A Quote by Johnny Christ
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.
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'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.
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 I write a song, it's all about the riff - the riff first, then the words come later.
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 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.
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.
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.
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.
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.
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.
Excuse me while I light my spliff, Good God I gotta take a lift, From reality I just cant drift, That's why I'm staying with this riff
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 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.
Many people think of me as just a riff guitarist, but I think of myself in broader terms. As a musician I think my greatest achievement has been to create unexpected melodies and harmonies within a rock and roll framework. And as a producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent, and push it to the forefront during its working career. I think I really captured the best of our output, growth, change and maturity on tape - the multifaceted gem that is Led Zeppelin.
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.
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