Top 100 Riffs Quotes & Sayings

It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.

I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds.

Led Zeppelin is just a bunch of stupid idiots who wrote cool riffs.

I really wasn't needed... Just straightening up riffs, that's all. Just two guitarists doing it instead of one.

I use a lot of piano riffs in my production, and someone who I was working with said that I played so good that it sound like Beethoven.

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.

I play and I've played in heavy bands, but when I write for myself, I don't particularly feel like writing huge rock riffs. It just doesn't work for me and my voice.

The riffs, lyrics, and drums of 'Open Your Omen' will tell you a lot.

I like playing guitar I don't like talking about it. I like writing riffs, I don't like explaining them.

A lot of the time, I will write a guitar riff first. I don't write drum riffs first.

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.

Growing up, flute riffs was big in rap back then. It's what I listened to.

My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.

If I pick up a guitar, I don't practise scales. I never have. I come up with something I haven't done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It's not like the music I'm doing is just a single thread.

I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.

Tony Iommi - the undisputed king of demonic heavy rock riffs. In this area, no one had never surpassed him.

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.

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.

With guitar riffs, we always look for something that 's a little bit special. We've always found that it is harder to come up with something that's nice and simple without getting something that's hard but easy.

I had a diary full of lyrics and whatnot and a little voice recorder of guitar riffs.

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.

Interspirituality is the world music of religion; borrowing, fusing, blending and bouncing rhythms and riffs off one another not to create a homogenized spirituality, but to birth a radical new sound embedded in the ancient and timeless silence. This doesn't impact or deepen my life-it is my life.

Philosophically, I think riffs that start with E repeating itself are almost guaranteed to be great.

I bathe in basslines, rinse in riffs, dry in drums

I play guitar and I'm always trying to find out the latest kinds of riffs.

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.

Using string bends instead of just playing regular, unbent notes can definitely help give certain riffs a cooler, heavier edge.

We have to remember the bigger picture: the U.S.-Israel alliance is too important to be hijacked by political interests or undermined by perceived riffs.

As much as I love heavy riffs, I like The Eagles, Neil Young, Elton John, Crowded House.

'Kraken' is set in London and has a lot of London riffs, but I think it's more like slightly dreamlike, slightly abstract London. It's London as a kind of fantasy kingdom.

Man, don't get me started on Pat Travers. That dude writes killer blues rock and roll riffs.

I started learning everybody's riffs, from Donny Hathaway to Jeffrey Osborne to James Ingram. That helped me create my own style of singing.

I'm not thinking much about overall themes or preoccupations or anything like that. Instead I'm just trusting that, if I'm working hard, various notions and riffs and motifs and so on are very naturally suffusing the stories and the resulting book.

Best trumpet: Mike Vax, an alumnus of the Kenton Band, who plays every style with a bright cutting edge, throwing in bop riffs here and there.

It's got big riffs and really it's a rock and roll album. I think Stone Temple Pilots and Velvet Revolver fans will relate to that

There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.

There's fifty bands doing my riffs for ever and ever.

Y'know, you can sit in a room, practise all day, learn your scales and blaze blues riffs: it's easy to hide behind that. But I think with the slide, it's a little bit tougher.

Doom is thinking-man's heavy, something you climb into and not only discover the riffs and depth of the music, but also you also climb into yourself and explore the inner environment.

You can imagine several scenes from Star Wars? The way they looked? For me, that's how music is. Sometimes I'll be developing riffs for songs, just while I'm sitting around and not playing.

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.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

Every artist learns through imitation, but I rather doubt the aim of these things is artistic development. I assume they're either homages or satiric riffs, and are not intended to be taken too seriously as works in their own right. Otherwise I should be talking to a copyright lawyer.

Words can have the same kind of magic as riffs can.

I've always loved big riffs and chunky guitars.

I really don't have an ear for pitch. I can't sing at all, I can't hum melodies and I can't write riffs.

I think the best riffs and the best songs come when you're jamming and having a good time.

Even though there's these songs and whoever the hell put it in the internet, if there's any good riffs in them, we raped the songs and put in the new ones.

Affectors Harmagedon is a solid blast of PROG metal complete with burning solos, odd time signatures, orchestral highlights, and Rock riffs that will tear your head off! Excited that I could be a part of this album!

I've got so much material; like, it feels as if every day I'm coming up with so many riffs.

All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.

To me and my band, guitar riffs are what it's all about. We know that every time we jam on a great riff, we've got a fighting chance of writing a great song!

Great melody over great riffs is, to me, the secret of it all.

I think Batman Returns is right for riffs. I love it but it's the ultimate Tim Burton movie. There is so much that happens that's crazy and there are a ton of things to riff.

We always mess around with riffs and stuff and kind of jam out during sound checks, but we never actually started playing covers live until we started goofing off a little bit more on stage.

'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.

Generally my songs are just some riffs slung together as an excuse for a guitar solo.

When I was younger I would have told you it was my genius, but now I don't believe that for a second. Music just comes out of you, it flows through, it's weird. If you think about it intellectually, how does someone come up with two hundred riffs over their life time?

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.

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.'