8 Never Mind the Pistols

A quick search for Ray McKelvey reveals a digital graveyard adorned with obituaries, eulogies, and tributes to the man once celebrated as the “master of the two-minute punk anthem.”¹ Scattered across the digital depths, accounts of his life and work remain to be uncovered, where his name still resonates among those who knew him. Ray McKelvey’s name remains an enigma within the rich tapestry of Jacksonville’s musical history—a legacy obscured by the erosion of time. Once known by Stevie Stiletto, affectionately as Ray, or Ray Ray, he held lyrical power on the streets, his words making headlines and his actions transcending the boundaries of a town once lauded as the home of Southern rock. Stiletto’s lyrical prowess now echoes through time, a reminder of an era when Jacksonville bore witness to the emergence of a movement that refuses to be forgotten. Through the electrifying direction he forged, a living legacy emerged—imbued not just in the notes played but in the soul of the clubs, the beating heart of venues, and the culture that breathed life into the soundscape of an era.

A thorough exploration of the events shaping this history is vital to unravel the intricate mystery surrounding Stevie Stiletto and the movement he ignited. Ray McKelvey, born in Chelsea, Massachusetts, in 1956, moved to Jacksonville, Florida, due to his father’s enlistment in the Navy. From his earliest days, Ray’s vibrant spirit earned him a reputation for being “full of energy.“² His journey into the world of music began to take shape during his time at Lake Shore Junior High, where he achieved a notable triumph in the battle of bands during his sixth-grade year.³ The early success and musical interest foreshadowed the aptitude that would later define his career. However, McKelvey’s musical odyssey did not start with formalities and structured practices. Instead, he and his friends embarked on musical explorations purely for the joy of it. Playing covers of songs by iconic bands like the Beatles and the Rolling Stones marked this initial stage, which was characterized by the sheering joy of making music. This was a stark contrast with the future. In 1987, at their musical peak, a critic referred to McKelvey and his band as “an actually sleek, professional…and economically serious performing unit.”⁴

Stiletto’s musical journey reached new heights when he secured a gig for his band Alakazam at the Cedar Hills Armory, a short-lived venue with a storied past as a “gothic brick fortress” repurposed for hosting social events.⁵ This revered establishment hosted legendary musicians, from Janis Joplin to The Buckinghams.⁶ In a revealing interview, Frankie Phillips, affectionately known as “Babyhead,” and a close confidant of Ray McKelvey, shared the intriguing backstory behind Stiletto’s opportunity. According to Phillips, one of McKelvey’s sisters, Dory, played a pivotal role as she was romantically involved with Dean Kilpatrick, then serving as the assistant road manager for Lynyrd Skynyrd, creating an unusual but noteworthy connection with southern rock that would set the stage for one of Stiletto’s first performances.⁷

However, this connection also foreshadowed a challenging environment for the impending wave of punk rock that swept through Jacksonville in the early eighties. The tension between the established Southern rock culture and the insurgent punk movement is poignantly captured by Razorcake, a zine publisher, in a eulogy dedicated to Stevie Stiletto. They astutely remarked that Jacksonville was:

a town characterized by a robust conservative Southern Baptist sensibility, coupled with enduring racial tensions and a proud ‘Southern Rock’ musical heritage … punk was viewed as alien, and the bands faced disdain and outright hostility.⁸

Mike Butler, a bassist who then became part of Ray McKelvey’s band Stevie Stiletto and the Switchblades, mentioned in an interview that “… everybody liked Lynyrd Skynyrd and didn’t like us long hairs too much,” suggesting that it was a volatile time between punks and Southern rockers.⁹

Ray McKelvey had enormous potential as a musician, evidenced by his involvement with bands like Alakazam and The Attitudes. However, his talent truly shined when he founded Stevie Stiletto and the Switchblades in 1982, Jacksonville’s first punk rock band. The emergence of the quartet, initially formed by Michael Butler, Steve Gallagher, and Bob Akkk, marked a significant moment in Jacksonville’s punk rock story.¹⁰ Their impact on the local music scene was profound, opening doors for the growth and diversification of punk rock in the city. McKelvey’s musical interest and Stiletto’s vibrant persona became a sensation in Jacksonville. The band quickly gained a loyal following and became known for their electrifying live performances that left audiences wanting more. It triggered a wave of inspiration across Jacksonville, leading to the formation of numerous punk rock bands. Stevie Stiletto’s debut hit, “13 Greatest Hits,” was released in 1985. The album featured explicit lyrics and heavily politicized messages. One of the songs, “Switchblade,” covered themes of homosexuality, while other tracks, like “We Found Johnny,” had fast-paced music, blaring guitar riffs, and powerful drums filled with the highest dark humor. The band started a fire that blazed through the city. They released several albums, compilations, and live recordings, which are now available online. Listeners can also now find Stevie Stiletto on Spotify, which features their latest greatest hits compilation titled “Beautiful People for Ugly People Greatest Hits” that is filled with witty, talented, and humorously catchy tunes.¹¹

As the punk rock movement in Jacksonville gained momentum, a wave of venues emerged that catered to youth seeking an alternative to the city’s Southern rock culture. Notable among these establishments were The Blighted Area (later succeeded by Einstein A-Go-Go in Jacksonville Beach), The Milk Bar downtown, and the 7:30 Club, which McKelvey operated and served as prime territory his band.¹² Einstein A Go-Go and the 7:30 Club provided unique venues that appealed to punks and fans of different musical genres. They rapidly became cultural hotspots, encouraging a sense of community among those who sought an alternative musical experience. Simultaneously, they attracted bands from all over the country, including Black Flag, Sonic Youth, Nirvana, and Red Hot Chili Peppers.¹³ A zine titled JAX, published in 1985 by Eric Rittberg, found in The Blighted Area Facebook memorial page, describes the thriving cultural scene in Jacksonville at the swing of punk rock:

The Scene here in Jacksonville has come alive within the last couple of months. Although we are all mourning the death of (the club) THE BLIGHTED AREA, we are all rejoicing in the Club Scene’ emergence of the ‘New Club Scene’ here in River City. First off, Stevie Stiletto’s 730 CLUB is really doing well. In the four months that it has been open, it has constantly been a premiere showcase for music here in Florida . . . Speaking of STEVIE STILLETO & THE SWITCHBLADES, Florida’s best punk band will be going on tour in late August/early September. Dates have already been set up in Georgia . . .¹⁴

As Stevie Stiletto and the Switchblades reached the pinnacle of their success, embarking on nationwide tours and captivating crowds in iconic cities such as New York, Chicago, and San Francisco, the band’s frontman, Ray McKelvey, faced a series of challenges that marked a profound shift in their trajectory. These challenges included the consumption of drugs, which led to personal struggles, declining health, and a rise in internal issues. Despite the earlier triumphs, these challenges overshadow the band’s history. In an interview, Ray McKelvey disclosed that he grappled with drug overdoses three times within two years, resulting in hospitalizations.¹⁵ This revelation unveils a particular facet of Ray’s life. Despite his energetic stage persona, he had a history of youthful delinquency and drug use. This pattern intensified as he navigated the world of music and ultimately led to the collapse of his band in the late eighties, marking a robust end to such momentum.¹⁶ Yet, this eventual downfall did not diminish Ray’s dedication and love for music in Jacksonville as he continued to rekindle his band and produce more music in the 90s.

The halcyon days were gone, though. Once the heartbeat of the music scene, venues like Einstein A-Go-Go succumbed to the relentless march of time and gentrification. The vibrant stages where sounds reverberated into the night gradually fell silent. A section titled “TU RAP” from the Florida Times-Union details the sentiments of frequent goers upon the venue’s closing. Tammie Faircloth, one of the family members who owned the venue, lamented that “people did not want to come to Jacksonville, Fla., to play shows.”¹⁷ This reflection captures the shift in perception that marked the end of an era for the vibrant music scene of Jacksonville. It also highlights the implications of how the scene was both adored and disliked.

By the beginning of the twenty-first century, Ray McKelvey’s health had taken a turn for the worse. His body began to bear the consequences of a tumultuous lifestyle, including alcohol and drug abuse, which brought a trifecta of illness: hepatitis C, jaundice, and cirrhosis.¹⁸ Even then, Stevie Ray Stiletto overcame various obstacles and produced a film titled “My Life is Great: The Stevie Ray Stiletto Story” in 2009, which premiered at Five Points Theater in Riverside.¹⁹ The movie features interviews, personal accounts, and crucial fragments of the rise of the punk rock scene. Unfortunately, the film is now considered dead media and cannot be found online. Only a few interviews are available on YouTube, serving as the last hope of recapturing what was once a critical period for punk rock in Florida. However, upon closely examining Amazon’s webpage of the documentary, one can still find some stories of people in the reviews section. A comment from Jerry L., published in 2018, exclaims:

I was a college student living right behind Lee High school during these years. The 730 club shows are some of my best memories. The night Black Flag played, many, many non-regulars showed up from Orange Park, Mandarin, etc. and when we started the pit, they didn’t know what to do or what was going on. 75% of them left…it was great.²⁰

Reviews such as these and many more serve as a binding force within communities, immortalizing cherished memories and providing a platform for the collective remembrance of a time now long gone. This essence defines punk rock in Jacksonville, a philanthropic endeavor to construct experiences in the middle of challenging or unstable environments. Even beyond Stevie Ray, Jacksonville, a microcosm of experiences, produced an environment where punk rock thrived amidst all odds and memories were forged that still live on.

Surrounded by loved ones, Ray faced cancer with resilience until his passing on March 24, 2013, at 56.²¹ In leaving this world, Ray McKelvey left a legacy to be cherished. The 1987 magazine article that once acknowledged his professionalism now holds an enduring excerpt: “One gets the feeling that Stevie Stiletto and the Switchblades will never grow old. Throughout it all, they’ve also maintained their sense of humor, crude as it is.”²² A decade after his passing, this sentiment holds. Punk rock continues to thrive, thanks to Ray’s contributions. Bands play, venues live, and the flame of the movement still burns brightly into the future. Stevie Stiletto, a shooting star in Jacksonville’s music history, still resonates within the walls that once held his glory. His energy is palpable, even if his presence is not.