Quotes of All Topics . Occasions . Authors
I've always loved big riffs and chunky guitars.
Words can have the same kind of magic as riffs can.
There's fifty bands doing my riffs for ever and ever.
Great melody over great riffs is, to me, the secret of it all.
The riffs, lyrics, and drums of 'Open Your Omen' will tell you a lot.
Growing up, flute riffs was big in rap back then. It's what I listened to.
I play guitar and I'm always trying to find out the latest kinds of riffs.
I had a diary full of lyrics and whatnot and a little voice recorder of guitar riffs.
Generally my songs are just some riffs slung together as an excuse for a guitar solo.
As much as I love heavy riffs, I like The Eagles, Neil Young, Elton John, Crowded House.
I think the best riffs and the best songs come when you're jamming and having a good time.
I've got so much material; like, it feels as if every day I'm coming up with so many riffs.
Man, don't get me started on Pat Travers. That dude writes killer blues rock and roll riffs.
Philosophically, I think riffs that start with E repeating itself are almost guaranteed to be great.
I like playing guitar I don't like talking about it. I like writing riffs, I don't like explaining them.
I really don't have an ear for pitch. I can't sing at all, I can't hum melodies and I can't write riffs.
I couldn't wait to get out of school in junior high to get with Willie Green to pick up some of the riffs he knew.
I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds.
Using string bends instead of just playing regular, unbent notes can definitely help give certain riffs a cooler, heavier edge.
It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.
I use a lot of piano riffs in my production, and someone who I was working with said that I played so good that it sound like Beethoven.
I started learning everybody's riffs, from Donny Hathaway to Jeffrey Osborne to James Ingram. That helped me create my own style of singing.
'Master of Reality' rules; it's one of my favorite records of all time. It has some of the most evil riffs on it - and some of the sexiest riffs as well.
We have to remember the bigger picture: the U.S.-Israel alliance is too important to be hijacked by political interests or undermined by perceived riffs.
I play and I've played in heavy bands, but when I write for myself, I don't particularly feel like writing huge rock riffs. It just doesn't work for me and my voice.
'Kraken' is set in London and has a lot of London riffs, but I think it's more like slightly dreamlike, slightly abstract London. It's London as a kind of fantasy kingdom.
Y'know, you can sit in a room, practise all day, learn your scales and blaze blues riffs: it's easy to hide behind that. But I think with the slide, it's a little bit tougher.
I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.
My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.
Some of the best rock riffs ever written were by Jimmy Page, and I can't really name the songs, but some of the stuff he did on his first and second records is beyond brilliant.
We always mess around with riffs and stuff and kind of jam out during sound checks, but we never actually started playing covers live until we started goofing off a little bit more on stage.
I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.
I would listen to Little Richard and Fats Domino and Chuck Berry, and I would listen to how they played their riffs, and after I taught myself that, I taught myself to play my own kind of stuff.
With guitar riffs, we always look for something that 's a little bit special. We've always found that it is harder to come up with something that's nice and simple without getting something that's hard but easy.
All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.
If I get even five per cent of my ideas out and documented before I die, I'll be lucky. I'm not in danger of running out of riffs or ideas anytime soon. They overwhelm me and it's hard to find time to deal with them.
Riffs are a repeating thing. They come back to you. Some of the things on 'Back in Black' were ideas we had knocked around on tracks before that: 'That bit - maybe we should take a chunk of that and slug it in here.'
The way that we imitate each others' riffs is something that other bands don't do as much. If we're jamming with a jazz band, or I am jamming with a jazz band, I have to catch myself, the tendency is always to do that.
Learning Jimmy Carr riffs off by heart is not the way to anyone's heart, unless you're Jimmy Carr. And remember, the two most attractive things in a man is a sense of danger and being able to make a girl feel really safe.
My biggest influences were 1980s punk and metal. Metallica were my biggest influence because they were good at everything - riffs, energy - but with such an ear for melody, it was hard not to get pulled into it and become a fanatic.
That's all life is, I guess. Just a bunch of riffs. Look at me: I'm wearing a tie. Why am I wearing a tie? It's because I saw an adult wear a tie and I thought, Oh, that's what people do. We're all just trying to be what an adult is.
If I pick up a guitar, I don't practise scales. I never have. I come up with something I haven't done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It's not like the music I'm doing is just a single thread.
I wasn't personally that familiar with the Classic Rock bands. That is where Jorn Viggo came in: he played me tons of that stuff - Deep Purple, Led Zeppelin, plus a lot of bands with cool songs, riffs, vocals, etc. We really listened to tons of music.
Motley never once sat down and said, 'Well, the music scene's changing. We need to make this record a little darker or heavier musically or lyrically.' It was just four guys sitting in a room like a bunch of 16-year-olds in a garage and jamming on riffs.
There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
Hendrix was the bass player for Little Richard. We were both left-handed, but we would use a right-handed guitar held upside down and backwards. He developed my slides and my riffs. In fact he used to say, and this is documented, 'I patterned my style after Dick Dale.'
If I sit down with an electric guitar, what's going to come out are Sabbath/Zeppelin type riffs, but if I'm sitting behind a piano late at night, I might write something like 'Desperado.' You're not going to write 'Desperado' between a wall of Marshalls and thumping, crushing volume.
I wrote all my songs on my main instruments, and the songs I would record in my bedroom were just acoustic guitar, mandolin, and sometimes bass. I really like the texture the mandolin added to my music, but my fingers were too big to play it... I could only do little riffs and whatever.
Once I started to make the transition to guitar - because I was playing keyboards when we started the band - I was trying to figure out riffs I could play without really having a lot of knowledge. And my dad ended up showing me Black Sabbath's 'Heaven and Hell,' because he knew I loved Dio.
I think Pantera is a type of band that has been documented very, very well over the years. With the past re-releases, we were fortunate enough to have old demos and stuff that never really saw the light of day. But Pantera was not the type of band to waste many riffs or many parts or songs.