A Quote by Joey Jordison

'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. — © Joey Jordison
'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.
I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
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.
I don't really break into too many solos. But I've never been a super-big solo guy anyway. I like to make the main melody guitar lines of the songs as cool and interesting as possible without just strumming chords. I like to have chords intertwined with riffs here and there, but I'll do the riffs and the solos where the bottom will drop out. Basically, I do everything for the song, I don't do it for the solo glory. Kids aren't really into that anymore for some reason.
Generally my songs are just some riffs slung together as an excuse for a guitar solo.
Some audiences can shake and bang their heads on the stage to riffs all night long, but subtlety is an art that must be mastered if you're going to be remembered.
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.
This is one of my favorite things about the Underground: the crashing of the cymbals, the screeching guitar riffs, music that moves into the blood and makes you feel hot and wild and alive.
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.
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.'
I just went into my studio and started to compile stuff. I was so happy with what was coming out that good momentum just carried over and when I would listen back to some of the riffs and some of the ideas, I was completely happy because I felt like, "wow, this was a breakthrough!" The ideas and the songs were really strong and I couldn't wait to show everybody the stuff.
I make make music in my own time, messing around with beats and riffs I write. Always practicing performing in my room most times I probably look like an idiot dancing around haha.
Some of this story is completely true. And some of it isn't. Like truth, evil comes in all sorts of flavors. Some bitter. Some deceptively sweet. Sometimes it comes with a heavy price. While most people don't invite evil into their lives, the dirty little secret is that an invitation isn't necessary. Locked doors don't matter. Neither do fancy security systems. Evil is kind of amazing when you think about it. She knows how to get inside.
I think the best riffs and the best songs come when you're jamming and having a good time.
The very first practice we [Woody Weatherman, Mike Dean & myself ] did it was like, "Oh ok, I get it." We were jamming on some crazy ass, out of the box, weird time signature riffs and I got it, whereas anyone else who was playing with them recently would have been like, "What? What are you doing?" So I think there's something unspoken between the three of us that makes us Corrosion of Conformity.
Words can have the same kind of magic as riffs can.
I bathe in basslines, rinse in riffs, dry in drums
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