A Quote by Kirk Hammett

The main riff for 'SandMan' was just something I wrote one night. — © Kirk Hammett
The main riff for 'SandMan' was just something I wrote one night.
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.
A candy coloured clown they call the sandman Tiptoes into my room every night Just to sprinkle stardust and whisper; "Go to sleep, everything is alright"
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.
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.
Everybody who has ever read Sandman knows exactly what the Sandman looks like, which is more than anybody who has ever read The Catcher in the Rye can say about Holden Caufield.
'Blood Host' is super heavy. Especially on the verses, it has an industrial stomp. It's one of my favourite tracks just because the plot of it is so heavy. It's a total crushing tune; it doesn't get any heavier than that main riff, just a straight quarter-note powerhouse.
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.
If you write something in the evening or at night, look back over it the next morning. I tend to be less self-critical at night; sometimes, I've looked back at things I wrote the night before, and realized they were no good at all.
In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.
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.
With Rage, we wrote riff rock and had rap vocals, so we didn't really concern ourselves with melody for the most part.
'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 just miss the heartbeat of the band and crew. Watching everyone have their individualized tasks, and it all coming together to accomplish something huge every single night. Of course, seeing the kids and having songs that you wrote some back to you and yeah, just getting to do it all.
You just pray that something is going to hit you like lightning. Like a movie, a book, or a photograph, a painting, something that you can riff on it and learn more about it and explore it, and just go on a journey with it. So lots of times when I choose a theme, I'll also incorporate other things that I'm doing at that period.
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.
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