featured Hank Williams and Muddy Waters. Jimi After Dark is a 1960s novel set in 1970 London, near the end of Jimi Hendrix’s too-short life. Its genesis, as Mr. Mertz explains in his Afterword, is Jimi’s mostly disbelieved kidnapping claim by armed thugs and his ultimate rescue by other armed men.
From the start, Jimi is in trouble, legal trouble with his former manager Mike Jeffrey and another, more violent, trouble with more than one unknown source that may, or may not be related to the Kray Brothers—the East End crime syndicate brothers in prison when the story begins—and the Central Intelligence Agency. Jimi calls on his old Army buddy, unnamed in the story and simply called Soldier, for help. Soldier is fresh from his second tour in Vietnam with a tendency towards violence and a strong sense of duty and loyalty, which acts as an effective literary foil for Jimi’s hippie and gangster filled world.
Jimi After Dark is an action crime novel with nicely executed action scenes, a few twists, and big ideas: friendship, loyalty, betrayal—the unexpected betrayal of friends and lovers and the more expected betrayal from governments—duty, honor, and the relationship between music and culture. The 1960’s culture war is dissected, Jimi on one side and Soldier on the other, wrapped inside a well-told, exciting story with the cleanest, strongest prose in the business. Jimi After Dark is Stephen Mertz’s best novel, and it should be on everyone’s reading list.