A Quote by Vinnie Paul
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.
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She collapsed at the bottom of the trail, at the edge of the ghost town. Dekka sat on Edilio and pressed down on the wound. The force of the blood was weaker now. She could almost hold the blood back now, not a good thing, no, because it meant he was almost finished, his brave heart almost done beating. Dekka looked up straight into the glittering eyes of a coyote. She could sense the others around her, closing in. Wary but sensing that a fresh meal was close at hand.
Dekka laughed... "Sam: you're still the leader. You're always going to be the leader. It's not something you choose: it's something you are.
Sam- I didn't know you had a last name I thought you were like Iman or Madonna or Beyonce. You just needed the one name. Dekka- Yeah sure, me and Beyonce
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.
When I write a song, it's all about the riff - the riff first, then the words come later.
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.
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.
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.
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.
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.
One day, I was just fingering around on the keys of a Fender Rhodes piano, and I came up with this little riff, and all of a sudden, it morphed into a song. It had never been touched by a guitar, which was very weird for us. 'Under the Ground' is the first song I have ever written that had nothing to do with the guitar.
'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.
One of my favorites has always been 'Swap Meet.' One of the reasons why I like that is it's a song that's in a drop-D tuning, and of course, also being a guitar player, it's one of the songs that I really like the riff on it.
I came to work one day, and Ricky was playing music on his guitar, just snickering. He played me the riff that turned out to be 'Rock Lobster,' and it was hilarious. He was just trying to be funny. His guitar style made it moodier, and it really is a driving song, but it does have that funny humor to it.
The first song that made me interested in music was 'Oh, Pretty Woman' by Roy Orbison. It was the guitar intro, that riff, that I really liked and made me listen in a different way.
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