Category Archives: Nikki Sixx

NIKKI SIXX On MÖTLEY CRÜE Playing Final Show At Whisky: ‘It Sounds Romantic’ But Is ‘Not A Very Good Idea’

NIKKI SIXX On MÖTLEY CRÜE Playing Final Show At Whisky: 'It Sounds Romantic' But Is 'Not A Very Good Idea'

MÖTLEY CRÜE bassist Nikki Sixx spoke to Australia’s Rolling Stone magazine about the band’s “The Final Tour”, which kicked off last year and will end New Year’s Eve at the Staples Center in Los Angeles after one more round of North American gigs.

Asked if the CRÜE is still planning to play a set at the Whisky A Go Go in West Hollywood, California after the band’s Staples Center show on December 31, Nikki responded: “I don’t know. By the time we get off stage and hang out, it will be about 2 o’clock in the morning. Do you want to drive into Hollywood, get there about 4, play at 5 a.m.?”

He continued: “I think I like the send-off at the Staples, where we blow the place up, rather than kind of hobbling through a set at the Whisky at 5 o’clock in the morning!

“It sounds all romantic, until you really put the pieces of the puzzle together and you go, ‘Yeah, it’s actually not a very good idea.'”

The idea of MÖTLEY CRÜE playing its final show at the Whisky A Go Go was first raised last year by singer Vince Neil, who told the Las Vegas Weekly: “Rumor has it, the last few shows are going to be Vegas and L.A., because we wanted to end in 2016 in Los Angeles where we started.

“After New Year’s, we’ll do three nights at one of the arenas in L.A.,” Neil added. “And then do a special show at the Whisky A Go Go on our 35th anniversary.”

MÖTLEY CRÜE drummer Tommy Lee told Rolling Stone last year: “We want to finish where we started. There’s talk about the Staples Centre and the Forum, though it might end with a 1 a.m. show at the Whisky. Fuck, we all used to live around the corner from that club.”

Sixx added. “After we take the final bow, I’m gonna drive home alone with the radio off.

“I’ll go past the Roxy, the Rainbow and the Troubadour. I’ll open the door to my house and be like, ‘Where did all the fucking years go?’ Then I’ll close the door and wait for the next chapter.”

While announcing the first details of “The Final Tour” at a Los Angeles press conference in January 2014, the four members of MÖTLEY CRÜE revealed that they took the unusual step of having their lawyer draw up a formal “cessation of touring” agreement that goes into effect at the end of 2015 and prohibits the members of the group from going on the road again under the MÖTLEY CRÜE banner.

“The only loophole is if all four members agreed to break the contract,” Sixx said before adding. “There is no amount of money that would ever make me do it again. We’d have so much egg on our face.”

After the completion of the farewell tour, MÖTLEY CRÜE guitarist Mick Mars is expected to put the finishing touches on his long-in-the-works debut album as well as a memoir. Sixx will focus much of his efforts on his other band, SIXX: A.M., while Neil will continue his solo career. Lee‘s plans have not yet been revealed, but he did tell Newsday: “I am writing and putting things aside. It’s a different direction from my last solo work because I’m changing around all the components. It won’t be something you’ve heard or seen before. Believe me, I’m not done after this.”

Read more at http://www.blabbermouth.net/news/nikki-sixx-on-motley-crue-playing-final-show-at-whisky-it-sounds-romantic-but-is-not-a-very-good-idea/#YFgy8Lv4pA5pZJcl.99

Nikki Sixx: “No Retirement For Me”

Nikki Sixx: "No Retirement For Me"

BY ROD YATES | APRIL 20TH, 2015 12:19:PM EST

Nikki Sixx is in the car on the way home from rehearsals. He hasn,’t, however, been jamming with Tommy Lee, Vince Neil and Mick Mars – the three buddies who formed Motley Crue in Hollywood in 1981, and who will bring their career to a close on New Year’s Eve with their last-ever show at the Staples Center in LA – but instead he’s been working up a set with his other group, Sixx: AM, in anticipation of their first ever tour.

“We have three albums to pull from, and a lot of the music is so complicated and so diverse, so we needed to get in there and really spend the time and really give the music the attention it needed,” he explains.

Related: Create the Ultimate Motley Crue Playlist To Win One of Six VIP Packages

With the Crue about to play their last notes, the bassist can now direct his full attention to Sixx: AM. “We want to go to Japan and Australia and New Zealand and then Europe and back to America, all while we’re working on our fourth record. We’re fucking ready to do it. No retirement for me!”

In May, Sixx and the Crue will tour Australia for their final Antipodean dates. Here, the bassist talks about the reality of the Crue calling it a day, and what we can expect from the shows. We also got the low down from Nikki on what he’s listening to right now, check out the playlist over on our Rdio channel.

Mentally, have you come to terms with the fact that Motley Crue will no longer exist come January 1 next year?
You know, if you have a death sentence, the closer it comes to execution day you start to say, ‘Hey, wait a minute, maybe I should re-think this.’ But you know, it is what it is. Our execution day, so to speak, is New Year’s Eve of this year, and we know what it means, we know what we’re doing. We’re smart, we’re doing it on purpose, and of course there’s little pings and pangs of emotion like, ‘Oh man, this is my youth, this has been my life, it’s been my best friend.’ I’ve seen everything with these three guys, so of course there’s moments. Sometimes on stage I’ll look over and be really laying into it and I’ll get a smile from Mick [Mars, guitar] and all of a sudden it will hit me, and vice versa I’m sure.

In the Nineties when Vince Neil and Tommy Lee both left at various times, did you ever worry you’d never get the chance to go out on your own terms, with the four original members?
We’re a stubborn bunch [laughs], we’re definitely determined. I think the strongest of bands would have caved at times, when we just kept moving forward, and I think that kind of makes us who we are, it makes us unique in the fact that we pushed through. We pushed through being the most popular to being the least popular to being the most popular to being the least popular, being the most loved the most hated.

Which of your albums best sums up Motley Crue?
You know, it’s funny, because the way you write a record you spend a lot of time in the studio and you’re mixing it and you listen to the same song about 1000 times, you master it and then you kind of give it to the fans. I’ll be honest with you, I haven’t listened to any of our records since we’ve made them, and even now and then we’ll say, ‘Hey man, let’s break out something like “Piece Of Your Action” and someone will have to go to iTunes and download it. We have to buy our own song, you know! [Laughs]

What can we expect from Motley’s Australian shows?
We’re bringing the American show. We’re bringing all the bells and whistles, we want to give Australia a good send off. You guys have been more than good to us, and we’ve had nothing but great experiences playing there, and Australian fans have been so supportive of us. It’s one of those places where we wish we could spend more time, but you’re so damn far away.

Are you still planning to play a set at the Whisky after your Staples Center show on the 31st?
I don’t know. By the time we get off stage and hang out it will be about 2 o’clock in the morning. Do you want to drive into Hollywood, get there about 4, play at 5am? I think I like the send off at the Staples, where we blow the place up, rather than kind of hobbling through a set at the Whisky at 5 o’clock in the morning! It sounds all romantic, until you really put the pieces of the puzzle together and you go, ‘Yeah, it’s actually not a very good idea.’

– See more at: http://rollingstoneaus.com/music/post/nikki-sixx-no-retirement-for-me/1501#sthash.Xu33lggY.WDM3G0J8.dpuf

More from The Heroin Diaries

Excerpt from “The Heroin Diaries: A Year in The Life Of A Shattered Rock Star,” avalable at amazon.com

September 13th, 1987
Van Nuys, 6:30 pm (break from Girls Girls Girls Tour)

Dear Diary, I’m such a loser. I’m a dreg and a liar. I feel like backwash. I feel shame…I got high last night. No, not just high – I lost my mind again. I ended up in the closet shooting coke…I’ve been doing so good. I’m so confused. It didn’t start off so bad. I thought I could control it…

P.S. I just woke up and I’m too sick to even eat. I’m going back to bed. Maybe if I just hide under the covers and go to sleep, this will all have been a nightmare…

Why do I take everything too far? I make myself sick…literally.

http://www.amazon.com/Heroin-Diaries-Year-Lif…/…/ref=sr_1_1…

Debauchery on Girls, GIrls, GIrls Tour — excerpt from The Heroin Diaries

Excerpt from “The Heroin Diaries: A Year In The Life Of A Shattered Rock Star”; the Girls, Girls, Girls tour was a wild ride for Nikki and The Crue:

June 25th, 1987
Frank Erwin Center, Austin TX

I just got back from Beale Street. Went to a few different clubs. Tommy, Vince, and myself with Fred found an amazing strip club. The girls took us in the back and gave us lines and blow jobs free, Only in America. God bless Texas!

This lil girl named Ashlee gave me a number of a guy who sells packages of rigs for $5 a pop. He’s dropping off a 12-pack…just nice to have around, never know if you’re gonna need them (vitamin B? ha ha). The show is sold out and there’s no sound check so I’m gonna have a little party in my room alone but I promise I’ll be in bed by 7 a.m.

10:30 a.m.

Fuck, I did it again. I’m still up and I ended up in the hotel closet, freaking out. I took two Halcions about 30 minutes ago so I’m pretty mellow right now…but I was sure hotel security was coming to get me. I hate cocaine.

6:45 p.m.

Just woke up; Rich said everyone was freaking out ’cause I wouldn’t answer my door…fucking hell, I was just sleeping…damn, I wish everyone would just relax (I’m not gonna die). Got to go to the show right now then off to…somewhere.

http://www.amazon.com/The-Heroin-Diaries-Year-…/…/1416511946

In one of the most unique memoirs of addiction ever published, Mötley Crüe’s Nikki Sixx shares mesmerizing diary entries from the year he spiraled out of control in a…
AMAZON.COM

Nikki Sixx’s Distorted Lens…

Nikki Sixx loves finding beauty in the people society would label as “handicapped.” He often photographs them in unusual, perhaps bizarre settings and costumes in order to capture their beauty.From This Is Gonna Hurt: Music, Photography, and Life Through the Distorted Lens of Nikki Sixx.

http://www.amazon.com/This-Gonna-Hurt-Photogr…/…/ref=sr_1_1…

A user's photo.

Nikki Sixx: ‘$100 Million for Five Shows’ Would Not Get Motley Crue to Perform After Final Tour

Nikki Sixx
Kevin Winter, Getty Images

Motley Crue’s Nikki Sixx sat down for a new interview with the website For Bass Players Only, and during the conversation, the bassist spoke about Crue’s final tour, his plans for the future and if the band would ever consider touring again.

Sixx talked about the reasoning behind Motley deciding this would be their farewell trek, “Well, you know it started with the idea of pride and it started with the idea of us not wanting to be what we’ve seen before us, which is people kinda hobbling off into the sunset…. It’s human nature to want to keep going, but you have to fight against the ‘I’m just gonna keep doing it’ when you know the possibility of not looking great on the way out. It’s better to pull it in a couple years too early, and that’s really what we’re doing.”

When pressed as to whether they really were absolutely finished touring together after this Final Tour, the bassist had this to say: “Every version of that question has been asked and there’s all the trick questions – ‘Would you do it for $100 million for five shows in Dubai?’ Y’know, let’s just get to the core of it: Do you want us to renege on our word? We don’t want to. I don’t need to name the bands that have. It’s obvious. It’s okay if they want to do that, and it’s okay if their fans accept it.”

He went on, “For us, we didn’t want to do that…. If it was just about money it would be different. But it’s not about money. It’s about credibility. And, you know, the next day after we take our final bow, I’m gonna look at my band members and say, ‘Wow, dudes, everything we said the first day we got together, the very first band rehearsal, we did it.’”

Sixx did say that while they may not be touring together after the completion of these shows, they are still planning to work together. “We actually have a lot of great things we have in front of us, including our movie,” he explains. “And if something comes up and we want to write a song for something, that’s an opportunity we can look at. We want to keep extending our brand into different places, into movies and soundtracks and our music will live on through licensing and our brand lives on through merchandise.” Check out the full interview here.

In between the final Motley Crue shows, Nikki’s other band Sixx: A.M. will tour. They kick things off on April 8 in San Francisco and play throughout the month of April. Meanwhile, the next leg of Crue’s Final Tour kicks off May 9 in New Zealand.

Read More: Motley Crue’s Nikki Sixx Stands Firm on Final Tour Promise | http://loudwire.com/nikki-sixx-motley-crue-not-perfor-100-million-five-shows/?trackback=tsmclip

Two contrasting tours…

Now that Nikki, DJ, and James are in San Francisco, getting ready for the opening night of the ‪#‎modernvintagetour‬ tomorrow, I thought that I would share a brief excerpt from The Heroin Diaries that Nikki wrote on the night before the Girls, GIrls, GIrls tour launched on June 17th, 1987, in Tucson, Arizona.

Sheraton Hotel, 1:40 a.m.

“All the usual suspects came around tonight. I said no to all but two lines and a few shots. I’m not starting off the tour with a hangover. I can’t believe I’m off junk — what a horror story that was. But I have to watch it ’cause the junkies just seem to sniff me out. The word’s on the street that I’m clean and they don’t like it.”

Here’s to a much happier start to the Modern Vintage tour, Nikki! Laura and I will see you in 22 days! Have a fabulous time over the next three weeks, and kick some ass for the fans! <3

Nikki Sixx, on the workings of the music industry back in the ’80’s.

Nikki Sixx, on the workings of the music industry back in the ’80’s; from The Heroin Diaries:

May 16th, 1987
Van Nuys, 8:00 p.m.

“So another Motley Crue album is set to come out and we kindly donate another fucking chunk of profit to Neglektra Records. Why should they own our music?

This industry is the most fucked-up business ever. Musicians spend their childhoods learning to play instruments in their bedrooms, then they spend their lives in a recording studio creating music…then some fucker in a suit comes along and says if I can distribute what they’ve done to enough people, I’m going to sell PRODUCT to create CASHFLOW for my CORPORATION…at which point I ask myself, where did we lose the music?

We write the music. It’s our songs, our vision, our message, our angst, so how can some record company OWN Motley Crue or Aerosmith or Led Zeppelin’s music? I mean, what the fuck? This system is slavery. It’s our music, our business…we should own it…”

http://www.amazon.com/Heroin-Diaries-Year-Lif…/…/ref=sr_1_1…

In one of the most unique memoirs of addiction ever published, Mötley Crüe’s Nikki Sixx shares mesmerizing diary entries from the year he spiraled out of control in a…
AMAZON.COM

Billboard Interview w/Nikki Sixx, October 2014

After more than 30 years in the music business, Nikki Sixx still gets a kick out of shocking people.

He isn’t resorting to the extremes that horrified parents and defined his band Motley Crue in the ’80s and ’90s, but his methods are still effective. Just look at how Motley Crue signing a cessation of touring agreement in January got people talking about its farewell tour. So Sixx was upholding tradition when he decided to pull a good-natured stunt at Vintage Vinyl in Fords, N.J., on Aug. 30.

Since Motley Crue was playing Holmdel, NJ, that evening, the bassist passed the morning by posing as a first-day employee at a local record store. For several hours, Sixx talked music with people and casually played it off when suspecting customers inquired about his identity, giving his name as “Larry.” Although he had worked in a record store in his youth, he wasn’t test-driving the gig as a possible career option once Motley leaves the road. No, Sixx playfully stepped behind the counter promote Modern Vintage, the new Sixx:A.M. album that arrived Oct. 7 — not surprisingly, he steered people toward the band’s catalog. (Watch video of Nikki Sixx working undercover as a record-store employee at Vintage Vinyl in Fords, NJ, here.)

Modern Vintage is yet another surprise up Sixx’s tattooed sleeve. The last two Sixx:A.M. sets doubled as soundtracks to two books Sixx wrote about his addiction and recovery, The Heroin Diaries: A Year in the Life of a Shattered Rock Star and This Is Gonna Hurt: Photography and Life Through the Distorted Lens of Nikki Sixx.

This time around, in terms of lyrical content, Modern Vintage is a freestanding entity. And today, Billboard is proud to exclusively premiere the lyric video to “Give Me a Love.” Watch it below.

https://www.youtube.com/watch?v=rdgCqIelfPo

Modern Vintage celebrates bands like Queen, Sweet and T. Rex that made Sixx, James Michael and DJ Ashba fall in love with music. The sound is still distinctly Sixx:A.M. — songs like “Give Me a Love” and the pick-yourself-back-up rocker “Let’s Go” are prime examples of that — but the joyful grandiose quality of Queen is apparent on “Gotta Get It Right,” and “Miracle” is a somewhat funky trip that doesn’t quite go all the way back to the ’70s. An even bigger curveball is the band’s cover of The Cars’ 1984 melancholy ballad “Drive,” which Sixx:A.M. recast with a faster-paced tempo and softly gurgling keyboards. Fans will be able to hear the songs live when Sixx:A.M. tours theater-size venues in April, bringing along Finnish group Apocalyptica as support.

Sixx chatted with Billboard about the thought process behind Modern Vintage and some of the surprising influences that shaped it. He also explained why, when it comes to music, Sixx:A.M. didn’t want to serve up the same old thing to its fans.

What did it feel like to be a record store employee again?

When I first walked in, I had this huge buzz, like the smell of the store. It took me back to when I used to work in record stores and spent all my time in record stores looking for bootlegs. There was a great store in Seattle called Cellophane Records. It had really cool bootlegs of bands, like live concerts, [David] Bowie and Elton John, Slade, all this stuff live, and we were just like, “Wow, so that’s what it sounds like live.” We were so inquisitive about music. Something about the whole experience of being in a store and just looking for music, looking at the album covers and just taking the whole experience in, hearing something new over the PA system. [It] kind of felt that when I walked back in.

It was cute how you were directing everyone to buy a Sixx:A.M. record. Watching their expressions when they realized who you were was funny.

(Laughs.) There were some moments where some people actually did not know who I was, which was perfect, and me talking about music and then them going, “Well no, I don’t really want to buy this, I don’t know if I like it,” and me being like, “Take it back, how can you not like this? It’s Sixx:A.M.”

One woman said she didn’t think she had counted her change after she gave you a $100 bill because she didn’t believe it was you. She told me she had read The Heroin Diaries. She said, “I’m in recovery, and I’ve dealt with depression. Whenever I have a bad day, I think, ‘If Nikki Sixx can get through 1987, I can get through this day.” It was interesting hearing right from a fan the impact the book had has on them.

That was the whole reason behind the book, the whole reason for sharing the story. Today’s society everybody always shares the glamour, how much we have, how great we’re doing, how big our band is. And that’s great. I think that we should celebrate life in all ways. But also you have to show the warts and all, because 100 percent of us all go through stuff and it’s that that makes the other stuff worthwhile. So I felt like sharing that in the books, parts of my story and my lyrics over the years.

It makes me feel good when I hear that story. It’s like, “Oh, that’s awesome. It gave one person a reason to step one more time,” because I’ve got those same inspirational moments from other people throughout the years, whether it’s writers or musicians or friends or just people I look up to.

While Modern Vintage is a different type of project from the first two Sixx:A.M. records, do any of its songs relate to what you’ve experienced as you’ve continued in your recovery?

There’s definitely some battle-cry moments, and the lyrics are really deep on the record. A song like “Let’s Go” … lyrically it really ties back to the first two records. It’s a song that kind of says, “Hey, let’s get up and get out of our own way. Let’s go. Let’s go through the darkness. We can make this. We can do this.” So in that sense, that one definitely does.

A lot of the songs we stripped them down musically. We’d be sitting there with just acoustic guitars or a piano, and some of the subject matter we took it all the way back to its simplest form. On a song like “Hyperventilate,” we talk about that moment when you first fall in love with somebody or something and you feel like you can’t breathe. You’re hyperventilating, and you love that feeling. It is like a drug, it’s like, “Wow, that’s what drives us.” We’re looking for that thing that takes our breath away. In a sense it’s new territory for us, but at the same time it’s kind of cultivating everything we’ve been through.

James said Sixx:A.M. had “to dare to make something that could leave us looking silly” on this album. What do you think people might perceive about this album that would have them look at you cock-eyed?

It started with our early conversations. So much stuff with Sixx:A.M. starts with conversations, sitting around with a guitar, noodling around, playing some chords, talking about something, feelings, thoughts, things that you’re observing. Then the song starts coming and then usually that part of the conversation somehow gets plugged into the song.

I remember we were outside at my house, sitting in a circle on this patio with guitars. Conversation came up like, “Let’s make a record that everybody might laugh at. Let’s talk about that.” And we all started talking about pulling from all this music that people wouldn’t expect. Nobody wants to say they listen to the Bee Gees or ABBA. Nobody wants to say that in a rock band, but let’s face it: That is stellar songwriting. That is so defined, and we like so much music, but we were talking about the ’70s in that conversation and I had been listening to a lot of the Bee Gees, and the guys started talking about stuff they liked about that genre, which was kind of a disco genre, and two songs came out. One is a bonus track called “So Beautiful, Let It Haunt You” and one’s called “Miracle.”

When “Miracle” first started you could listen to the original ideas — just guitar, a little tiny loop, James kind of singing this melody line on the bass. This does not sound like something our fans are going to understand. But we kept pushing on the idea. The core idea was how great those songs were, and we started figuring out why they were great.

I remember a friend of mine came by the house. I put on “Miracle” and he goes, “Wow, that’s like amazing. Sounds like Lenny Kravitz meets you guys meets Jack White. I don’t know, what the hell? It’s amazing. It sounds old, but it’s new.” And I said “Thanks.” So he left and I called the guys. I told them what he said and they said, “That’s what this album’s about. It’s modern vintage.” So we had to extend ourselves in faith that we were going to land on our feet, but we definitely had to pull the rug out from underneath ourselves to take a chance.

So for the record, what are your favorite Bee Gees and ABBA songs?

(Laughs.) This is the interesting part of the conversation. Earlier in interviews when I mentioned what we just talked about it would have thrown people. They would kind of go, “Whoa, whoa, whoa, disco? Wait, wait, wait, ragtime? Who, what are you talking about?” We [said], “You know, it’s like what Queen did. They just embraced everything,” and that’s kind of what we’re about on this record.

We released “Gotta Get It Right” because it wasn’t exactly what people would expect from us. We wanted that moment where people would go, “Oh, whoa, no, no, no, no, no,” or “This is amazing.” We got both extremes. I didn’t get anyone that said, “Yeah, I kinda like the new Sixx:A.M.” I have people like, “This is the freshest band I’ve heard in the last five years because everything is starting to sound the same.” Other people just go, “I’m not in. Not heavy enough.” I’m like, “OK, what about Queen on ‘Killer Queen.’ Is that heavy enough for you? What about ‘Bohemian Rhapsody’?”

But we’re in a very strange time where everything is so formatted. You used to have FM radio, and FM was not so formatted. All genres of music on FM radio, that’s what I grew up on. I could go to a vinyl store, I could go through every genre, I could pick stuff. Sometimes I’d buy a Roxy Music album based on one song I heard and these two sexy girls on an album cover. And we knew everything about everything and the artist, and we gave the artists these huge opportunities to grow by supporting them.

What was it about bands like Queen, Bowie and T. Rex that made you love them?

I went to this sushi restaurant last night. Never been to it before. The guy [who waited on me] said, “What do you want?” I said, “Give me anything you want,” and he was excited about that … I sat there for an hour. I ate all this stuff I’d never eaten, and it was similar, it was like salmon, but it was like seared with this crazy seaweed and this interesting sauce, so it was sushi. My mouth went, “Wow.” That’s what Queen, Bowie, Slade and Sweet was for me. [When I was a teenager] I put on Sweet and I’m like, “Whoa, look at those harmonies, look at those guitars. It’s so heavy, yet it’s pop, and look at those haircuts, and where the hell do these people live?” And it went to Slade, it went to Bowie, it went to Elton John, it went on and on. It went to Aerosmith and back to the Stones. It’s all food. But it makes your mouth go, “Holy fuck, what was that?” We didn’t want to give you a f—ing California roll with Sixx:A.M.

http://www.billboard.com/…/nikki-sixx-am-give-me-a-love-lyr…

After more than 30 years in the music business, Nikki Sixx still gets a kick out of shocking people.
BILLBOARD.COM

Excerpt from The Heroin Diaries: Nikki’s Mistress

Excerpt from “The Heroin Diaries: A Year In The Life Of A Shattered Rock Star,” by Nikki Sixx.

January 24th, 1987
Van Nuys, Midnight

We had a day off from the studio so Tommy came around. Heather is away, filming on location, so we chilled out and watched MTV, and I made myself wait 30 minutes before I told Tommy I had some dope. It’s not cool to look too eager.

Tommy asked me to shoot him up in the same place he always does…the rose tattoo in the crook of his arm, the spot that nobody can see. If Heather knew he was around here shooting smack with me, she would be gone. She’d be history.

I love Tommy – he’s the brother I never had. He loves me enough to come here and take a holiday in my hell…but then he goes. And I’m still here.

2:55 a.m.

One could say that I’ve been having a 10cc love affair…my mistress is so seductive. She sneaks, she lies – in fact, she will lie dormant, if that’s what’s needed to seduce me from my lifetime commitment (my music). Some could say I’m married to my music. Others…fuck them…

Is this a crisis or a needed creative outlet?

There she goes again, whispering in my ear. Sometimes I think I hear her say I’m going to die.

http://www.amazon.com/Heroin-Diaries-Year-Lif…/…/ref=sr_1_1…

In one of the most unique memoirs of addiction ever published, Mötley Crüe’s Nikki Sixx shares mesmerizing diary entries from the year he spiraled out of control in a…
AMAZON.COM