Lil Wayne Speaks From Jail: "I Can't Live Without My Music"

Lil Wayne may have been caught with illegal contraband — an "unauthorized" iPod charger and headphones — in his Rikers Island cell last week, but the infraction apparently wasn't severe enough to yank Weezy's telephone privileges: In a speakerphone conversation videotaped by DJ Scoob Doo, Tha Carter III rapper checked in from jail to talk about last week's incident, promote the upcoming Nino Brown 3 DVD and just give fans an update on life behind bars, New York reports. "I got the penthouse suite up here in Rikers, man. I got my feet up," Weezy joked. He's currently serving a one-year sentence after pleading guilty to 2007 weapons charges.

As Rolling Stone previously reported, Lil Wayne got into some trouble last week when a search of his prison cell yielded an unauthorized pair of headphones and an iPod charger hidden in the garbage can. "Ain't too much, I got in a little trouble and whatnot, you feel me," Wayne told Scoob Doo. "Yeah, they tried to bang me with that. But I can't live without my music. You know how it is, man. I needed my music. It's all good. I had to take my little slip up. I ain't trippin'. Players fuck up." Before heading to jail, Lil Wayne seemingly forecasted this latest episode to Rolling Stone, saying, "I'll have an iPod, and I'll make sure they keep sending me beats."

Wayne, ever the Young Money impresario even behind bars, asked Scoob Doo when the "Steady Mobbin' " video, one of a dozen vids Wayne filmed prior to going to prison, will air. Scoob replied they're waiting for Gucci Mane, who was recently released from jail, to film his cameo for the music video. Despite last week's minor run-in with the law, Weezy is still on pace to be released from prison this November.

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Song Stories

“All Along the Watchtower”

The Jimi Hendrix Experience | 1968

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."

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