A Quote by Joey Jordison
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.
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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.
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.
When I write a song, it's all about the riff - the riff first, then the words come later.
'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.
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.
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.
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.
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.
It was really different this time, because we did everything in the studio and thought out the writing and song structures. Before this album ["The Black Crown"], we used to just write riff after riff and then worry about the rest of it later.
When you think of rock and roll and metal, a lot of it is based around the riff. If you can sing over the riff and what the arrangements are going to be like, you have to leave space for what most people consider one of the most key essential parts, which is the vocalist.
After I finished working on the movie, I went back into the show again playing Riff, so it was an incredible time because I loved playing Riff in the theater and, of course, I loved playing Bernardo in the film. We had such a really beautiful time. We knew we were working on something of quality.
No one in the world can beat Ella Fitzgerald as a riff singer.
I don't want you to play me a riff that's going to impress Joe Satriani; give me a riff that makes a kid want to go out and buy a guitar and learn to play.
But the classic Tenacious D songwriting is Jack or myself will have an idea - I might have a riff - and we'll improv. And once Jack's feeling it, we turn on the tape recorder and start jamming, improv on that riff, improv on those lyrics, and then go back and see if there's anything good in there.
There's such a huge difference between a great arrangement of riffs and a song. Sometimes the two can be the same. But the difference is a song doesn't necessarily need a riff, whereas a riff doesn't necessarily mean you've got a good song on your hands.
Joyous Sound evolved from a gospel influence. Actually it evolved out of sitting at a piano and just picking out a riff, a gospel type riff. It just seemed to come joyously-something about the song, about living in another place of joyous sounds. I'm not quite sure-that's one I'm trying to analyze. It just came out.
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