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Lil Wayne Mulls Suicide in Harrowing Prison Journal Excerpt

October 22nd, 2016 · Guitar

Earlier this month, Lil Wayne debuted his vivid, harsh journals from his time in prison titled Gone ‘Til November: A Journal of Rikers Island. The deeply personal collection follows the eight months he spent in the New York prison in 2010, and below is a pair of exclusive excerpts from the collection.

In a passage titled “Harshness,” Wayne recounts the intense mental trauma he gained from his experience. He also hints at the suicide attempt he references in his new verse from Solange’s “Mad,” explaining how the “mental isolation” opened up a new, dark reality for the rapper.


Woke up around 5:00 a.m., made myself some coffee and went straight back to sleep. No lie, I didn’t wake back up until 2:30. It was close to lock-in. So I just stayed in my cell until lock-out.

Soon as it was lock-out, I headed straight to the phone. Afterwards, made myself a Ruffles burrito. There wasn’t that much going on in the dayroom, so I headed back to my cell to escape in my thoughts.

I ended up thinking about all types of shit. One thing that stood out was how I’ve never been this close to suicide before. It’s truly a new reality for me. I was actually there when this kid that was in mental isolation tried to hang up. What’s really fucked up is that it all could’ve been prevented if the [correctional officers] would’ve just brought him some water.

Since he was MI, nobody really attends to him because they are used to them banging on their cells all the time yelling shit like, “Yo, CO…CO.” And being that they’re so used to them banging, they didn’t pay him any mind and by the time they got back there, he was trying to kill himself.

And because I was in jail, I was like, Damn, that nigga is crazy … Oh well, what are we eating tonight? Jail desensitizes a lot of things. The reality in here is so harsh. I will never understand how anyone could think that this shit is cool.

I also thought about how I could’ve avoided some of the arguments that I had with those dudes who got shipped to wherever they got shipped to. I’m not sure if the rest of their stint got easier or tougher. Hopefully it didn’t get any tougher for them, but if it did, I feel like I was the reason for that. And I don’t like having that feeling, since I know in my heart that I could’ve avoided some of those arguments … especially knowing that this person is going to get shipped away for just arguing with me. I truly do regret having some of those arguments … but fuck ‘em.

I just got back in my cell from being on the phone. My spirit is really feeling lifted right now because I was able to speak with all my kids tonight. They are all my joy.

It’s lock-in, so you know what that means … push-ups, Bible, prayer, slow jams and sleep.

Another one! 

In the book’s final chapter, Wayne recalls the exuberant burst of creative and positive energy he felt on his final night in prison. He prepares himself to be reunited with his children and make it back onstage where he’s felt most at home, especially since his time in prison reaffirmed how much he cherishes and owns his creativity. 

Last Day

A [correctional officer] asked me what time am I going to wake up since I get released tomorrow. I’m like, shit, wake up? I’m not going sleep in this motherfucka tonight! I’m gonna be sitting up waiting on y’all motherfuckas until it’s time to get me!

My mind is racing! Just one more night up in this bitch! I’m not sure what to do first.

How is it going to be to hug my kids again? Is it possible for them to have missed me as much as I miss them? If they let me, that first hug is going to be for an hour straight.

How is it going to be around my niggas again? Are they going to look at me different? Will I look at them different? When we hit the club tonight, it’s probably going to be so surreal for me at first.

Although I’ve been getting much love from my fans since I’ve been in here, how is it going to be once I hit that stage again? The stage has always felt like home to me, but I haven’t had a break from being onstage for this long since I was 13. But on second thought, the stage has always been my home, so I’m actually looking forward to merking it the first chance that I get … YEAH!

I have so many things going thru my mind right now. Jail has changed me forever. The greatest positive that I take away from this bullshit is that I was able to tap into a depth of creativity that I never knew was in me. I’ve always thought I needed things like being high with my niggas, a Bugati, a dope-ass crib or some big-booty bitches to be creative. But once all that was taken away from me, my creativity was put to the ultimate test. And I passed that shit like a muthafucka! I’ve never felt more creative in my life!

The ultimate high is to know that creativity can never be taken away from me by anyone or anything. I’m so grateful to not have been mentally scarred by being up in this bitch. I’ve unfortunately seen a lot of spirits get broken in this hellhole. I don’t wish jail on anybody.

Final thought … A butterfly landed on me when I went to the yard the other day. For whatever reason, I felt connected to it and got lost in the beauty of seeing a butterfly in hell able to fly away.

And I’m up out this bitch….

Thank God…


From Gone ‘Til November by Lil Wayne, published by Plume, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright © 2016 by Young Money Entertainment/Dwayne Michael Carter, Jr.  

Article source: http://www.rollingstone.com/music/news/lil-wayne-mulls-suicide-in-harrowing-prison-journal-excerpt-w445856

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Review: Leonard Cohen’s ‘You Want It Darker’ Possibly His Darkest LP Yet

October 22nd, 2016 · Guitar

On his signature classic, “Hallelujah,” Leonard Cohen sang about meeting “the Lord of Song.” But on the title track of his new LP, the third in a late-game rally that’s been as startlingly brilliant as Bob Dylan’s, Cohen takes that imagined reckoning with the Almighty deeper, intoning “Hineni,” a Hebrew term for addressing God that translates as “Here I am.” The punchline, aside from the title’s cheeky challenge – true Cohen fans always want it darker – is that with his cantorial delivery, the famous lady’s man makes the phrase sound kinda like “hey, baby.” In fact, an unlikely EDM remix of “You Want It Darker,” by DJ Paul Kalkbrenner, turns the phrase into a dance-floor chant – more proof of how much modern lifeblood still flows through Cohen’s voice after five decades on the job. 

This is Cohen’s gift to music lovers: a realistically grim, spiritually radiant and deeply poetic worldview, generally spiked with a romantic thrum and an existential wink. Following a string of records that have each felt like a swan song, You Want It Darker may be Cohen’s most haunting LP. At 82, it might also be his last.

“I’m angry and I’m tired all the time,” he sings on “Treaty,” a stately parlor march to piano and strings that blooms from breakup lament into meditations on the fool’s errand of religion. The Brylcreem-scented slow dance “Leaving the Table” similarly flickers between romantic and spiritual resignation, Bill Bottrell’s electric guitar and steel fills flickering like mirror-ball beams as the famous rake ruefully insists, “I don’t need a lover/The wretched beast is tame” – as sure a sign of the End Times as Arctic melt.

As on Cohen’s 2014 Popular Problems, blues define the vibe. But other colors deepen the narrative. The Congregation Shaar Hashomayim Synagogue Choir, who billow across the title track, recall Cohen’s Jewish upbringing in Montreal; “Traveling Light” conjures his halcyon years in Greece in the early Sixties with his late muse Marianne Ihlen, the subject of “So Long, Marianne,” who died in late July. “Goodnight, my fallen star …” Cohen sings in a near-whisper amid bouzouki notes, like a man dancing in an empty taverna after closing time.

Like Bowie’s Blackstar and Dylan’s long goodbye, You Want It Darker is the sound of a master soundtracking his exit, with advice for those left behind. “Steer your way through the ruins of the Altar and the Mall,” he sings near the album’s end, against a gently bouncing bluegrass fiddle, his son Adam’s subtle guitar and Alison Krauss’ angelic backing vocals. It’s what he’s always done, helping the rest of us do the same, as best we can.

Article source: http://www.rollingstone.com/music/albumreviews/review-leonard-cohen-you-want-it-darker-w446058

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Weekend Rock Question: What Is the Scariest Song of All Time?

October 22nd, 2016 · Guitar

Songs that are typically associated with Halloween like “Monster Mash” or Michael Jackson’s “Thriller” tend have a party-starting effect, but there are many more haunting and chilling alternative across musical genres that can drum up some actual fear for the holiday. Rap songs like Eminem’s vicious “Kim” or Suicide’s hellish new wave classic “Frankie Teardrop” are just two genre-spanning examples that exemplify what it means to truly terrify with music, and are part of our “25 Songs That Are Truly Terrifying” list.

Now we have a question for you: What is the most terrifying song of all time? Any song counts as long as it’s the song itself that truly spooks as opposed to a visual accompaniment. Feel free to choose a song that made our list like the Doors’ Oedipal acid trip “The End” or PJ Harvey’s swampy “Down by the Water,” a bone-chilling re-interpretation of a song like Johnny Cash’s “Hurt” or Marilyn Manson’s “Sweet Dreams (Are Made of This)” or selections of musical masters of horror and gore like Alice Cooper’s “The Ballad of Dwight Fry” or Rob Zombie’s “House of 1000 Corpses.” Just please only vote once and for a single selection.

You can vote here in the comments, on Facebook.com/RollingStone or on Twitter using the hashtag #WeekendRock.

Article source: http://www.rollingstone.com/music/news/weekend-rock-question-what-is-the-scariest-song-of-all-time-w446210

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Hear ‘Stranger Things’ Star Sing Mac DeMarco’s ‘Salad Days’

October 21st, 2016 · Guitar

Finn Wolfhard, who plays Mike Wheeler on the Netflix smash Stranger Things, continues to demonstrate his well-rounded taste in rock music. Two months after sharing an unplugged electric guitar cover of Nirvana’s “Lithium,” the 13-year-old posted a brief cover of fellow Canadian Mac DeMarco’s dreamy “Salad Days” on Twitter Thursday night.

“Playing a little Mac Demarco before bed. Night twitter!” Wolfhard wrote, linking a 28-second recording. “As I’m getting older, chip up on my shoulder/ Rolling through life, to roll over and die,” the actor croons in the clip, followed by a round of blissful “la-la-la”s.

In September, Wolfhard hyped punk band PUP after they won the Polaris Music Prize for their second LP, 2016′s The Dream Is Over. “First off, they are so … committed to them being Canadian,” he said in a video ahead of the awards ceremony. “A lot of the songs are about Canada. If you don’t like Canada, then I don’t know.” (Wolfhard previously appeared in the band’s 2014 video for “Guilt Trip.”)

In a Vulture interview, the actor praised bands who were popular in the Eighties, including Tears for Fears, the Clash and A-ha. “My dad and my mom used to play that kind of music in the car when I was a baby,” he said. “And then my mom introduced me to the Beatles, and I got obsessed with the Beatles, and then I just went from there. I would also search the web: You know how one video leads to another leads to another? It was kind of like that, but with songs. A Beatles song led to a Led Zeppelin song, and then a Led Zeppelin song led to the Rolling Stones.”

In August, Stranger Things was renewed for a second season, slated to premiere in 2017. In the meantime, Wolfhard has signed on to the big-screen remake of Stephen King’s It, playing Richie “Trashmouth” Tozier. 

Article source: http://www.rollingstone.com/music/news/hear-stranger-things-star-sing-mac-demarcos-salad-days-w446121

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Review: The Pretenders Team With Dan Auerbach for Brass-Knuckled ‘Alone’

October 21st, 2016 · Guitar

Chrissie Hynde launched the Pretenders’ 1980 debut by telling some hot thing to “fuck off.” She reprises the sentiment on the band’s 10th studio LP, with “Alone,” a cocky celebration of rolling solo. At 65, she’s still mouthing off over brass-knuckled rock roll, flexing command and carnality with no apology. Producer Dan Auerbach embellishes her genre fetishes: “Holy Commotion” quotes the Ronettes; twang-guitar hero Duane Eddy turns up on “Never Be Together.” And befitting a memoirist (see last year’s Reckless), her introspect is unsparing. “I Hate Myself” is a slow-dancing laundry list of self-loathing. 

Article source: http://www.rollingstone.com/music/albumreviews/review-the-pretenders-alone-w446060

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Review: D.R.A.M.’s ‘Big Baby D.R.A.M.’ Solidifies Rap’s Drunken Master

October 21st, 2016 · Guitar

Right now, Virginia-raised 28-year-old D.R.A.M. is hip-hop’s drunken master. His lovestruck, singing-in-the-shower style – imagine a cross between Ol’ Dirty Bastard, Chance the Rapper and a private-press RB record from the Seventies – is bent, delirious and totally intoxicating. His pop-star coup is taking that moment in “La Di Da Di” where Slick Rick brokenly croons a few bars from “Sukiyaki,” and turning that into his main flow. He’s actually a pretty decent rapper too, as tracks like “Monticello Ave.” from his debut album Big Baby D.R.A.M. show, but there’s no doubt that the drawl is the draw.

When his novelty hit “Cha Cha,” an ode to Dominican ladies with a Super Nintendo sample and Magic School Bus shout-out, hit the Internet last year, D.R.A.M. became a fast favorite of Beyoncé (who danced to “Cha Cha” on Instagram), Chance (who gave him an interlude spotlight on Coloring Book called “D.R.A.M. Sings Special”) and Drake (who swagger-jacked “Cha Cha” for his monster hit “Hotline Bling”).

As Drake-endorsed viral hitmakers go, D.R.A.M. has already proven more durable than many, producing the Top 10 hit “Broccoli” and Big Baby D.R.A.M. shows his style is durable too ­­– doing his instantly recognizable sing-song on a tune that sounds like a cinematic reboot of Billy Joel’s “Pressure” (“Misunderstood”) or working out his falsetto over some chiptune blips (“Cute”). Mostly he’s a lothario with a huge wink and grin, a modern Humpty Hump out to tell ladies “You don’t know what the fuck you been missing/I done learned ’bout eight new positions” or, on his hit “Broccoli,” rhyme “sleazily” with “greasily” in one of the sleaziest, greasiest choruses of the year. By album’s end, his thirsty messages are caught by his main squeeze: “Infiltration in 15 minutes,” he sings on “Password.” “I wish my password wasn’t my name.” Love or hate his broken style, he’s the Biz Markie for the era where it goes down in the D.M.

Article source: http://www.rollingstone.com/music/albumreviews/review-drams-big-baby-dram-w446066

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Review: Korn’s ‘The Serenity of Suffering’ Is Ridiculously Heavy

October 21st, 2016 · Guitar

Twelve albums into a 23-year career, alt-metal bludgeoneers Korn have had more phases than even some fans might remember: dissonance-funk weirdos, unlikely disco-metal boy band, gloom-crunge goths, Matrix-produced noise-dance group, experimental dubstep trailblazers and, at one point, the world’s worst Cameo cover band. With 2013′s The Paradigm Shift and this year’s follow-up The Serenity of Suffering, Korn in 2016 has settled into an uncomfortable comfort zone somewhere between their 1999 and their 2004, the era when “nu-metal” blew up and fizzled and Korn was making music as ugly and imposing as they wanted.

Serenity of Suffering is heavier than Paradigm Shift — and possibly their heaviest album ever thanks to ridiculously downtuned riffs like “A Different World” and “When You’re Not There,” not to mention frontman Jonathan Davis going through real vocal house of horrors that includes lots of manic scatting and death metal growls. But songwriting-wise, it’s mostly turn-of-the-millenium Korn-by-numbers: “Rotting in Vain” is basically 1999′s “Falling Away From Me” grittily rebooted with throat-shredding screams and some gutteral onomotopoeia; “Next In Line” is not to far from that year’s “Make Me Bad” with some frenzied turntable work from C-Minus. And the lyrics on Serenity of Suffering won’t surprise anyone who’s heard at least two Korn songs in the last two decades: “I feel it ripping, I feel it scarring me,” Davis sings in “Take Me.”

Where Suffering really shines is on some truly weird, inventive bridges and codas that switch moods like a DJ flipping the crossfader: “Black is the Soul” turns into a Helmet song for about 22 seconds; “The Hating” ends with Primus-style syncopation and vein popping screams; Corey Taylor from Slipknot breaks up the seasick carnival ride of “A Different World” with some impassioned croon. Branching out, but not too far, Suffering is heavy enough to stand proudly in the Korn kanon, but not daring enough to be much else.

Article source: http://www.rollingstone.com/music/albumreviews/review-korn-the-serenity-of-suffering-w445696

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Ian MacKaye Praises Bad Brains After Rock Hall Nomination

October 21st, 2016 · Guitar

Punk stalwart Ian MacKaye praised Bad Brains after the seminal Washington D.C. outfit was nominated to the Rock and Roll Hall of Fame’s Class of 2017.

“I don’t know who the nominators are, and frankly don’t care, but the person who put Bad Brains name in the hat is either visionary, or they’re savvy and trying to bring some legitimacy to their brand,” MacKaye said in an interview with D.C. radio station WTOP. “The Bad Brains obviously connected with a lot of people in the 1980s. Maybe some of those kids swam upstream to where they now want to bring Bad Brains along.”

A D.C. native, MacKaye cited Bad Brains as a direct influence on his early bands, Teen Idles and Minor Threat. The musician recalled the joy of getting to see not just a great local band, but “the greatest band in the world playing in Washington.” 

In previous years, punk acts and fans have criticized the Rock Hall spectacle. MacKaye — a longtime proponent of the do-it-yourself ethos – said he would not be phased if Bad Brains were inducted. “If the members of the Bad Brains, if this is something they want, I’m happy for them,” MacKaye said. “I know the impact they had on my life, and that of other people … If they’re actually selected, it would be pretty startling.”

Bad Brains are among 19 acts nominated for the Rock and Roll Hall of Fame along with Pearl Jam, Tupac Shakur, Depeche Mode, Electric Light Orchestra, Jane’s Addiction, Janet Jackson, Journey, the Cars, the Zombies, Yes, Chaka Khan, Chic, J. Geils Band, Joan Baez, Joe Tex, Kraftwerk, MC5 and Steppenwolf. The top vote-getters will be announced in December and inducted next April at a ceremony at the Barclays Center in Brooklyn. HBO will broadcast the ceremony later in the year.

Article source: http://www.rollingstone.com/music/news/ian-mackaye-praises-bad-brains-after-rock-hall-nomination-w445873

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Hear D.R.A.M.’s Sultry New Song ‘WiFi’ Featuring Erykah Badu

October 21st, 2016 · Guitar

D.R.A.M. and Erykah Badu offer commitment-free flirtations for a hyper-connected world on D.R.A.M.’s sultry new song “WiFi.”

D.R.A.M. launches the seduction on the duet, singing over the funk-tipped instrumentals, “Is there a signal in your house?/ While we chilling on the couch/ Baby, do you got WiFi?”

“And I just want to impress you, darling,” he coos, before he introduces Miss Erykah Badu, who soulfully croons, “Boy, I got WiFi/ And my service is nice at that/ And it comes at no price at that.”

Their technological-tipped innuendo continues before they sing in unison, “No strings attached/ No strings attached/ We’re still connected/ Still connected.”

The song follows the release of “Cash Machine” and the rapper’s chart-topping single “Broccoli” with Lil Yachty.

“WiFi” serves as a prelude to D.R.A.M.’s debut album, Big Baby D.R.A.M., which will be released on Thursday at midnight via Atlantic Records. In addition to Badu and Lil Yachty, the album also features Young Thug.

Article source: http://www.rollingstone.com/music/news/hear-drams-sultry-new-song-wifi-featuring-erykah-badu-w446047

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Listen to ‘Rolling Stone Music Now’ Podcast: Bob Dylan’s Nobel Prize

October 20th, 2016 · Guitar

The latest episode of Rolling Stone Music Now, our first-ever podcast, is now available. Listen and subscribe to the podcast on iTunes, Spotify or check it out below.

They’ll stone you when you win the Nobel Prize for Literature: Nathan Brackett, Brian Hiatt and Andy Greene weigh in on Bob Dylan’s surprise honor – what does it mean for the world of music? Plus, new songs from Bruno Mars and Mary J. Blige. 

Subscribe now on iTunes and Spotify and tune in next week for another episode.

Article source: http://www.rollingstone.com/music/news/rolling-stone-music-now-podcast-bob-dylans-nobel-prize-w445389

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