Quotes of All Topics . Occasions . Authors
'I'm Broken' was a sound check riff.
I love a good Slash guitar riff. It's sexy!
I've never been known as a riff kind of artist.
'Boogie Chillen',' by John Lee Hooker - that is a riff.
Creating a dance is like coming up with a Chuck Berry riff.
No one in the world can beat Ella Fitzgerald as a riff singer.
If there is one thing that makes me unique, it's that I riff a lot.
For me, the music dictates the melody. Give me a riff to sing over, you know?
You really have to play with the space in a riff so it can be allowed to breathe.
A lot of the time, I will write a guitar riff first. I don't write drum riffs first.
When I need to nail that riff to the cross, Marshall will always provide the hammer!
I think people will always love a heavy Sabbath riff because it's fundamental to rock.
Comedians are really writers who don't have pens and pencils about them, but they riff.
When I write a song, it's all about the riff - the riff first, then the words come later.
If you improvise a riff and the crowd immediately reacts to it, you know you're on to something.
In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
One thing will lead to another and somebody will come up with a riff or a line or something we build from.
I could fall asleep at 10:30 watching 'Hill Street Blues.' I might wake up at 1 A.M. and have a riff in my head.
To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
I sleep music. I wake up, and there's a riff in my head. Every step I take, there's a riff, a beat, or something.
I have a tough time with stand-up because I am an improviser. I can riff; I can do crowd work, so I don't prepare.
With Rage, we wrote riff rock and had rap vocals, so we didn't really concern ourselves with melody for the most part.
A guitar riff played on a piano doesn't come close to the purity of it being played on a guitar but I faked it enough to get by.
You would find in a lot of Zep stuff that the riff was the juggernaut that careered through and I worked the lyrics around this.
James Hetfield, I mean, the minute he plugs in his guitar and adjusts the tone knob, he comes up with the world's greatest riff.
I think you can hear the Delta blues thing in something like the intro to 'Heaven in This Hell,' which has that down-home acoustic riff.
Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.
'The Cabin at the End of the World' is my riff on the 'home invasion' subgenre of horror/suspense. Hopefully it's a big, loud, dark riff.
I think often times if a guitar riff is centered around the chorus or if it follows the chorus, then it often times turns into the actual hook.
I am part of a circuit called 24 Hours of LeMons, where it's a sort of riff on 24 Hours of Le Mans. It's a poor man's weekend warrior racer event.
The worst thing to happen at the Oscars would be if nothing happened. You want something unscripted, something to riff on, something kinda out there.
If you have a good riff with a vocal as well, then it becomes a devastating song. That's why people love riff-rock: it's the ultimate air guitar music.
To me and my band, guitar riffs are what it's all about. We know that every time we jam on a great riff, we've got a fighting chance of writing a great song!
The first riff that I totally mastered was 'Come As You Are' by Nirvana. I remember sitting there, plunking along, I remember thinking 'How do they even do this?'
If you take the riff from the song 'Cowboys From Hell' and really break it down, it's almost a hillbilly guitar riff: dekka dekka dekka dekka dekka dekka dekka dek.
Songs are out there - they're waiting to be grabbed. I start with a phrase, musical and lyrical, words like 'I don't think so' and a nice riff. It rolls from there.
Well, I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing.
To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
I was just obsessed with soul singers who had these big powerful voices. I used to listen to Aretha, Whitney, Mariah and try and imitate them, note for note and riff for riff.
I saw a band called The Electric Guitars, from Bristol. I described them to Roland, and he just started playing a riff on guitar and said, 'Do they sound like this?' And they did.
The first song that made me interested in music was 'Oh, Pretty Woman' by Roy Orbison. It was the guitar intro, that riff, that I really liked and made me listen in a different way.
'Back In The Saddle' - I never realised what a good riff that was, or at least how much it satisfied me. And when we play it live, it comes across much better than I ever expected it to.
I'll listen to a song so much that ideas start to form out of daydreaming. It's as if I'm reverse-scoring the track and building visuals around a specific beat or riff that's grabbed me.
When I got into songs like 'Exist,' I was like, 'Okay, this riff has some bass sweeping in it, I'm definitely going to have to use a pick... but I guess I'll have to learn how to sweep first!'
Sometimes one of us will have a riff or a bass line from home but it really gels when we come together. We really have a strong special chemistry that we take advantage of when we get together.
I'm dying to fool around with the distance between Selina Kyle and Catwoman. And, you know, the whole double identity thing is endlessly fascinating. I mean, you can always find another riff for it.
I got really hooked on this riff in the middle of this song called 'Minor Miracles' by my friend Eric Johnson from Fruit Bats. I got the tracks for that from him, and that turned into 'Here in Spirit.'
The first thing that was intimidating was when I started rehearsing to play Riff in the London company. That first day of rehearsal, I thought, 'Oh my God, I'm never going to learn this. I'm too slow.'
You can have the best riff in the world, but if the drums behind it just ain't vibing it, it's not gonna be the greatest riff, right? So you've gotta have someone there that can really bring that to life.
Whenever anyone sends me a link to a band, saying, 'These guys sound exactly like Soundgarden,' it's always some super simple sludge riff with a singer that sings high and screechy. And it's really awful.