New Chapters, New Pain

Ever get a new book, and in the moment of wanting to get into a story that would or could be a great new advent,  you skip over the prelude or preface,  which contain the back story or reason for the story’s telling, often missing the whole point of things?

Life is much like that, each life skips over the beginning,  we often look at wanting the action, the romance,  the magical musical experience. But, as often, we find the tragedy, the suspenseful horror, the sad endings.

I leaped into my story, my life, looking for the love story and happy ending, the magical wild existence that all Disney movies promise,  only to find I am living in a Stephen King Trilogy, one where the hero leaves in disgrace after saving the world, it abandons him, hanging him to the proverbial cross of his own unwilling creation.

I unwillingly start a new chapter in my book of life, in it, the hero finds himself alone, disowned and abandoned by his kin, his Queen has ripped him from his throne and has expelled him from his one Castle and Kingdom. His children whom he loves have each had a devilishly evil part in his destruction.

The chapter starts with the hero wandering alone in a vast and shadowed wasteland, bent and broken, bruised and beaten,  bleeding inside, infected with sorrow and plagued by voices in his head, the echoes of the false accusations and the sound of his lover cursing his name, mocking him in unfounded anger when once that voice beckoned him to bed.

He drags himself through the dirt and waste, towards the dim light that glows just off the distant horizon,  bately escaping the blak shadow that is advancing upon his every shuddered step. He looks back, wondering how he missed the signs of treachery, how could he possibly deserved the betrayal,  the black blade still firmly lodged in his back, the wound no longer bleeds, and he has gotten used to the pain. His eyes, dried out and swollen from the constant stream of tears, his mouth, twisted from screaming inward, from behind a broken smile and it is dry from a lack of words to say, all his words were used to question and defend. His magic power has depleted to mere parlor tricks and his noble sword has become a cane for a broken man.

As our hero reaches the horizon, he finds the light was not the sun rising on the new day, but the fire and poisonous breath of the demon that has taunted his life. “I have come to finish you, you a once noble adversary, now I almost pity you,  one swat will finish you” the demon laughs, but the hero,  with his last bit of strength, his last spark of magic, stands tall, drawing up to meet the challenge,  draws his dullend blade and stands to the charge, definitely, “here I am, master of lies,  I’ve traveld all this way to find you, you thought I was running away, no, I was leading you away from the innocent”,  our hero smiles “come,  my blade is dull, so it will cause you more pain, the knife in my back is long and sharp, I will remove it and use it to take your hide to make new armor ” the hero steps forward, “come at me,  or are you still just a coward”


In the moment their eyes meet, the battle again begins, our hero, determined to continue protect and defend the lives and  honor of the very ones that left him to die alone.
Always the King

Always the Hero

Always the Fool




Entire Collection of H.P. Lovecraft Online

Electronic Texts of
H.P. Lovecraft’s Works

The following is a categorized, alphabetical list of all the electronic texts of Lovecraft’s works available on The H. P. Lovecraft Archive.


Found this at


People, Hell and Angels: New Hendrix Release of Never before Published Studio Recordings out on March 5th 2013


Album Review: Jimi Hendrix – People, Hell and Angels on Sony Legacy Recordings

Review by Joseph Timmons- Xombiewoof Magazine


It is a standard in Rock Music, to know the work of one of the greatest musicians in Rock History, one who was legendary in his own lifetime, as well as every moment since he first walked out on stage. The legacy of Jimi Hendrix has never been forgotten nor will it ever be, but it has been our fortune that there are conservators of this recorded genius whom have found previously un-released studio and live performances of Jimi Hendrix and his entourage of lore, and have with the permission of his estate, are making these masterpieces of music available to us to listen to, enjoy and celebrate his life.

In the years between 1968 and his death in 1970, Jimi Hendrix embarked upon new experimentations in music, with his signature sound and his entire view on the creative processes that for him were as natural as breathing.

Jimi Hendrix set into the studio with the best known musicians of the day, all masters of their craft – Billy Cox, Buddy Miles, Stephen Stills, Jimmy Mayes, Hank Anderson, John Winfield, Larry Lee, Jerry Velez, Juma Sultan, Al Marks, Chris Grimes, James Booker, Lonnie Youngblood, Mitch Mitchell, Rocky Isaac and both Albert and Arthur Allen at sessions that would create masterpieces that are now, for the first time, on one album in their entirety.

Jimi Hendrix desired to develop new material and new departures in music with old friends and new ensembles and would create mini-super groups to record with. Working diligently to craft his next musical statement with others that saw his vision, these recordings encompass a variety of unique sounds and styles incorporating many musical elements − horns, keyboards, percussion and a second guitarist. People, Hell and Angels presents some of his finest creative work ever issued and provides a compelling window into his growth as a songwriter, musician and producer.

Jimi Hendrix personally oversaw the mastering process of the original recordings, working in new rhythms and progressions, the limitless creative talents of these musicians have recorded 12 truly unique songs that are deep in Rhythm & Blues, Soulful Expression and awe inspiring tones that enchant and hypnotize the listener, transporting them back in time to the heyday of the Modern Rock Movement that was the center of Jimi Hendrix’s life. This collection of studio tracks showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio.

Looking at his career with The Jimi Hendrix Experience, one would already know his music is fueled by emotion and energy, a truly honed skill that retained the rawness that was often mistaken for improvisation, an intoxication duality of harmonies and a mystifying allure of what was to next come from his restless soul. People, Hell and Angels is the answer, a collection of works that would be a new and ever enduring tribute to one who consistently broke his own achievements with every touch of a string.

At this point, I would normally start rattling off track titles, or say why I find them good or suggest that one was better than the rest. I find myself at a loss to do this with People, Hell and Angels, this album is not “one song after the other” but a winding road into the spirit of music the Jimi Hendrix and his fellow musicians, these spiritual travelers would weave into a web of star-stuff, that ensnares the listener, from funky, jazzy rhythms, to instrumental passages and heart breaking blues, this album is one long song with no one track being more or less significant than the rest.

Here is the Track Listing and some footnote facts I gathered at The Jimi Hendrix Website – People, Hell & Angels, – Track by Track Annotation:

Earth Blues:

Totally unlike the version first issued as part of Rainbow Bridge in 1971, this December 19, 1969 master take features just Hendrix, Billy Cox and Buddy Miles–stripped down funk at its very origin.


This newly discovered gem was recorded in March 1968 and features Buddy Miles on drums and Stephen Stills on bass. Entirely different from any previous version fans have ever heard.

Hear My Train A Comin’:

This superb recording was drawn from Jimi’s first ever recording session with Billy Cox and Buddy Miles–the powerhouse rhythm section with whom he would later record the groundbreaking album Band of Gypsys.

Jimi shared a deep love for the blues with Billy Cox and Buddy Miles. Both musicians understood Jimi’s desire to create what he described as a ‘new type of blues’. Jimi’s menacing lead guitar is the centerpiece of this dramatic addition to his remarkable legacy.

Bleeding Heart:

This Elmore James masterwork had long been a favorite of Jimi’s. He had performed the song earlier that year with the Experience in concert at the Royal Albert Hall and had attempted to capture the song in New York studio sessions during the weeks that followed.

Recorded at the same May 1969 session as “Hear My Train a Coming,” the track conveys Jimi’s firm understanding of the arrangement and tempo he desired. Before they began, Jimi instructed Cox and Miles that he wanted to establish a totally different beat than the standard arrangement. He then kicked off this amazing rendition that was nothing like any other he had ever attempted.

Let Me Move You:

In March 1969, Jimi reached back to another old friend, saxophonist Lonnie Youngblood. Before he was discovered by Chas Chandler in the summer of 1966, Jimi had contributed guitar as a nondescript studio sideman for Youngblood and such infectious rhythm and blues styled singles such as “Soul Food“.

This March 1969 session features Hendrix and Youngblood trading licks throughout this never before heard high velocity rock and soul classic.


In the aftermath of the Woodstock festival, Jimi gathered his new ensemble, Gypsy Sun & Rainbows, at the Hit Factory in August 1969 with engineer Eddie Kramer. “Izabella” had been one of the new songs the guitarist introduced at the Woodstock festival and Jimi was eager to perfect a studio version. This new version is markedly different from the Band of Gypsys 45 rpm single master issued by Reprise Records in 1970 and features Larry Lee, Jimi’s old friend from the famed rhythm & blues ‘chitin’ circuit’, on rhythm guitar.

Easy Blues:

An edited extract of this gorgeous, free flowing instrumental was briefly issued as part of the long-out-of-print 1981 album Nine to the Universe. Now nearly twice as long, the track offers fans the opportunity to enjoy the dramatic interplay between Jimi, second guitarist Larry Lee, Billy Cox and drummer Mitch Mitchell.

Crash Landing:

Perhaps known as the title song for the controversial 1975 album that featured Hendrix master recordings posthumously overdubbed by session musicians, this April 1969 original recording has never been heard before. Jimi is joined here by Billy Cox and drummer Rocky Isaac of the Cherry People to record this thinly veiled warning to his girlfriend Devon Wilson.

Inside Out:

Jimi was fascinated by the rhythm pattern that would ultimately take form as “Ezy Ryder“. Joined here by Mitch Mitchell, Jimi recorded all of the bass and guitar parts for this fascinating song–including a dramatic lead guitar part amplified through a Leslie organ speaker.

Hey Gypsy Boy:

The roots of Jimi’s majestic “Hey Baby (New Rising Sun)” trace themselves to this March 1969 recording. Unlike the posthumously overdubbed version briefly issued as part of Midnight Lightning in 1975, this is original recording that features Jimi joined by Buddy Miles.

Mojo Man:

Jimi would lend a hand to Albert & Arthur Allen, the vocalists known as the Ghetto Fighters, whom he had befriended in Harlem long before he achieved fame with the Experience. When the two recorded this inspired, previously unreleased master at the legendary Fame Studios in Muscle Shoals, Alabama they took it back to Hendrix at Electric Lady Studios. Jimi knew just what to do to elevate the recording beyond contemporary R & B to the new hybrid of rock, rhythm and blues he was celebrated for.

Villanova Junction Blues:

Long before his famous performance of this song at Woodstock, Jimi recorded this studio version with Billy Cox and Buddy Miles at the same May 1969 session which yielded “Hear My Train a Comin’” and “Bleeding Heart” also featured on this album. Never fully finished, the song stands as an example of the fertile ideas he hoped to harness and brings to fruition.

I will leave unto you the titles of these wonders for you to “Experience”, get this album and look into the heart of the storm that was the musical mind of Jimi Hendrix. The Album comes with linear notes and history of each recording session, assisting in putting you into the recording studio and feeling every note as it is played.

I am taking for granted that you will want this album, so I have included a link to the Jimi Web Page for People, Hell and Angels, don’t miss an opportunity give witness to an unseen chapter in the life of Jimi Hendrix, a man who’s life ended too soon, a musician whom many saw as the embodiment of a generation that struggled to live, love and be at peace with itself but foremost, in People, Hell and Angels, a soul who still walks the earth, bringing his music to the masses. This landmark presentation is available on both CD and Archival Grade Vinyl. Pre-Order Today through the Jimi Hendrix Website.

Jimi Hendrix – People, Hell and Angels on Sony Legacy Recordings




Jimi Hendrix release, People, Hell and Angels, and memorabilia exhibit to debut at Corona, California Fender Facility

In celebration of the partnership between Fender and Experience Hendrix, L.L.C.,  the Fender Visitor Center will be exhibiting authentic Jimi Hendrix memorabilia along with the intimate in-studio photography of Jimi’s legendary producer, Eddie Kramer for a limited engagement. The exhibit coincides with the new Legacy Recordings release of Jimi Hendrix, People, Hell and Angels, a collection of re-mastered and previously unreleased studio recordings. Starting March 6th, 2013 The Jimi Hendrix exhibit represents the Fender Visitor Center’s first artist exhibit and will run through May 31, 2013.

The 8,600-square-foot Fender Visitor Center, located near Fender’s historic Southern California birthplace, features interactive displays of modern Fender musical products, historic instruments, rare photographs and artifacts, a tribute to Leo Fender, video presentations on the evolution of the electric guitar (including rare archival footage), displays presenting reflections on Fender by musicians throughout the history of modern music, and much more.

Jimi Hendrix’s People, Hell and Angels album will be available for sale during the exhibit, as well as Jimi Hendrix: The Ultimate Lyric Book compiled by Janie L. Hendrix and Jimi Hendrix An Illustrated Experience, an interactive book/CD by Janie L. Hendrix and John McDermott and Robert Knight’s Jimi Hendrix photography.

More News on this event to be published soon.

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To Be or Not To Be…continued an opinion by Sean Stoltey

I have a general complaint about a lot of modern comics (I’m looking at you Walking Dead) where they need to be read in chunks, that not every issue can be read on its own.  If each issue isn’t necessarily satisfying on its own, why are people going to come back month in and month out?  In an era when younger people (the obvious market if we really are trying to get new readers) are so into singles and digital and a “get it to me now so I can be done with it now and move on to the next thing” attitude, this seems a poor choice at best.  The shorter attention spans mean that the idea of waiting six months or more for a complete story is extremely off putting to new readers.  There are many times that a single issue can be exciting, satisfying AND leave you wanting more and salivating for the next issue while being part of a larger story.  It’s interesting how things come back. 

It was decided at some point that comic readers wanted more complex and engaging stories.  Someone figured that meant longer story arcs and the trend went to (in general) six issue story arcs that could easily be collected in Trade Paperback form to cater to the growing bookstore market.  So began the “writing for the trade” era, which became the “waiting for the trade” era.  Stories became “decompressed”, which basically meant if Stan Lee and Jack Kirby did it in one issue back in the day, it would take AT LEAST six issues to tell that story today.  Some writers got good at building a cliffhanger, or even better a conclusion with a cliffhanger, on each issue so the reader became engaged enough to keep coming back.  However some (I’m sorry to pick on you Walking Dead, I do enjoy you but this is true) just cut off at the end of the issue.  It was insultingly obvious that the faithful, monthly reader who was keeping the industry going was being underserved.  It felt like, “We’ll take your money, but we’re not going to give you what you paid for”.  What we pay for is a story, not part of a story.  There are books that I love that I felt forced to “wait for the trade” because that was how they were written and reading them any other way was making me not like the book.  Some days it’s hard to justify buying the monthlies…but I gotta get my fix man!!

I noticed an interesting thing at Marvel.  With their Avengers Versus X-Men event they are going bi-weekly and running a twelve issue series in six months.  They also tend to ship more than once a month on some of their books.  Now I know a lot of people just see that as a “cash grab”, but come on, just because we treat comic books like scripture doesn’t mean they are not businesses.  Get over it folks, there is no sanctity here.  They have adjusted the way they approach ongoings and events to be more in tune with the realities of the market and the customer.  As the dust clears from the explosion of the “nu-52” at DC, Marvel seems to be moving back to the top of their industry.  Speaking of DC, or as I will be referring to them: nuDC, they’ve gone another way.  They gave themselves a huge opportunity for a fresh start, and claimed that digital was an integral part of this direction.  However, the short attention span of your average digital consumer seems to be furthest from their minds.

I love Scott Snyder’s Batman, but we are on issue eight and the first story is not only still going, it’s expanding into EVERY Batman related book for a month.  That’s twenty issues, and who knows if the story finishes there.  Green Lantern-New Guardians is getting better than it was, but it’s also still on the same initial story and the earlier issues felt like six pagers stretched out to a full book.  DC has announced a new initiative where they will be creating exclusively digital content, like the current Smallville Season 11, so let’s see if they can turn this around.  I know it seems as if I’m a bit of a Marvel Zombie, and at the moment maybe I am, but I dig any good material no matter where it comes from.  If you’ve read my recent reviews of indie books, you know that I am only a recent resident of the indie comics’ fandom.  I go where the quality is, and there’s a lot of it out there that in the past I’d cut myself off from.  I also understand, as a writer, that sometimes the story needs to be longer.  Often, they take you places you never planned on going.  Hell, this article has changed direction on me at least three times! 

Now here in the new, modern, birth of digital age the opportunity has arisen for a new kind of comic book creating and marketing.  You Indie and creator-owned types should pay attention here.  The way that the digital single has changed music, digital comics could be creating a big opportunity for everyone.  It costs too much to publish physically.  The big companies will ALWAYS get the counter/shelf space, you’ll be lucky to sit anywhere in a comic shop.  However, many bands have been built off the success of a good single that they carried around with them and put into people’s hands.  Maybe it’s time comic book creators took the same tactic.  Produce the best possible work you can in anywhere from 10-24 pages.  Make it available digitally and pimp the hell out of it.  Send it to online reviewers, sell it yourself or get a local store to place it in their digital storefront if they have one.  Go to conventions, when you meet other creators, or better yet: editors, e-mail them a free copy.  Hand them a disc or thumb drive, print a small run and hand it to folks as well.  Some people need something physical in their hands.  Get the word out and most importantly, don’t give up. 

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California’s Central Coast but currently resides in Southern California’s BEAUTIFUL–San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he’s too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock’n’Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long.
So now he has come here to throw his opinions in your face as well and hope that, even if you don’t agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F—in’ rocks, and my Mom can kick your ass. 

You can ask Sean anything at follow him via twitter @WWest3001 or boring old e-mail at

TOPPS Unveils John McCrea’s MARS ATTACKS Trading Cards

Eisner Award-Winner to Illustrate Exclusive Subset & Hand-Drawn Sketch Cards

[Card #1]The Topps Company today has released a first look at a special subset of all-new trading cards by acclaimed comic book artist John McCrea, to be included in this summer’s Mars Attacks Heritage card set.

McCrea, the Eisner Award-winning illustrator and co-creator of DC Comics’ Hitman (with Garth Ennis), is the artist on IDW’s Mars Attacks comic book series. Pulling double duty, McCrea has also created 15 brand new images for Topps, exclusive to Mars Attacks Heritage– four of which are unveiled today.

The 15 images, officially titled ‘The New Universe Subset,’ offer a glimpse into the new Mars Attacks, which build from IDW’s upcoming comic book. In addition, the subset will include insight into the new series, through a narrative that unfolds on the back of each card.

“We wanted John to treat these cards like miniature comic book covers,” said Adam Levine, Topps’ Licensing Manager. “To weave the cards and comics together even further, we crafted a story that introduces fans to our reimagining of Mars Attacks, beginning years before the Martians invade and continuing into the future, perhaps even beyond what you’ll see in IDW’s series in 2012. If fans look closely, they may even spot a few hints at what lies ahead.”


Along with providing art for ‘The New Universe Subset,’ John McCrea recently paid a visit to Topps in New York, and found time to contribute a limited number of original, hand-drawn sketch cards to be randomly inserted into packs of Mars Attacks Heritage.

“I’m very excited to be able to play in this world of aliens and robots and giant insects,” said McCrea. “Mars Attacks is right up my alley; it’s everything I love to draw. I’m thrilled to be a part of the creation of this new world and to be able to my own stamp on it.”

Mars Attacks Heritage releases this July, while IDW’s new comic book debuts in June. Both are currently available for order.

For more on Mars Attacks, including an ever growing gallery of sketch cards, follow on facebook:
For all the latest updates, follow on twitter @realmarsattacks

[Card #2][Card #3] [Card #4] image


A wealth of rarely-seen material by the late master returns this week!

[Frank Frazetta Funny Stuff Cover]

Frank Frazetta has been called “The Grand Master of Fantasy Art,” but did you know he did a glorious omnibus’ worth of funny sexy and funny cute stories in the Golden Age of comic books?! That’s right, hillbilly babes to hoppy bunnies were drawn with the Frazetta magic. And Eisner-winning editor Craig Yoe captures that magic in the new FRAZETTA—FUNNY STUFF large format, full-color, 256-page hardcover collection from Yoe Books. FRAZETTA—FUNNY STUFF debuts at the MoCCA Fest in New York City this weekend and will be in comic book shops this week.

Yoe says, “Besides the amazing art itself, Frazetta fans will be stoked by the sheer quantity in this big thick book. There are 27 comic book stories, well over 200 of The Master’s delightful text illustrations, and tons of rare and unpublished original art, illustrations and photos carefully reproduced in the introduction.”

Frazetta’s “Fire and Ice” collaborator Ralph Bakshi provides a compelling freeform, stream of consciousness introduction that you have to read to believe. Dig the beatnik beats of this hep cat sharing his story of working with THE MAN. Only Craig Yoe can conjure up such wild and unexpected material!



[Frazetta Interior Page #1]“The team at Yoe Books put countless hours in restoring these charming strips to ensure a proper vintage reading experience,” said IDW Senior Book Editor, Justin Eisinger. “Like each and every Yoe Book, FRAZETTA—FUNNY STUFF is a lovingly created artifact that itself is a piece of art.”


But don’t just take our word for the glory of this vintage Frazetta. Here’s what some fine, respectable folks have to say about the man and his funny work.


[Frazetta Interior Page #2]“Frank Frazetta… his comic book output was unforgettable!” —Harvey Kurtzman

“You don’t have a full picture of Frank Frazetta until you’ve seen his funny stuff. It was his own favorite work, as it captured an important aspect of Frank that his sword and sorcery paintings did not—his warm sense of humor.” —William Stout

Why stop there?! Even the great talent himself was known to claim that the funny side was the real Frazetta.
“I do reveal that dark side in some of my work. I am known for my violent stuff. But the funny stuff is the real me.” —Frank Frazetta


[Frazetta Interior Page #3]Pappy’s Golden Age Blogzine says that FRAZETTA—FUNNY STUFF is “a long overdue compilation! The book is beautifully produced. I love the over-sized pages, and especially the enlarged spot illustrations. As always, Craig’s books are impeccably designed and printed. Permanent binding, thick quality paper to ensure the best reproduction possible. You will never go wrong buying a book with the Yoe Books imprint.”

Keep an eye out for the limited edition as well. A hot ticket item at 100 copies, it features a bookplate signed by Yoe as well as a variant cover featuring a rare drawing of one of Frazetta’s much-lauded sexy gals!



Craig Yoe is available for convention appearances and interviews with the press in regards to this and his other books.

Yoe Books’ website is

FRAZETTA—FUNNY STUFF ($49.99, 256 pages, hard cover, full color) will be available Wednesday, April 25, 2012. ISBN 978-1-61377-167-9.

Visit to learn more about the company and its top-selling books. IDW can also be found at!/idwpublishing and and on Twitter at @idwpublishing.