Top 100 Riffs Quotes & Sayings - Page 2

Ritchie Blackmore was a huge early influence on me, but after that I had to find my own way ... Johann Sebastian Bach was probably the most influential guy ever on me ... Vivaldi, Beethoven and eventually Paganini ... all of a sudden I was thinking in all these other areas, instead of blues riffs.

I wasn't personally that familiar with the Classic Rock bands. That is where Jorn Viggo came in: he played me tons of that stuff - Deep Purple, Led Zeppelin, plus a lot of bands with cool songs, riffs, vocals, etc. We really listened to tons of music.

Once I started to make the transition to guitar - because I was playing keyboards when we started the band - I was trying to figure out riffs I could play without really having a lot of knowledge. And my dad ended up showing me Black Sabbath's 'Heaven and Hell,' because he knew I loved Dio.

That's all life is, I guess. Just a bunch of riffs. Look at me: I'm wearing a tie. Why am I wearing a tie? It's because I saw an adult wear a tie and I thought, Oh, that's what people do. We're all just trying to be what an adult is.

If I get even five per cent of my ideas out and documented before I die, I'll be lucky. I'm not in danger of running out of riffs or ideas anytime soon. They overwhelm me and it's hard to find time to deal with them.

I play guitar all the time, and I'm constantly thinking of songs... Every time I pick up a guitar, I come up with different riffs, all different bands I've been in. Sometimes there is a song or riff that could only belong with Slipknot, and I just can't use it for anything else, regardless of whatever happened.

The music I'm playing now is the music I always imagined myself playing when I was a kid. It's been nice to use my instrument a bit more - play the guitar in a more fun way with riffs and stuff like that - rather than just propping up a whole song with a guitar and my vocals. There's so much more energy in the crowd as well; they've been bouncing around and having fun, and it's nice to feel like you're a part of something in a room rather than just performing for a crowd.

To me, the coolest riffs are composed of two guitar parts that interlock like gears. You need both parts to make whole. I work things out on an electric that's not plugged in to make sure a good tone isn't forgiving a part that couldn't stand up naked. Only after the parts are written will I struggle to find a tone that supports the creativity.

Keith Richards ... was once asked how he came up with all those amazing guitar riffs. His answer? He just starts playing until he makes the right mistake. In other words he's optimistic he will create something good by virtue of getting something "wrong."

Learning Jimmy Carr riffs off by heart is not the way to anyone's heart, unless you're Jimmy Carr. And remember, the two most attractive things in a man is a sense of danger and being able to make a girl feel really safe.

The nineteenth century, especially the second half of it, was a time of restatement in Ireland. After the famine, after the failed rebellions of the Forties and Sixties, the cultural and political desires for self-determination began to shape each other in a series of riffs on independence and identity.

Even back then I really didn't enjoy playing chord changes, riffs, and solos when I was young. The only thing I enjoyed playing were these Robert Fripp-type double-picked loops that no one wanted to hear, including me; I just liked playing them.

My biggest influences were 1980s punk and metal. Metallica were my biggest influence because they were good at everything - riffs, energy - but with such an ear for melody, it was hard not to get pulled into it and become a fanatic.

Scotty Moore plays one of the first really amazing riffs in rock history on Heartbreak Hotel with Elvis Presley ... it was dangerous, it scared everybodys parents, which was part of the attraction then - as it still is now... it totally blindsided me and made me want to get a guitar and do that.

When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they’re talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of — or alongside — the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them.

Hendrix was the bass player for Little Richard. We were both left-handed, but we would use a right-handed guitar held upside down and backwards. He developed my slides and my riffs. In fact he used to say, and this is documented, 'I patterned my style after Dick Dale.'

Something amazing happens when the rest of the world is sleeping. I am glued to my chair. I forget that I ever wanted to do anything but write. The crowded city, the crowded apartment, and the crowded calendar suddenly seem spacious. Three or four hours pass in a moment; I have no idea what time it is, because I never check the clock. If I chose to listen, I could hear the swish of taxis bound for downtown bars or the soft saxophone riffs that drift from a neighbor's window, but nothing gets through. I am suspended in a sensory deprivation tank, and the very lack of sensation is delicious.

Sergio Trujillos choreography adds coals to the inferno, with movement that plain just doesnt stop. We know from Jersey Boys that he can capture this style, but in Memphis, he kicks it up towards art, playing with the authentic touches to add some hits of Fosse, or riffs from modern dance that take us just that extra step we need.

The way that we imitate each others' riffs is something that other bands don't do as much. If we're jamming with a jazz band, or I am jamming with a jazz band, I have to catch myself, the tendency is always to do that.

If I sit down with an electric guitar, what's going to come out are Sabbath/Zeppelin type riffs, but if I'm sitting behind a piano late at night, I might write something like 'Desperado.' You're not going to write 'Desperado' between a wall of Marshalls and thumping, crushing volume.

Motley never once sat down and said, 'Well, the music scene's changing. We need to make this record a little darker or heavier musically or lyrically.' It was just four guys sitting in a room like a bunch of 16-year-olds in a garage and jamming on riffs.

In this twenty-first century, there's no one like Sharona Muir who can write, in bright accurate language, animals real or imaginary in an updated bestiary that riffs on evolution, extinction, and what it means to be human among other species. We need this view, and you'll be right there with her on every page of Invisible Beasts.

I practice really hard, every day. I started that about 13 or 14 years ago; it's a discipline now. But the writing is a whole other thing. It'll come from handling a guitar, mostly; thinking up little guitar riffs. I was born and raised a rock 'n' roll guy, and that's the rock 'n' roll ethic, at least through my experience.

Just understand that the end began long ago We got here just in time Look All the squares in the sidewalks were already there All these strangers have more money than you do All the good riffs have been taken And everyone is so scared Murder is commonplace I don't even flinch at the gunshots outside my window I feel lonely without them

I think that there's a strong crossover in that Janis, studying the visual arts, was learning how to break it down into details and see how to get the expression that we wanted. And her visual art is emotionally expressive as her singing was. And, I think, when she switched over to singing, she already knew that it was something serious that you broke into pieces so she developed the ability to break it down and learn little riffs that she could throw in here and there.

I wrote all my songs on my main instruments, and the songs I would record in my bedroom were just acoustic guitar, mandolin, and sometimes bass. I really like the texture the mandolin added to my music, but my fingers were too big to play it... I could only do little riffs and whatever.

Always was Morocco. And recently the country's leadership seems to have embraced it in all its ill-reputed glory. The days of predatory poets in search of literary inspiration and young flesh are probably over for good. Hippies can just as easily get their bong riffs in Portland or Peoria. But the good stuff, the real good stuff, the sounds and smells and the look of Tangier -- what you see and hear when you lean out the window and take it all in -- that's here to stay.

So Bach, Beethoven, Duke Ellington, Thelonius Monk, these are all people who would sort of rearrange or take riffs from people. Same thing with rock, if you look at the Rolling Stones doing a cover of Otis Redding or you know if you look at literature James Joyce is pulling fragments of text from other people.

I think Pantera is a type of band that has been documented very, very well over the years. With the past re-releases, we were fortunate enough to have old demos and stuff that never really saw the light of day. But Pantera was not the type of band to waste many riffs or many parts or songs.

I don't want to hear from a band that pretty much sounds like another band. Oh I've heared this riff before, or I've heared these words that everyone is saying. I want to hear new poetry, new guitar riffs, new drum-beats, new sounds. Then I'm really interested.

During our first year, we were playing Priest and Maiden cover tunes all the time while we figured out what we wanted to do as a band. At the time I was getting out of metal and into punk. That's how Slayer's sound came together - it's the speed of punk combined with the big riffs of metal.

CSPS is a breath of musical fresh air. With a whale sized hooks and neck wrenching riffs you’ll have more than you need to fall head first into this band’s fanbase. Take a listen and see what all the fuss is about. I’m sure that if the bone tight rhythm section doesn’t lock you in, the finely spun lyric and melody will surely ensnare even the pickiest of musical palette.

I would listen to Little Richard and Fats Domino and Chuck Berry, and I would listen to how they played their riffs, and after I taught myself that, I taught myself to play my own kind of stuff.

I'm always working on new songs. With the technology these days, any idiot can record on Pro Tools on your laptop. All you have to do is plug a microphone into the input jack and anybody can have their own recording studio. So I'm always down in my basement, singing along to riffs or whoever I'm collaborating with.

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.

Songs start with my bringing in the basic riffs for what you might call a verse and a chorus, an A and a B part...whatever. And sometimes a C and even a D. That's kind of the easy, or at least easier part. The hard part is finding that special, perfect way to order things - how many times to do A before B and back and how the second verse differs from the first. That's all we got.

I'd play whenever I could get my hands on an electric guitar; I was trying to pick up rock'n'roll riffs and electric blues - the latest Muddy Waters. I'd spend hours and hours on the same track, back again, and back again.

The very first practice we [Woody Weatherman, Mike Dean & myself ] did it was like, "Oh ok, I get it." We were jamming on some crazy ass, out of the box, weird time signature riffs and I got it, whereas anyone else who was playing with them recently would have been like, "What? What are you doing?" So I think there's something unspoken between the three of us that makes us Corrosion of Conformity.

I just went into my studio and started to compile stuff. I was so happy with what was coming out that good momentum just carried over and when I would listen back to some of the riffs and some of the ideas, I was completely happy because I felt like, "wow, this was a breakthrough!" The ideas and the songs were really strong and I couldn't wait to show everybody the stuff.

Doing things the way you see it, going by your own heart and soul, that is pure artistic integrity. Whether the hair is six or sixty inches long, the eyes have make-up or not, the riffs are in 'E' or 'F' sharp, the amps are Marshall or not, all those things don't matter if you are doing it for the right reason, which to me means doing it for yourself!!