The second of the Trucking Trilogy, conceived and directed by Joe Gage, "El Paso Wrecking Corp." (1977) is in many ways more daring, and superior, to its predecessor, "Kansas City Trucking Co." The primary reason is the inclusion of an absolute mega-star, Fred Halsted, as the physical counter-balance to Richard Locke, the lanky, hung bear star of the first movie. Halsted, a handsome mid-30s man with an all-American James Dean-type face and insatiable appetite for cock, steals the movie in every respect just by showing up in any scene.
Locke and Halsted are driving their pick-up to a job in El Paso, and stop in a local Kansas City bar for a good-bye round of cock and beers. It's a country-western bar operated by the great porn star, Georgina Spelvin, in a star turn cameo appearance. Though the crowd is of mixed sexual proclivities, it is clearly a place where the basement is for men who need men. It's there that Halsted lures Steven King, a good-looking straight guy whose girlfriend wants to watch him make it with a man. In a scene shot through a red filter with strains of Roy Orbison on the soundtrack, Halsted asks, "Has she ever seen you kiss a man?" After that, it's a pink-hot excursion full of edits of close-ups of the girlfriend's eyes and wet lips, flashbacks to the customers upstairs, all while the camera focuses lovingly on both men sucking each other on the basement floor, which leads to a pulsating 69. Finally, Halsted gets to his knees and brings King to a climax of massive cum streams, all of which end up in Halsted's open, eager mouth and throat. He finishes King off by cleaning his dick in one of the most complete cum-eating scenes ever put into a major gay film.
Meanwhile, Aaron Taylor and Robert Snowden, two hot preppies from the bar who have witnessed the comings and goings go to their car and wonder about whether those guys were queers. They're horny and naturally one thing leads to another for a mutual jerk-off without either touching the other. The dialogue is hot, the cocks are hotter, and the cum is copious and thick as the clouds open and cover the car with their own drippings.
Locke and Halsted get on their way and stop off at an abandoned gas station where Locke goes inside, ostensibly for a piss. It's really a glory hole paradise, and Locke takes advantage of two of them in adjoining holes as Halsted stews in the pick-up outside. Halsted finally gets fed up waiting, goes inside and chuckles as he watches his pal take two loads in his mouth and on his beard, with both explosions repeated from other angles for effect.
Back on the road at night, the pick-up is cut off by a biker, the gorgeous, bearded Keith Anthoni, whom the camera follows until he comes upon 80s gay clone type Ken Brown standing next to his overheated car. "Need some help, man?" Keith asks, and we are off on a fantasy adventure as both men imagine sex with each other -- and several others in a mini-orgy. It's a stylized, slow-motion, all-out sex scene filled with cum-eating, fucking and sucking, all scored with siren-like instruments, and serves to underscore director Joe Gage's ability to turn sex into psychedelic art.
Morning finds our guys pulling into a godforsaken crossroads named Henrietta, where they find another gas station, which they need because the truck is acting up. The mechanic, Rob Carter, is wrestling with the boss' girlfriend when the guys pull in, and she takes off right away. Locke, who has been teasing Halsted about his inability to resist cock, sees that Fred has his eye on the mechanic, a hunky mustachioed dude, and tells him to go for it while he takes a walk in the hills. There, Locke encounters a ranger, Clay Russell, a cross between Olympic swimmer Mark Spitz and Hollywood actor Tom Selleck. In a beautifully edited sequence, we're taken back and forth between the garage where Halsted is seducing Carson with words, and eventually, deeds, and the hills, where Locke pursues Russell, each of them stripping themselves for action. Suffice it to say that Russell gives Locke a mouth and ass full of cock, scored with bluegrass twangs. Meanwhile, Halsted gives Carson a lesson in head -- physically and psychologically -- talking the straight boy into enjoying it from a man, coaxing him to shove it down his throat, urging him to cum, which he does in a long series of short streams with Halsted's fist doing all the work before cleaning it off with his ever-hungry mouth. The scene ends with Locke taking Russell's load in his mouth and the two kissing naked on the rocks.
They finally arrive in El Paso, where we see Guillermo Ricardo, a hairy-chested, lightly made Latino of incredible allure, walking shirtless to his truck which takes him to a home where he is the gardener. Suddenly, he is covered with water -- thrown from the second story by redheaded bearded bear Lou Davis, who is there cleaning the house. Davis apologizes, but Ricardo doesn't speak English. Ricardo only speaks sex, and pulls his cock out to show Davis how wet it is, and Davis comes down to the garden, kisses the gardener, drops to his knees and takes this enormous pole into his mouth with encouragement in Spanish from Ricardo who plays strictly trade throughout. Davis can't hold it in and cums all over Ricardo, and then bends over for Ricardo to finish him off doggy-style with that monster pole which holds as much cum as you would hope one of that size would contain -- and Davis contains some of it in his mouth as he cleans the hot Mexican off.
As is the case in most Gage flicks, the orgy in the abandoned warehouse closes the movie. It's pointless to try to describe it, but in a darkly-lit room, mouths and asses are filled with everything imaginable -- other mouths, cocks, cum. Keep on the lookout for the towheaded blond Jared Benson, whom I believe was Halsted's lover, a skinny kid with a hairy chest, nice cock and fervent mouth, who shoots into Halsted's mouth and takes it himself as man after man eats and attacks man after man in a fitting closing to a great flick filled with men who know how to please each other.
A DVD Review by Bo Champion
