The truth is, laughter always sounds more perfect than weeping. Laughter flows in a violent riff and is effortlessly melodic. Weeping is often fought, choked, half strangled, or surrendered to with humiliation.
Quotes about riff (16 Quotes)
Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max Cavalera , guitarvocals would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe Nunez would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.
Comedians are really writers who don't have pens and pencils about them, but they riff.
That was a fluke. I'd recorded a lot of stuff for this record. I worked on it over a year. Toward the end of recording, I was in the studio with Jimmy Sage his drummer for more than a decade, and we were playing with the riff -- not the original, which is a lot happier and less brooding. He was trying some different drumbeats. It was just one of those things that popped into my head in a minor key. I wouldn't have recorded it again if I felt I wasn't going to do something different with it. The album is not a rockabilly revival or '50s music. ... My music is not a museum piece in that you've got to do this way or that way.
Actually, it's just the opposite. Stuart is still the main guy, obviously, but he now draws more from the group than ever. In the old days, people would come in with their finished songs. Now, everyone in the group contributes ideas a chord sequence or a riff or a rhythm or anything.
When I need to nail that riff to the cross, Marshall will always provide the hammer!
A guitar riff played on a piano doesn't come close to the purity of it being played on a guitar but I faked it enough to get by.
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.
One thing will lead to another and somebody will come up with a riff or a line or something we build from.
It's always fun to play a lot of the more aggressive tracks, like the title track '10,000 Fists,' ... It's just a high energy song and it's aggressive and there's some really cool double bass parts going on and an aggressive riff. That's gonna be a good live song because it definitely gets the blood flowing.
In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
Normally there's a characteristic in each song, either a riff or an underlying musical theme, that makes the keyboard part clear if you look for it.
It's kind of like what I was saying. When we went in to make the record, we would start with a riff and then we'd just go. There was really no rules at all on what we were doing. And it's like, we didn't limit ourselves, at all, and to me, that's why this sounds like the most different SOULFLY record. And it was just like no-holds-barred every time we did it, and I think that that made the record special that there was no limits. You know, maybe there has been in the past. Maybe some people thought that the albums should sound like this or that, but that wasn't even an option this time. You know me and Max , we love PRODIGY , too. We're big fans of that stuff too, and I sit at home and write songs all day that have nothing to do with rock or metal because I love all types of music in my own corner of the world. But we were all free to bring that stuff to the table on every song. Everybody was open to everyone else's ideas.
No one in the world can beat Ella Fitzgerald as a riff singer.
When I write a song, it's all about the riff - the riff first, then the words come later.
Sometimes one of us will have a riff or a bass line from home but it really gels when we come together. We really have a strong special chemistry that we take advantage of when we get together.