Quotes About Riffs

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

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

For me, the fun part is riffs, and making the riffs is what I... that's my world. I'm born for that. And when it comes to lyrics, it's an agonizing process.

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.

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 think Sepultura, I have to say 'Refuse/Resist' is one of my favorite riffs. It's really energetic and I love the song. If you were to find a way to put the word 'chaos' into a song, it is the riff of 'Refuse/Resist.' It's chaotic, catchy, and heavy.

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.

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'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.

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.

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.

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.

When I started writing songs for Temple of the Dog, I went to my room with my acoustic guitar, and I was happy staying in that mode. It was more chordal based and more lyric driven. I enjoyed not making riff-based songs built around a guitar idea.

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.

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.

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.

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

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

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

'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.

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.

I like old-school, riff-driven, hard rock music with big hooks!

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.

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