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This programme contains some strong language. | 0:00:02 | 0:00:06 | |
MUSIC: "Back In Black" by AC/DC | 0:00:16 | 0:00:19 | |
The guitar riff. Unsophisticated, mindless and primitive. | 0:00:25 | 0:00:30 | |
The Neanderthal on music's evolutionary scale. Right? | 0:00:30 | 0:00:34 | |
Wrong. | 0:00:34 | 0:00:35 | |
They are little anchors in the song, | 0:00:38 | 0:00:40 | |
something that you always come back to. | 0:00:40 | 0:00:43 | |
It's almost inside you when you're listening to the song. | 0:00:43 | 0:00:46 | |
Things that are simple aren't easy. | 0:00:48 | 0:00:50 | |
To do something that's rhythmic and compelling, melodically, | 0:00:50 | 0:00:54 | |
is a very sophisticated artform. | 0:00:54 | 0:00:57 | |
It cuts through all the bullshit and just gets to people's feet | 0:00:59 | 0:01:03 | |
as well as their heads at the same time. | 0:01:03 | 0:01:05 | |
The riff, to me, is the most important part of pop music. | 0:01:07 | 0:01:11 | |
From the riff, everything grows out. | 0:01:11 | 0:01:15 | |
MUSIC: "You Really Got Me" by The Kinks | 0:01:15 | 0:01:18 | |
# Girl, you really got me goin'... # | 0:01:20 | 0:01:23 | |
The riff is the DNA of rock'n'roll, | 0:01:23 | 0:01:25 | |
a double helix of repetitive simplicity and fiendish complexity | 0:01:25 | 0:01:29 | |
on which the history of rock'n'roll has been built. | 0:01:29 | 0:01:32 | |
A riff is very much a physical thing. | 0:01:32 | 0:01:34 | |
# Da-da-da, da-da. # | 0:01:34 | 0:01:36 | |
They come out of your gut somehow and you have to catch them. | 0:01:36 | 0:01:39 | |
HE PLAYS "BOHEMIAN RHAPSODY" | 0:01:39 | 0:01:41 | |
The whole concept of doing these guitar riffs | 0:01:42 | 0:01:45 | |
were to grab the listener's attention, | 0:01:45 | 0:01:47 | |
to make your ears go, what is that? | 0:01:47 | 0:01:49 | |
SHE PLAYS "BEAT IT" | 0:01:49 | 0:01:52 | |
MUSIC: "Beat It" by Michael Jackson | 0:01:52 | 0:01:56 | |
They are like little musical guitar quotes, really, | 0:01:56 | 0:01:58 | |
that you want to hear again and again. | 0:01:58 | 0:02:01 | |
HE PLAYS "THIS CHARMING MAN" | 0:02:01 | 0:02:03 | |
So plug-in, tune up and turn it up... | 0:02:04 | 0:02:08 | |
HE PLAYS "SMELLS LIKE TEEN SPIRIT" | 0:02:08 | 0:02:11 | |
As we track and celebrate The Joy Of The Guitar Riff. | 0:02:11 | 0:02:15 | |
MUSIC: "Smells Like Teen Spirit" by Nirvana | 0:02:15 | 0:02:18 | |
So you can think about riffs in a very limited way, | 0:02:25 | 0:02:27 | |
like, Beethoven's Fifth Symphony | 0:02:27 | 0:02:29 | |
contains one of the great riffs of all time. | 0:02:29 | 0:02:32 | |
MUSIC: "Symphony No 5" by Beethoven | 0:02:32 | 0:02:34 | |
-The riff has always been here. -HE SINGS "1812 OVERTURE" | 0:02:37 | 0:02:43 | |
MUSIC: "1812 Overture" by Tchaikovsky | 0:02:43 | 0:02:46 | |
It's a riff! | 0:02:46 | 0:02:48 | |
The riff, by its very nature, is repetitive, so you get it | 0:02:48 | 0:02:50 | |
again and again, you get it reinforced, | 0:02:50 | 0:02:53 | |
and the rest of the song gets built around it, | 0:02:53 | 0:02:55 | |
like the riff was the skeleton of the song. | 0:02:55 | 0:02:58 | |
Musically, the guitar riff may have lofty classical ancestry | 0:03:02 | 0:03:06 | |
but it wasn't until the late '40s, when mass-produced electric guitars | 0:03:06 | 0:03:10 | |
were picked up by young blues men and women, | 0:03:10 | 0:03:13 | |
that elements of the guitar riff as we know it today began to emerge. | 0:03:13 | 0:03:17 | |
You have Muddy Waters and people and they are quite riffy. Think of... | 0:03:17 | 0:03:21 | |
# Da-da, da-da. # | 0:03:21 | 0:03:23 | |
MUSIC: "Manish Boy" by Muddy Waters. | 0:03:23 | 0:03:25 | |
To me, the guitar is one of the most expressive instruments ever invented. | 0:03:28 | 0:03:33 | |
You hit it, you know. You don't blow it, you don't bow it. | 0:03:33 | 0:03:36 | |
You pick it up and you use it almost like a weapon. | 0:03:36 | 0:03:39 | |
The potential of the guitar as a weapon of riff destruction | 0:03:40 | 0:03:44 | |
was first realised by an ambitious young guitarist from St Louis, Missouri. | 0:03:44 | 0:03:47 | |
In April 1958, he unleashed the mother of all riffs. | 0:03:47 | 0:03:53 | |
When I was a boy growing up in Detroit, | 0:03:53 | 0:03:56 | |
I heard this record on the radio | 0:03:56 | 0:03:58 | |
and this fellow was playing the guitar with such velocity | 0:03:58 | 0:04:03 | |
and such excitement and exuberance... | 0:04:03 | 0:04:06 | |
I thought, "Oh, my God! What is going on here?" | 0:04:06 | 0:04:09 | |
He was so good at what he did. | 0:04:09 | 0:04:11 | |
Just the guitar playing was just out of this world. | 0:04:11 | 0:04:14 | |
-I fell in love with it immediately. -HE PLAYS "JOHNNY B GOODE" | 0:04:14 | 0:04:20 | |
Chuck Berry! CHEERING AND APPLAUSE | 0:04:27 | 0:04:30 | |
MUSIC: "Johnny B Goode" by Chuck Berry | 0:04:30 | 0:04:33 | |
# Deep down in Louisiana close to New Orleans | 0:04:49 | 0:04:52 | |
# Way back up in the woods among the evergreens | 0:04:52 | 0:04:55 | |
# There stood a log cabin made of earth and wood | 0:04:55 | 0:04:57 | |
# Where lived a country boy named Johnny B Goode | 0:04:57 | 0:05:01 | |
# Who never ever learned to read or write so well | 0:05:01 | 0:05:04 | |
# But he could play the guitar just like a-ringing a bell | 0:05:04 | 0:05:06 | |
# Go, go... # | 0:05:06 | 0:05:09 | |
Chuck Berry's "Johnny B Goode" shot the guitar riff | 0:05:09 | 0:05:12 | |
into the heart of the pop mainstream. | 0:05:12 | 0:05:14 | |
The track packed not one, | 0:05:14 | 0:05:16 | |
but two hugely influential pieces of guitar magic. | 0:05:16 | 0:05:19 | |
# Johnny B Goode. # | 0:05:21 | 0:05:23 | |
He played sort of an intro, like, most of his intros started... | 0:05:23 | 0:05:26 | |
HE PLAYS INTRO TO "JOHNNY B GOODE" | 0:05:26 | 0:05:28 | |
All that. But then his riff would be... | 0:05:32 | 0:05:35 | |
PLAYS RIFF FROM "JOHNNY B GOODE" | 0:05:35 | 0:05:38 | |
And it sort of rolls it along, you know? | 0:05:38 | 0:05:40 | |
Until Chuck Berry, rock'n'roll's primary medium had been the piano, | 0:05:45 | 0:05:50 | |
but by transposing his band pianist Johnny Johnson's boogie woogie style | 0:05:50 | 0:05:54 | |
into a guitar riff, Berry changed the course of popular guitar music. | 0:05:54 | 0:05:58 | |
He really was the first rock'n'roll guitar player. | 0:05:58 | 0:06:02 | |
People had probably heard those kind of riffs a lot in piano, | 0:06:02 | 0:06:05 | |
with boogie stuff, you know. | 0:06:05 | 0:06:07 | |
And when they heard it on the guitar, that was, | 0:06:07 | 0:06:09 | |
for the time, quite loud, | 0:06:09 | 0:06:11 | |
it must have blown people's minds. | 0:06:11 | 0:06:13 | |
It still does blow my mind now. | 0:06:13 | 0:06:16 | |
It's so blindingly original and unforgettable and, of course, | 0:06:16 | 0:06:21 | |
influenced everybody. | 0:06:21 | 0:06:23 | |
Just by putting that sixth on and off, the... | 0:06:23 | 0:06:25 | |
Suddenly the guitar feels like it's doing something | 0:06:27 | 0:06:30 | |
and that dead simple little shuffle riff, that has never gone away. | 0:06:30 | 0:06:35 | |
-Status Quo. -HE PLAYS "WHATEVER YOU WANT" | 0:06:35 | 0:06:38 | |
It's also the bottom end of Get It On by T Rex. | 0:06:38 | 0:06:42 | |
I don't think there's a guitarist who honestly could say | 0:06:43 | 0:06:45 | |
they weren't influenced by Chuck Berry. | 0:06:45 | 0:06:48 | |
# His mother told him Someday you will be a man | 0:06:50 | 0:06:53 | |
# And you will be the leader of a big old band... # | 0:06:53 | 0:06:55 | |
"Johnny B Goode" was a huge hit with both black and white teenagers. | 0:06:57 | 0:07:01 | |
Chuck Berry's revved-up blues riffs | 0:07:01 | 0:07:04 | |
were reflecting a faster, freer America. | 0:07:04 | 0:07:07 | |
Chuck Berry's genius was that he was, in his own way, | 0:07:13 | 0:07:17 | |
post-racial in America. | 0:07:17 | 0:07:20 | |
He wrote songs that spoke to young people - | 0:07:20 | 0:07:23 | |
white young people, black young people, it didn't matter - | 0:07:23 | 0:07:27 | |
about the things young people care about. | 0:07:27 | 0:07:30 | |
We have ignition and we have lift-off. | 0:07:30 | 0:07:33 | |
The importance of the Johnny B Goode riff is such that, in 1977, | 0:07:36 | 0:07:40 | |
it was included on the Voyager spacecraft | 0:07:40 | 0:07:42 | |
as one of four songs representing humanity's finest cultural achievements. | 0:07:42 | 0:07:47 | |
Have guitar, will space travel. | 0:07:47 | 0:07:50 | |
My only issue is why aren't there four Chuck Berry songs on that? | 0:07:51 | 0:07:56 | |
He speaks more to me about humanity in his songs | 0:07:56 | 0:07:59 | |
than half of the stuff that'll be on that. | 0:07:59 | 0:08:01 | |
I also heard that we heard back from another planet and they said, | 0:08:01 | 0:08:06 | |
"Send more Chuck Berry!" | 0:08:06 | 0:08:08 | |
As Johnny B Goode was soundtracking | 0:08:13 | 0:08:16 | |
a young, aspirational America in 1958, | 0:08:16 | 0:08:18 | |
a different breed of guitar riff was emerging simultaneously | 0:08:18 | 0:08:22 | |
that reflected the darker underbelly of teenage America. | 0:08:22 | 0:08:26 | |
I think I heard that round at my Uncle Frank's first time, | 0:08:42 | 0:08:45 | |
on a seven-inch single, and it just made me want to smash everything up. | 0:08:45 | 0:08:49 | |
MUSIC: "Rumble" by Link Wray | 0:08:51 | 0:08:55 | |
Link Wray's "Rumble" was born out of a spontaneous blues jam | 0:08:58 | 0:09:02 | |
which a rabid audience demanded four repeats of. | 0:09:02 | 0:09:05 | |
If Johnny was good, Link Wray was bad. | 0:09:05 | 0:09:08 | |
He, I believe, damaged a lung | 0:09:09 | 0:09:11 | |
in a tuberculosis episode and couldn't sing any more, | 0:09:11 | 0:09:15 | |
which is why he started releasing instrumentals. | 0:09:15 | 0:09:18 | |
It's a key moment in the development of the guitar riff | 0:09:18 | 0:09:22 | |
because it's got a primitive sense of excitement about it. | 0:09:22 | 0:09:26 | |
I had the great fortune to meet him once. | 0:09:35 | 0:09:37 | |
He was playing an early show at the El Rey Theatre in Philadelphia. | 0:09:37 | 0:09:40 | |
He'd got these impenetrable kind of shades on and this big | 0:09:40 | 0:09:44 | |
ponytail, playing the absolute bollocks out of this guitar. | 0:09:44 | 0:09:47 | |
He was vicious, and the sounds that he got out of the guitar were... | 0:09:52 | 0:09:55 | |
out of this world. | 0:09:55 | 0:09:57 | |
The riff oozed menace and sex appeal, | 0:10:01 | 0:10:04 | |
a sound so terrifying to picket-fence American suburbia | 0:10:04 | 0:10:08 | |
it became the first rock'n'roll instrumental | 0:10:08 | 0:10:11 | |
to be banned from US radio. | 0:10:11 | 0:10:13 | |
When that record came out, | 0:10:13 | 0:10:15 | |
it sounded unlike anything else on the radio. | 0:10:15 | 0:10:18 | |
It was incredibly exciting. | 0:10:18 | 0:10:21 | |
The word "rumble", as well, it kind of has connotations. | 0:10:21 | 0:10:25 | |
Do you know what I mean? It is quite a savage track. | 0:10:25 | 0:10:28 | |
You know, it certainly wasn't Perry Como, you know? | 0:10:29 | 0:10:32 | |
Chuck Berry and Link Wray's riffs had electrified '50s America | 0:10:40 | 0:10:45 | |
and it wasn't long before Britain began to have a go. | 0:10:45 | 0:10:48 | |
The electric guitar was deposing the saxophone | 0:10:53 | 0:10:56 | |
as the kids' instrument of choice. | 0:10:56 | 0:10:58 | |
Why I wanted to play guitar, I think, was it was just a bit more rugged. | 0:11:00 | 0:11:05 | |
I liked the sound of it. I liked... | 0:11:05 | 0:11:07 | |
Certainly when The Shadows came out, that sound really appealed to me. | 0:11:07 | 0:11:10 | |
I liked the classy sound they had, you know? | 0:11:10 | 0:11:13 | |
MUSIC: "FBI" by The Shadows | 0:11:13 | 0:11:16 | |
In 1959, out of Cliff Richard's backing band emerged The Shadows, | 0:11:23 | 0:11:27 | |
a band that contained Britain's first bone fide guitar hero, | 0:11:27 | 0:11:32 | |
Hank Marvin. | 0:11:32 | 0:11:34 | |
HE PLAYS "FBI" | 0:11:34 | 0:11:36 | |
Hank Marvin is magic. You know, you can play great... | 0:11:41 | 0:11:44 | |
You can play very fast and play all sorts of stuff | 0:11:44 | 0:11:47 | |
but if it doesn't sound right, you're wasting your time. | 0:11:47 | 0:11:49 | |
Hank was the master of sound. | 0:11:49 | 0:11:52 | |
He was influential to all of our generation. | 0:11:52 | 0:11:55 | |
First of all, I got my first Stratocaster in 1959. | 0:12:00 | 0:12:04 | |
Cliff bought it for me. | 0:12:04 | 0:12:06 | |
Strats have a particular clean sound. | 0:12:06 | 0:12:09 | |
The second thing was this - your vibrato bar. | 0:12:11 | 0:12:15 | |
For example, you get... | 0:12:15 | 0:12:18 | |
HE PLAYS A CHORD | 0:12:18 | 0:12:20 | |
Those components coming together helped me create a sound | 0:12:21 | 0:12:26 | |
and a style which, fortunately, people liked. | 0:12:26 | 0:12:29 | |
Hank would always come up with something amazing. | 0:12:29 | 0:12:33 | |
Hank came up with... HE SINGS "APACHE" | 0:12:33 | 0:12:35 | |
HE PLAYS "APACHE" | 0:12:35 | 0:12:37 | |
MUSIC: "Apache" by The Shadows | 0:12:43 | 0:12:45 | |
CHEERING AND APPLAUSE | 0:12:45 | 0:12:47 | |
The inspiration for Hank's sound on breakthrough hit "Apache" | 0:12:53 | 0:12:57 | |
came from a unique reimagining of the American West, | 0:12:57 | 0:13:01 | |
via the local Odeon. | 0:13:01 | 0:13:02 | |
When we recorded Apache, I was thinking, I want to try to | 0:13:02 | 0:13:06 | |
really get some kind of feel in my mind, like a vision. | 0:13:06 | 0:13:10 | |
I had this vision of these Apache Indians riding across | 0:13:10 | 0:13:14 | |
that dry landscape that we see so often. | 0:13:14 | 0:13:17 | |
I felt it might give me some extra feeling for this piece of music. | 0:13:17 | 0:13:23 | |
It was so fresh, it was new. It was a unique sound in 1960. | 0:13:23 | 0:13:29 | |
In the early '60s, a good guitar sound was a clean guitar sound. | 0:13:35 | 0:13:39 | |
People tended to expect to hear clean sounds | 0:13:39 | 0:13:43 | |
and even a record producer would say, "That's distorting a bit. | 0:13:43 | 0:13:46 | |
"Can you pull back on that? | 0:13:46 | 0:13:49 | |
"Distortion, it's nasty. People won't like that." | 0:13:49 | 0:13:52 | |
But while Hank Marvin's shimmering clean tone soundtracked | 0:13:54 | 0:13:57 | |
the dreams of early '60s Britain, | 0:13:57 | 0:13:59 | |
something scandalous was bubbling beneath the surface | 0:13:59 | 0:14:02 | |
of sophisticated swinging London. | 0:14:02 | 0:14:05 | |
I was looking for a sound that's more grittier. | 0:14:05 | 0:14:09 | |
There was a lot of things going on in my life, you know, | 0:14:09 | 0:14:13 | |
a young kid growing up. | 0:14:13 | 0:14:15 | |
A lot of frustration | 0:14:15 | 0:14:17 | |
and not knowing how to really express myself. | 0:14:17 | 0:14:20 | |
There must be a sound that represents the way I feel inside. | 0:14:20 | 0:14:26 | |
In an act of frustration, a 17-year-old Dave Davies | 0:14:27 | 0:14:31 | |
was about to change the sound of the electric guitar forever. | 0:14:31 | 0:14:34 | |
I got this little amp and I cut the speaker cone with a razor blade... | 0:14:34 | 0:14:41 | |
..just out of anger of it not sounding right. | 0:14:42 | 0:14:46 | |
When I heard that tone, that sound, | 0:14:46 | 0:14:49 | |
it transformed my whole idea about rock music. | 0:14:49 | 0:14:53 | |
# Girl, you really got me goin' | 0:15:01 | 0:15:03 | |
# You got me so I don't know what I'm doin' | 0:15:03 | 0:15:07 | |
# Yeah, you really got me now | 0:15:08 | 0:15:10 | |
# You got me so I can't sleep at night | 0:15:10 | 0:15:13 | |
# Yeah, you really got me now... # | 0:15:14 | 0:15:17 | |
You Really Got Me was a massive breakthrough. | 0:15:17 | 0:15:20 | |
That's the first time I was aware of what a riff could be. | 0:15:20 | 0:15:25 | |
HE PLAYS "YOU REALLY GOT ME" | 0:15:25 | 0:15:27 | |
It saturates. | 0:15:31 | 0:15:33 | |
It goes into a kind of overdrive | 0:15:33 | 0:15:35 | |
and that's a big part of what makes the riff so exciting. | 0:15:35 | 0:15:38 | |
You Really Got Me was a lobotomised monster of a riff. | 0:15:44 | 0:15:48 | |
Never before had anyone heard a guitar | 0:15:48 | 0:15:50 | |
with such growling distortion, | 0:15:50 | 0:15:52 | |
and for a generation, this was sonic psychotherapy. | 0:15:52 | 0:15:56 | |
Distortion is kind of the sonic equivalent of anger. | 0:15:56 | 0:16:00 | |
It adds venom to the simplest of riffs. | 0:16:00 | 0:16:03 | |
When we first started to perform it live, | 0:16:04 | 0:16:08 | |
you could tell there was a different feeling in the room. | 0:16:08 | 0:16:10 | |
The whole energy of the place was charged. | 0:16:10 | 0:16:14 | |
Young people picked up on the tone because, you know, | 0:16:25 | 0:16:30 | |
that intangible kind of, "I know that. | 0:16:30 | 0:16:33 | |
-"I can relate to that." -CHEERING | 0:16:33 | 0:16:37 | |
This distorted riff's influence was immediate. | 0:16:43 | 0:16:46 | |
The Who's Pete Townshend unleashed a near carbon copy | 0:16:46 | 0:16:48 | |
with 1965's I Can't Explain... | 0:16:48 | 0:16:52 | |
While Keith Richards went in search of a similarly sleazy sound | 0:16:55 | 0:16:59 | |
on Satisfaction. | 0:16:59 | 0:17:02 | |
By 1969, Led Zeppelin had registered a ten on the Riff-ter Scale | 0:17:08 | 0:17:12 | |
with Communication Breakdown. | 0:17:12 | 0:17:14 | |
# Hey girl Stop what you're doing... # | 0:17:17 | 0:17:21 | |
But the expression of adolescent energy | 0:17:28 | 0:17:30 | |
through a distorted guitar riff | 0:17:30 | 0:17:32 | |
would be taken to its extreme conclusion | 0:17:32 | 0:17:35 | |
by a band from Aston, Birmingham. | 0:17:35 | 0:17:37 | |
In 1965 a 17-year-old factory worker | 0:17:37 | 0:17:40 | |
and aspiring blues guitarist would have a fateful accident. | 0:17:40 | 0:17:44 | |
I used to do sheet metalwork, so I'm pushing my hand... | 0:17:46 | 0:17:50 | |
Pushing the pieces of metal under the thing and it went bang! | 0:17:50 | 0:17:54 | |
The machine came down. | 0:17:55 | 0:17:58 | |
The reaction of it trapping my hand, I just pulled the ends off. | 0:17:58 | 0:18:01 | |
God, it was... That changed my life in a big way. | 0:18:01 | 0:18:05 | |
So I got a Fairy Liquid bottle and melted it down to a ball | 0:18:05 | 0:18:08 | |
and then made a hole in it and stuck it on my finger | 0:18:08 | 0:18:12 | |
and made a shape like this. | 0:18:12 | 0:18:14 | |
Then I, sort of, was able to play. | 0:18:14 | 0:18:17 | |
Tony Iommi's accident forced him | 0:18:21 | 0:18:23 | |
to develop a distinctive guitar style, | 0:18:23 | 0:18:26 | |
and from it a riff so colossal was born | 0:18:26 | 0:18:28 | |
that it would birth an entirely new musical genre. | 0:18:28 | 0:18:32 | |
When we played that, there was nothing else like it. | 0:18:42 | 0:18:45 | |
And we didn't know what it was. | 0:18:45 | 0:18:49 | |
HE PLAYS "BLACK SABBATH" | 0:18:49 | 0:18:52 | |
When we could go and try it at a blues club, | 0:18:52 | 0:18:55 | |
we were doing all 12-bar blues | 0:18:55 | 0:18:57 | |
and we threw that one in and it was quite different! | 0:18:57 | 0:19:01 | |
The riff that gave birth to heavy metal is... | 0:19:07 | 0:19:11 | |
HE SINGS "BLACK SABBATH" | 0:19:11 | 0:19:13 | |
It's the devil's chord. | 0:19:15 | 0:19:17 | |
MUSIC: "Black Sabbath" by Black Sabbath | 0:19:17 | 0:19:20 | |
Those notes were banned many years ago. | 0:19:30 | 0:19:34 | |
It was supposed to have been a satanic thing. | 0:19:34 | 0:19:36 | |
It's the atonality, the dissonance of that third note that rubs against | 0:19:36 | 0:19:42 | |
the first two chords that just causes this unbelievable tension. | 0:19:42 | 0:19:46 | |
A lot of people were frightened when we played that | 0:19:54 | 0:19:57 | |
because they thought we were Satanic and going to put spells on them. | 0:19:57 | 0:20:01 | |
People also were frightened to meet us. | 0:20:01 | 0:20:05 | |
You could see the fear on their face, | 0:20:05 | 0:20:07 | |
as though we were going to turn them into stone or something. | 0:20:07 | 0:20:10 | |
It's a powerful three notes. | 0:20:10 | 0:20:13 | |
# What is this that stands before me? # | 0:20:24 | 0:20:31 | |
The first concert I ever went to was Black Sabbath. | 0:20:32 | 0:20:36 | |
I was 13 years old and it changed my life. | 0:20:36 | 0:20:41 | |
All I could see on stage were these black figures with gold crosses | 0:20:41 | 0:20:46 | |
and to me they looked like something from another planet. | 0:20:46 | 0:20:50 | |
They didn't look like human beings. They were like gods. | 0:20:50 | 0:20:54 | |
# Oh, no! # | 0:20:54 | 0:20:57 | |
Sabbath were slow and behind the beat and just...nasty! | 0:21:05 | 0:21:11 | |
# Oh, lord, yeah... # | 0:21:11 | 0:21:14 | |
MUSIC: "War Pigs" by Black Sabbath | 0:21:14 | 0:21:17 | |
Within one song there may be three or four | 0:21:22 | 0:21:25 | |
of the greatest riffs of all time with Black Sabbath songs. | 0:21:25 | 0:21:28 | |
The riffs are a key component of the diabolical, | 0:21:28 | 0:21:32 | |
deeply rhythmic evil that makes Black Sabbath a great band. | 0:21:32 | 0:21:36 | |
Black Sabbath, put simply, invented heavy metal. | 0:21:36 | 0:21:41 | |
An obsession with the darker side of spirituality, the cult lyrics, | 0:21:41 | 0:21:46 | |
operatic singing, the devil's interval. | 0:21:46 | 0:21:49 | |
This is definably heavy metal and this is where it starts. | 0:21:49 | 0:21:52 | |
-Thank you very much. -CHEERING AND APPLAUSE | 0:22:01 | 0:22:03 | |
As the '70s dawned, | 0:22:03 | 0:22:06 | |
more rock guitarists like Tony Iommi were becoming increasingly | 0:22:06 | 0:22:09 | |
inspired by less bluesy, more experimental approaches. | 0:22:09 | 0:22:13 | |
I wasn't Muddy Waters in Chicago in the late 1940s. | 0:22:14 | 0:22:20 | |
It wasn't authentic for me. | 0:22:20 | 0:22:22 | |
The riff was no doubt part of what King Crimson did | 0:22:22 | 0:22:25 | |
but it was only one part of it. There was a lot more going on. | 0:22:25 | 0:22:29 | |
MUSIC: "21st Century Schizoid Man" by King Crimson | 0:22:29 | 0:22:32 | |
King Crimson's 1969 debut, In The Court Of The Crimson King, | 0:22:45 | 0:22:49 | |
was the sound of rock'n'roll casting off into uncharted waters. | 0:22:49 | 0:22:54 | |
Before long, the band would leave | 0:22:54 | 0:22:56 | |
the musical vocabulary of the blues behind altogether. | 0:22:56 | 0:22:59 | |
My own musical voice began to emerge in 1971 with material that appeared | 0:23:00 | 0:23:08 | |
in Larks' Tongues In Aspic, parts one and two, | 0:23:08 | 0:23:11 | |
which weren't blues. | 0:23:11 | 0:23:14 | |
They were rock, kind of, but something else. | 0:23:14 | 0:23:18 | |
Robert Fripp is undoubtedly a genius. | 0:23:33 | 0:23:37 | |
His early work with King Crimson, it's so technically proficient, | 0:23:37 | 0:23:41 | |
it's so hard to get a handle on what he's doing. | 0:23:41 | 0:23:44 | |
It's all about finding new ways, almost on a mechanical level, | 0:23:53 | 0:23:58 | |
finding new ways to get the guitar to work. | 0:23:58 | 0:24:01 | |
I don't think in terms of a riff. | 0:24:02 | 0:24:05 | |
I might think in terms of a phrase or a motif. | 0:24:05 | 0:24:08 | |
You have various forms of developing variation... | 0:24:12 | 0:24:14 | |
..retrograde motion... | 0:24:18 | 0:24:20 | |
-..unusual time signatures. -HE IMITATES BEAT | 0:24:23 | 0:24:27 | |
It will always keep you wondering... | 0:24:32 | 0:24:35 | |
What's happening here? | 0:24:36 | 0:24:38 | |
The boundaries were... They weren't boundaries for me. | 0:24:48 | 0:24:52 | |
In the wake of King Crimson | 0:24:55 | 0:24:57 | |
and the progressive rock bands that followed, | 0:24:57 | 0:24:59 | |
riffing got sophisticated. | 0:24:59 | 0:25:01 | |
Everything from classical to jazz and folk music | 0:25:04 | 0:25:07 | |
was now influencing rock guitarists. | 0:25:07 | 0:25:09 | |
Some riffs could even be operatic. | 0:25:09 | 0:25:12 | |
The electric guitar can imitate a human voice. | 0:25:12 | 0:25:14 | |
When we sing, we have a natural vibrato, we go... | 0:25:14 | 0:25:17 | |
Some people have a lot of vibrato, | 0:25:17 | 0:25:19 | |
like a lot of opera singers, you know. | 0:25:19 | 0:25:21 | |
There's almost nothing the guitar can't do that a human voice can. | 0:25:34 | 0:25:39 | |
# Is this the real life? | 0:25:39 | 0:25:42 | |
# Is this just fantasy? # | 0:25:42 | 0:25:45 | |
In 1975, an operatic vision would collide with a unique guitar style | 0:25:45 | 0:25:49 | |
to create one of the most famous moments in riffing history. | 0:25:49 | 0:25:53 | |
That song is really completely unique. | 0:25:53 | 0:25:55 | |
It's like a ballad at the beginning, then all this opera stuff. | 0:25:55 | 0:25:58 | |
We were sort of calling it mock-operatic. | 0:25:58 | 0:26:00 | |
# Thunderbolts of lightning | 0:26:00 | 0:26:02 | |
# Very, very frightening me | 0:26:02 | 0:26:04 | |
-# Galileo -Galileo | 0:26:04 | 0:26:05 | |
-# Galileo -Galileo | 0:26:05 | 0:26:07 | |
BOTH: # Galileo, Figaro. # | 0:26:07 | 0:26:09 | |
Freddie was sort of trying to play the riff on the piano... | 0:26:09 | 0:26:11 | |
But it wasn't until we tried it on the guitar that it really took shape. | 0:26:11 | 0:26:15 | |
It was a great moment. | 0:26:23 | 0:26:25 | |
I remember doing it. We did it, then we double-tracked it and suddenly it was, "Wow!" | 0:26:25 | 0:26:28 | |
# Oh, mamma mia, mamma mia | 0:26:28 | 0:26:30 | |
ALL: # Mamma mia, let me go | 0:26:30 | 0:26:32 | |
# Beelzebub has a devil put aside for me | 0:26:32 | 0:26:36 | |
# For me | 0:26:36 | 0:26:38 | |
# For me! | 0:26:38 | 0:26:41 | |
# So you think you can stone me and spit in my eye? # | 0:26:49 | 0:26:54 | |
Originally, it went... | 0:26:54 | 0:26:55 | |
# So you think you can stone me and spit in my eye? | 0:26:55 | 0:26:58 | |
# So you think you can love me and leave me to die? # | 0:26:58 | 0:27:01 | |
It didn't go... HE LIFTS THE NOTE | 0:27:01 | 0:27:02 | |
# ..die? | 0:27:02 | 0:27:04 | |
# Oh, baby... # | 0:27:04 | 0:27:07 | |
He kind of improvised that on the basis of what we'd done. | 0:27:07 | 0:27:11 | |
He felt he wanted to push it further. And that's a great moment, I think. | 0:27:11 | 0:27:14 | |
It really takes it into the stratosphere. | 0:27:14 | 0:27:16 | |
One of the secrets of Brian May's inimitable guitar sound | 0:27:35 | 0:27:38 | |
was his home-made guitar, | 0:27:38 | 0:27:40 | |
cobbled together from an 18th-century fireplace! | 0:27:40 | 0:27:43 | |
This is what I made with my dad, yes. | 0:27:43 | 0:27:45 | |
It took about two years and we designed it absolutely from scratch. | 0:27:45 | 0:27:48 | |
So there's a lot of things in this which didn't exist at the time. | 0:27:48 | 0:27:51 | |
My guitar was possibly the first electric guitar | 0:27:51 | 0:27:54 | |
designed so that it would feedback very deliberately, | 0:27:54 | 0:27:57 | |
cos it had this acoustic pocket in it. | 0:27:57 | 0:27:59 | |
Everything was done empirically and by hand in my dad's workshop, | 0:28:08 | 0:28:12 | |
so there's no power tools at all, | 0:28:12 | 0:28:14 | |
it's just planes and sandpaper and saws. | 0:28:14 | 0:28:16 | |
And it was very experimental. | 0:28:16 | 0:28:18 | |
# All your love tonight... # | 0:28:21 | 0:28:24 | |
While some guitar playing was being remodelled in the early '70s, | 0:28:24 | 0:28:28 | |
another, more elemental, school of riffology co-existed. | 0:28:28 | 0:28:32 | |
In 1972, a virtuoso guitarist | 0:28:32 | 0:28:35 | |
played a riff that sounded so simple even a child could play it. | 0:28:35 | 0:28:39 | |
It was one of the first things I learned | 0:28:43 | 0:28:45 | |
when I plugged in to an amp and I actually knew how to play a chord. | 0:28:45 | 0:28:49 | |
I figured out... | 0:28:49 | 0:28:51 | |
# Da-da-da, da-da-da-da... # | 0:28:51 | 0:28:53 | |
You can play it with your thumb. | 0:28:53 | 0:28:56 | |
And the end of it, you can play with no hands, you know. | 0:29:06 | 0:29:09 | |
HE LAUGHS | 0:29:09 | 0:29:10 | |
It just had balls! | 0:29:10 | 0:29:12 | |
And when people heard it, they were like... | 0:29:12 | 0:29:14 | |
It was almost like Frankenstein. You could picture Frankenstein | 0:29:14 | 0:29:18 | |
walking down the street with this great big monstrous riff. | 0:29:18 | 0:29:21 | |
It was a huge, huge riff! | 0:29:21 | 0:29:23 | |
Come on! | 0:29:31 | 0:29:33 | |
Every guitar centre in the world, | 0:29:41 | 0:29:43 | |
at any time during the day or night, | 0:29:43 | 0:29:47 | |
somebody's playing Smoke On The Water. | 0:29:47 | 0:29:48 | |
Inspired by a devastating fire | 0:29:52 | 0:29:54 | |
during a recording session on Lake Geneva, | 0:29:54 | 0:29:57 | |
the primal simplicity of Richie Blackmore's riff | 0:29:57 | 0:30:00 | |
has made Smoke On The Water a rite of passage | 0:30:00 | 0:30:02 | |
for every aspiring rock guitarist. | 0:30:02 | 0:30:05 | |
The moment he starts that, | 0:30:05 | 0:30:08 | |
you can hear, over the racket we're making, the reaction from the audience. | 0:30:08 | 0:30:11 | |
They're on their feet, the air guitar comes out and people doing this. | 0:30:11 | 0:30:15 | |
It's crazy how such a simple riff elicits such a response from them. | 0:30:15 | 0:30:19 | |
It's very primal. It just gets you straightaway. | 0:30:27 | 0:30:30 | |
I think people will still be playing Smoke On The Water | 0:30:30 | 0:30:32 | |
when we're in the old people's home. | 0:30:32 | 0:30:34 | |
# We all came out to Montreux | 0:30:34 | 0:30:38 | |
# On the Lake Geneva shoreline... # | 0:30:38 | 0:30:42 | |
You can get too technical and play too fancy stuff. | 0:30:42 | 0:30:45 | |
I think the idea of a riff | 0:30:45 | 0:30:47 | |
is not to try and build a song round this... | 0:30:47 | 0:30:50 | |
all this stuff, because it doesn't mean anything, | 0:30:50 | 0:30:53 | |
you've got to have something simple | 0:30:53 | 0:30:55 | |
that sort of drives home and registers into the brain. | 0:30:55 | 0:30:57 | |
It's very simple and yet it will sound different | 0:30:57 | 0:31:00 | |
every time somebody different plays it, you know. | 0:31:00 | 0:31:03 | |
That's one of the nice things, they're kind of transparent riffs, | 0:31:03 | 0:31:05 | |
they let your personality come through. | 0:31:05 | 0:31:07 | |
The great...appeal of a lot of great riffs of the '70s | 0:31:07 | 0:31:11 | |
is that the song that comes afterwards | 0:31:11 | 0:31:14 | |
is not necessarily that important. | 0:31:14 | 0:31:16 | |
It's all there in the first few moments. | 0:31:16 | 0:31:18 | |
It's like starting an engine, it's like pulling a throttle. | 0:31:18 | 0:31:21 | |
CHEERING | 0:31:21 | 0:31:22 | |
Smoke On The Water's minimalist genius | 0:31:29 | 0:31:31 | |
marked the beginning of an era | 0:31:31 | 0:31:33 | |
when everything seemed to start with a riff. | 0:31:33 | 0:31:36 | |
MUSIC: "Walk This Way" by Aerosmith | 0:31:36 | 0:31:38 | |
A golden age of stadium rock was dawning. | 0:31:40 | 0:31:43 | |
This age of the killer riff, however, | 0:31:51 | 0:31:53 | |
could have been mistaken for an amped-up stag-do. | 0:31:53 | 0:31:56 | |
But as the '70s progressed, a generation of women emerged | 0:31:56 | 0:31:59 | |
that would challenge the riffing patriarchy. | 0:31:59 | 0:32:02 | |
I think they wanted to see us in sandals and acoustic guitars. | 0:32:02 | 0:32:08 | |
People's perception of rock as riff rock, as very male | 0:32:08 | 0:32:13 | |
and very testosterone fuelled, | 0:32:13 | 0:32:16 | |
but girls have testosterone too. | 0:32:16 | 0:32:19 | |
# Can't stay at home | 0:32:21 | 0:32:22 | |
# Can't stay at school... # | 0:32:22 | 0:32:24 | |
In 1975, a young Joan Jett | 0:32:24 | 0:32:28 | |
set about forming an all-girl rock band. | 0:32:28 | 0:32:30 | |
Before long The Runaways were tearing gender stereotypes apart. | 0:32:30 | 0:32:35 | |
# Hello, Daddy | 0:32:35 | 0:32:36 | |
# Hello, Mom | 0:32:36 | 0:32:38 | |
# I'm you're ch-ch-ch-cherry bomb | 0:32:38 | 0:32:42 | |
# Hello, world | 0:32:42 | 0:32:43 | |
# I'm your wild girl | 0:32:43 | 0:32:45 | |
# Like a ch-ch-ch-cherry bomb! # | 0:32:45 | 0:32:49 | |
I just wanted to form an all-girl band | 0:32:49 | 0:32:51 | |
because there was nobody out there. | 0:32:51 | 0:32:53 | |
And I figured if I wanted to play in a band, there had to be | 0:32:53 | 0:32:57 | |
other girls out there like me who wanted to do the same thing. | 0:32:57 | 0:33:00 | |
I really didn't look at myself and say, "You're a girl, you shouldn't be doing this." | 0:33:00 | 0:33:05 | |
It didn't enter my mind. | 0:33:05 | 0:33:07 | |
The Runaways were rebellious, jailbait, teenage rock. | 0:33:07 | 0:33:13 | |
We were hell on wheels. | 0:33:13 | 0:33:15 | |
When you had musicians like Joan Jett come along, | 0:33:26 | 0:33:28 | |
I think she was quite significant in saying | 0:33:28 | 0:33:30 | |
that it was perfectly all right for a woman to be standing still | 0:33:30 | 0:33:33 | |
and doing something with her hands | 0:33:33 | 0:33:35 | |
instead of cavorting round at the front of the stage. | 0:33:35 | 0:33:37 | |
I'd put us up against any band. | 0:33:37 | 0:33:39 | |
And I'd put Lita Ford up against most any, you know, lead guitar player. | 0:33:39 | 0:33:43 | |
She could really...rip up a riff. | 0:33:43 | 0:33:46 | |
The Runaways may have riffed with the best of them, | 0:33:58 | 0:34:01 | |
but they often met with abuse from male rock crowds. | 0:34:01 | 0:34:05 | |
I figured we wouldn't have a problem, | 0:34:05 | 0:34:08 | |
because to me I thought rock'n'roll was freedom. | 0:34:08 | 0:34:10 | |
I was really wrong about that. | 0:34:10 | 0:34:12 | |
People started calling us names. You know, everything you could call a woman. | 0:34:12 | 0:34:16 | |
A whore and a dyke, you know. | 0:34:16 | 0:34:19 | |
I really don't understand where the hatred came from. | 0:34:19 | 0:34:23 | |
# Wasted lives of wasted drives | 0:34:23 | 0:34:26 | |
# Wasted days and wasted nights... # | 0:34:26 | 0:34:29 | |
the runaways took a lot of abuse from a lot of different people | 0:34:29 | 0:34:33 | |
and they weren't all from the audience, they weren't all fans. | 0:34:33 | 0:34:37 | |
Some of 'em were inside the music industry itself. | 0:34:37 | 0:34:41 | |
Industry sexism would be the catalyst | 0:34:49 | 0:34:51 | |
for one of the signature American Rock riffs of the '70s, | 0:34:51 | 0:34:54 | |
when Heart's Wilson sisters wrote a brutal response | 0:34:54 | 0:34:57 | |
to a rumour implying they were lesbian lovers, | 0:34:57 | 0:35:00 | |
started by their own record label. | 0:35:00 | 0:35:03 | |
We were so offended that some record company type guy | 0:35:03 | 0:35:07 | |
would insinuate anything sexual to us, | 0:35:07 | 0:35:10 | |
especially with each other at the time. | 0:35:10 | 0:35:14 | |
We were just scandalised! | 0:35:14 | 0:35:16 | |
The industry was, like, pretty much packed full of those type of guys | 0:35:16 | 0:35:20 | |
and people that were just trading on sexuality instead of quality. | 0:35:20 | 0:35:24 | |
# You lying so low in the weeds | 0:35:34 | 0:35:38 | |
# I bet you wanna ambush me | 0:35:38 | 0:35:41 | |
# You'd have me down, down down on my knees | 0:35:41 | 0:35:47 | |
# Now wouldn't you, Barracuda? # | 0:35:47 | 0:35:50 | |
A lot of people were like, "Wow! It's just so strange to see women up there doing that." | 0:35:50 | 0:35:56 | |
We were like, "Why?! Who said we couldn't?" | 0:35:56 | 0:35:59 | |
Can women be just as oestrogen toxic as men could be testosterone toxic? | 0:36:03 | 0:36:08 | |
Yes, we can. We can be bitches too. | 0:36:08 | 0:36:12 | |
SHE LAUGHS | 0:36:12 | 0:36:13 | |
But not all the game-changing riffs of the '70s | 0:36:17 | 0:36:20 | |
were borne out of hard rock. | 0:36:20 | 0:36:22 | |
When a young jazz guitarist from New York City met a funk bassist, | 0:36:22 | 0:36:26 | |
an entirely new riffing template was born. | 0:36:26 | 0:36:29 | |
My style developed as a result | 0:36:29 | 0:36:33 | |
of me meeting this incredible guy named Bernard Edwards. | 0:36:33 | 0:36:36 | |
To him, all music had to be funky. | 0:36:36 | 0:36:39 | |
So he taught me a style that was not particularly familiar to me, | 0:36:39 | 0:36:44 | |
what we call chucking. | 0:36:44 | 0:36:46 | |
All those in-between notes. I built my whole house on that. | 0:36:51 | 0:36:54 | |
# Ah, freak out | 0:36:54 | 0:36:57 | |
# Le freak, c'est chic. # | 0:36:57 | 0:36:59 | |
What Nile plays is not actually funk. | 0:36:59 | 0:37:02 | |
I mean, yeah it's funky, but what Nile plays is actually disco. | 0:37:02 | 0:37:05 | |
One doesn't really think in terms of disco as being a guitar-hero form. | 0:37:05 | 0:37:10 | |
# All that pressure got you down... # | 0:37:12 | 0:37:15 | |
When disco exploded in the late '70s, | 0:37:15 | 0:37:18 | |
it seemed to pose a threat to the health of the guitar riff. | 0:37:18 | 0:37:21 | |
It was uptown pop built on strings and horns, but Nile Rodgers | 0:37:21 | 0:37:26 | |
bucked this trend with something truly original, the disco riff, | 0:37:26 | 0:37:30 | |
a sound most perfectly realised with 1979's Good Times. | 0:37:30 | 0:37:34 | |
I actually really wrote the foundation of it only a few hours before we recorded it. | 0:37:34 | 0:37:39 | |
And when Bernard walked in, he heard us playing it, | 0:37:39 | 0:37:42 | |
he just instinctively went... | 0:37:42 | 0:37:44 | |
HE HUMS THE TUNE | 0:37:44 | 0:37:46 | |
The riff was written first and then the bass happened after the riff. | 0:37:54 | 0:37:58 | |
His bass parts were written to complement my guitar part | 0:37:58 | 0:38:01 | |
and it just seemed magical right on the spot. | 0:38:01 | 0:38:04 | |
And I screamed to our engineer, "Make it red!" | 0:38:04 | 0:38:07 | |
# These are the good times. # | 0:38:07 | 0:38:11 | |
And we just recorded it right there on the spot. | 0:38:11 | 0:38:13 | |
It was a one-take recording session. | 0:38:13 | 0:38:15 | |
# Good times | 0:38:22 | 0:38:25 | |
# These are the good times... # | 0:38:25 | 0:38:28 | |
Good Times was the riff that never stopped. | 0:38:28 | 0:38:31 | |
Its influence was vast, | 0:38:31 | 0:38:33 | |
inspiring not just artists, but entire new musical genres. | 0:38:33 | 0:38:37 | |
# Good times. # | 0:38:39 | 0:38:41 | |
When hip-hop came out, a lot of people say that, of course, it evolved from Good Times. | 0:38:41 | 0:38:45 | |
I mean, the first big hip-hop record was Rappers Delight. | 0:38:45 | 0:38:48 | |
# Bang bang, the boogie to the boogie | 0:38:48 | 0:38:50 | |
# Say, up jump the boogie, to the bang bang boogie, let's rock. # | 0:38:50 | 0:38:53 | |
How many songs sound like Good Times? | 0:38:53 | 0:38:56 | |
Queen. Another One Bites The Dust. | 0:38:56 | 0:38:58 | |
# How do you think I'm going to get along | 0:38:58 | 0:38:59 | |
# Without you when you're gone? | 0:38:59 | 0:39:01 | |
The Clash. # This Is Radio Clash. # | 0:39:01 | 0:39:05 | |
# This Is Radio Clash from pirate satellite... # | 0:39:08 | 0:39:12 | |
INXS. I Need You Tonight. | 0:39:12 | 0:39:14 | |
HE MIMICS BEAT | 0:39:14 | 0:39:16 | |
This little... | 0:39:21 | 0:39:24 | |
has served me very well. | 0:39:24 | 0:39:26 | |
While Nile Rodgers was riffing outside the rock template, | 0:39:33 | 0:39:37 | |
another artist with roots in R&B | 0:39:37 | 0:39:39 | |
was about to harness the power of the rock riff. | 0:39:39 | 0:39:41 | |
In 1981, one of the most respected session guitarists in the world | 0:39:41 | 0:39:45 | |
received a fateful call. | 0:39:45 | 0:39:48 | |
Eight o'clock in the morning I get this call, | 0:39:48 | 0:39:50 | |
"Hello, Steve, this is Michael." | 0:39:50 | 0:39:53 | |
And I'm like, "Right, who is this?" You know. | 0:39:53 | 0:39:55 | |
"Which one of my asshole friends is calling me on the phone right now, waking me up at eight o'clock?" | 0:39:55 | 0:40:00 | |
And I hung up the phone. About 11 o'clock that morning, | 0:40:00 | 0:40:03 | |
I get a call from Quincy Jones' office. | 0:40:03 | 0:40:05 | |
And Quincy goes, "Hey, man, that was Michael. | 0:40:05 | 0:40:07 | |
"You should probably call him back." | 0:40:07 | 0:40:09 | |
I went, "No! You're kidding me?!" | 0:40:09 | 0:40:12 | |
So he gives me the number and I call the house and he answers the phone! | 0:40:12 | 0:40:16 | |
And I go, "Michael this is Steve. Look, I'm really sorry, man." | 0:40:16 | 0:40:19 | |
He goes, "Oh, it's OK, happens all the time." | 0:40:19 | 0:40:21 | |
HE LAUGHS | 0:40:21 | 0:40:22 | |
Hard rock was new territory for both Michael Jackson and producer Quincy Jones. | 0:40:36 | 0:40:40 | |
And the recording session with Steve Lukather produced a guitar riff | 0:40:40 | 0:40:44 | |
that would boldly go where no riff had gone before! | 0:40:44 | 0:40:47 | |
It was kind of a weird riff. | 0:40:51 | 0:40:52 | |
It was kind of...that was not a guitar player coming up with that riff that was Michael singing it. | 0:40:57 | 0:41:01 | |
So, you know, I got out the stacks of Marshals and I quadrupled it. | 0:41:01 | 0:41:05 | |
It was really shouting like this, big, almost metal. | 0:41:08 | 0:41:11 | |
And I sent it back to Quincy and he goes, "It's great, but it's too much." | 0:41:11 | 0:41:15 | |
"I've got to be able to have a crossover from rock and pop and R&B." | 0:41:15 | 0:41:20 | |
In 1981, a new rock music channel, MTV, was launched, | 0:41:25 | 0:41:29 | |
and Michael Jackson had seen its huge crossover potential. | 0:41:29 | 0:41:33 | |
Jackson was ready to rumble. | 0:41:33 | 0:41:35 | |
When MTV started up, they said this is a rock'n'roll channel | 0:41:35 | 0:41:38 | |
and we don't want R&B artists on it. | 0:41:38 | 0:41:41 | |
Yeah. So he almost didn't get on it. | 0:41:41 | 0:41:44 | |
Never before had there been a soul hit that rocked so hard | 0:41:51 | 0:41:55 | |
or a rock hit with so much soul. | 0:41:55 | 0:41:57 | |
Michael Jackson had begun to merge the black and white pop markets. | 0:41:57 | 0:42:02 | |
# Just beat it | 0:42:02 | 0:42:03 | |
# Beat it | 0:42:03 | 0:42:05 | |
# No-one wants to be defeated. # | 0:42:05 | 0:42:07 | |
Being able to cross over and get the rock people | 0:42:07 | 0:42:10 | |
interested in somebody that had only been on the R&B charts previously, | 0:42:10 | 0:42:14 | |
and pop charts, it was a big deal. That's not easy to do. | 0:42:14 | 0:42:18 | |
You can't just throw a distorted guitar on a tune and expect it to cross over. | 0:42:18 | 0:42:23 | |
They went from the Jackson 5, all these sweet pop songs, you know, Ben. | 0:42:23 | 0:42:26 | |
It was a sensation that nobody could have predicted. | 0:42:26 | 0:42:29 | |
# Beat it | 0:42:31 | 0:42:33 | |
# Beat it... # | 0:42:33 | 0:42:35 | |
As if the riff alone wasn't enough, | 0:42:37 | 0:42:39 | |
in the middle of the song, Jackson deployed his secret weapon, | 0:42:39 | 0:42:42 | |
Eddie Van Halen, with an absolute face-melter of a solo. | 0:42:42 | 0:42:46 | |
I remember the first day I heard the Beat It solo, | 0:42:46 | 0:42:48 | |
I was at a band rehearsal and we had the radio on while we were setting up equipment. | 0:42:48 | 0:42:53 | |
And that came on and everybody just stopped, | 0:42:53 | 0:42:56 | |
cos it was such a different solo. | 0:42:56 | 0:42:59 | |
This was just raw. | 0:42:59 | 0:43:01 | |
He came in from nowhere, just... | 0:43:01 | 0:43:03 | |
All these squeals and harmonics are just beastly. | 0:43:20 | 0:43:24 | |
# Beat it | 0:43:28 | 0:43:30 | |
# Beat it | 0:43:30 | 0:43:31 | |
# No-one wants to be defeated. # | 0:43:31 | 0:43:34 | |
The early 1980s was becoming the age of the "look at me" guitar player. | 0:43:34 | 0:43:39 | |
Big hair and spandex were increasingly the order of the day... | 0:43:42 | 0:43:46 | |
..as the guitar became a symbol of...manhood! | 0:43:49 | 0:43:52 | |
The riff had taken a wrong turn into a cock rock cul-de-sac. | 0:43:59 | 0:44:05 | |
Guitar culture just took on this very corny, | 0:44:05 | 0:44:08 | |
you know, sexist sort of posturing. | 0:44:08 | 0:44:11 | |
There was a lot of stuff that needed throwing out, really. | 0:44:11 | 0:44:14 | |
In 1983, a 20-year-old Johnny Marr's | 0:44:37 | 0:44:39 | |
reductive post-punk approach on This Charming Man, | 0:44:39 | 0:44:43 | |
harked back to a cleaner, more melodic era of guitar riffing. | 0:44:43 | 0:44:47 | |
Johnny Marr placed severe restrictions on himself, | 0:44:48 | 0:44:52 | |
he wasn't allowed to look at heavy metal for inspiration, | 0:44:52 | 0:44:56 | |
he wasn't allowed to look at classic rock. | 0:44:56 | 0:44:59 | |
And it was the conflict, the battle | 0:44:59 | 0:45:01 | |
between his innate ability and talent, and these restrictions. | 0:45:01 | 0:45:05 | |
And that's where the sparks come from. | 0:45:05 | 0:45:08 | |
# Punctured bicycle on a hillside desolate... # | 0:45:16 | 0:45:23 | |
It is a useful device... | 0:45:23 | 0:45:26 | |
to pare down, get rid of, and then just find out what you're left with. | 0:45:26 | 0:45:32 | |
And then do something within those sort of narrow... | 0:45:32 | 0:45:35 | |
sort of constraints. | 0:45:35 | 0:45:38 | |
Long solos were out. Distortion was out, really. | 0:45:38 | 0:45:41 | |
You know, rockisms. | 0:45:41 | 0:45:43 | |
You know, that was the real... | 0:45:43 | 0:45:46 | |
You know, you don't want to do anything rockist. | 0:45:46 | 0:45:48 | |
# He knows so much about these things. # | 0:45:48 | 0:45:56 | |
The sound is almost political, really. | 0:46:03 | 0:46:05 | |
I was trying to write just as melodically as I could, | 0:46:05 | 0:46:08 | |
but not use kind of big rock chugging chord changes. | 0:46:08 | 0:46:11 | |
But I wanted to make a big sound. | 0:46:15 | 0:46:17 | |
It was like this constant kind of arpeggioing to fill out the sound. | 0:46:17 | 0:46:22 | |
# All men have secrets and here is mine | 0:46:25 | 0:46:28 | |
# So let it be known... # | 0:46:28 | 0:46:30 | |
He's like that the master of the clean tone. | 0:46:30 | 0:46:33 | |
Not many guitar players | 0:46:33 | 0:46:34 | |
can make a riff sound heavy without distortion. | 0:46:34 | 0:46:37 | |
He did that really, really well. | 0:46:37 | 0:46:40 | |
The riffs have so much drama to it and they're quite pregnant riffs, | 0:46:40 | 0:46:43 | |
you don't really know where they're going, | 0:46:43 | 0:46:45 | |
but you know they're going somewhere. | 0:46:45 | 0:46:47 | |
Marr's approach formed part of an emerging anti-rockist trend. | 0:46:58 | 0:47:02 | |
The age of the Indie band was dawning. | 0:47:02 | 0:47:04 | |
# And when I'm lying in my bed... # | 0:47:06 | 0:47:10 | |
He had a huge influence on the development of indie music. | 0:47:10 | 0:47:13 | |
The sort of wash of sound that Marr gets, | 0:47:13 | 0:47:15 | |
that lovely meshed sound of many notes jangling away together, | 0:47:15 | 0:47:18 | |
they call it the Rickenbacker jangle, | 0:47:18 | 0:47:20 | |
sort of weaving around the vocal line, | 0:47:20 | 0:47:23 | |
I think was hugely influential. | 0:47:23 | 0:47:25 | |
By the late '80s, a whole generation of underground bands | 0:47:27 | 0:47:30 | |
were blowing guitar music wide open. | 0:47:30 | 0:47:33 | |
Sonic Youth and My Bloody Valentine, | 0:47:33 | 0:47:36 | |
The Pixies, they were all breaking | 0:47:36 | 0:47:41 | |
the last of the undiscovered territory for the rock band. | 0:47:41 | 0:47:44 | |
Sonic Youth were using crazy tunings, | 0:47:44 | 0:47:49 | |
so, you know, they were using guitars with only three strings on | 0:47:49 | 0:47:52 | |
that were tuned in a very avant-garde style. | 0:47:52 | 0:47:56 | |
They sounded like they were really sort of | 0:47:56 | 0:47:59 | |
almost trying to destroy rock'n'roll. | 0:47:59 | 0:48:01 | |
What they were doing with guitars was a lot more interesting. | 0:48:01 | 0:48:04 | |
Just seeing a guitar for what is. | 0:48:04 | 0:48:06 | |
You know, it's a piece of wood with strings on it, | 0:48:06 | 0:48:09 | |
there's no rule book attached to it. | 0:48:09 | 0:48:10 | |
DISTORTION | 0:48:10 | 0:48:13 | |
This re-appraisal of the guitar's role in rock music | 0:48:16 | 0:48:19 | |
was giving birth to new guitar methodologies. | 0:48:19 | 0:48:22 | |
The riff was getting experimental again. | 0:48:22 | 0:48:24 | |
-How many pedals have you got, do you know? -No, I don't know. | 0:48:24 | 0:48:28 | |
A good few hundred. It's sort of various types of distortion, really. | 0:48:28 | 0:48:33 | |
It shouldn't work, but it really works. | 0:48:33 | 0:48:35 | |
At the vanguard of this fresh wave of sonic experimentation | 0:48:45 | 0:48:49 | |
was a band from Dublin, My Bloody Valentine. | 0:48:49 | 0:48:52 | |
You hear My Bloody Valentine for the first time | 0:49:00 | 0:49:03 | |
and nothing prepares you for it. It's like, "What is this?!" | 0:49:03 | 0:49:07 | |
It's like a mermaid falling into a black hole or something. | 0:49:07 | 0:49:10 | |
I think those early My Bloody Valentine records | 0:49:10 | 0:49:12 | |
are ground-breaking sonically. | 0:49:12 | 0:49:14 | |
Just with adding these little bends and things with his whangy bar, | 0:49:14 | 0:49:19 | |
it just causes these beautiful swells. | 0:49:19 | 0:49:23 | |
Instead of just going... | 0:49:23 | 0:49:24 | |
You know, I'd go... | 0:49:24 | 0:49:26 | |
And that really creates all these juxtapositions of tone. | 0:49:27 | 0:49:31 | |
Kevin Shields' guitar riffs were drowned in an ocean of feedback, | 0:49:38 | 0:49:42 | |
played at a volume designed to shake buildings ... | 0:49:42 | 0:49:45 | |
and make a few ears bleed. | 0:49:45 | 0:49:47 | |
I was never interested in particularly standard rock guitar sounds. | 0:49:56 | 0:50:00 | |
The sound we were going for in our heads was so loud | 0:50:00 | 0:50:03 | |
and everything squashed together. | 0:50:03 | 0:50:06 | |
It's a bit like an infinite horizon, it just goes on and on as far... | 0:50:06 | 0:50:10 | |
And unlike horizons where your eyesight stops, | 0:50:10 | 0:50:12 | |
with sound you can imagine it infinitely. | 0:50:12 | 0:50:15 | |
That whole volume extreme thing, | 0:50:22 | 0:50:25 | |
at a certain point your brainwave changes to around seven hertz | 0:50:25 | 0:50:29 | |
and that basically creates a trance state. | 0:50:29 | 0:50:32 | |
The first time we did it, we just did it for an hour | 0:50:32 | 0:50:35 | |
and at the end of the hour, | 0:50:35 | 0:50:36 | |
we were just laughing hysterically, we were like little kids. | 0:50:36 | 0:50:39 | |
We were just high. | 0:50:39 | 0:50:40 | |
And so we wanted people to experience that. | 0:50:40 | 0:50:43 | |
But then, of course, one third of the audience has left by that point | 0:50:48 | 0:50:51 | |
really angrily and they haven't had a meditative experience. | 0:50:51 | 0:50:54 | |
At the dawn of the '90s, alternative bands like My Bloody Valentine, | 0:50:54 | 0:50:59 | |
on both sides of the Atlantic, | 0:50:59 | 0:51:00 | |
continued their exploration of the riff beneath the radar. | 0:51:00 | 0:51:04 | |
Meanwhile, back on Planet Rock... | 0:51:04 | 0:51:07 | |
The lead guitar playing in American rock becomes like Grand Prix racing. | 0:51:10 | 0:51:14 | |
It becomes like all these incredibly focused individuals, | 0:51:14 | 0:51:18 | |
incredibly highly trained, | 0:51:18 | 0:51:20 | |
operating these unbelievably precision-crafted instruments. | 0:51:20 | 0:51:23 | |
And the fact that this is all supposed to be tunes gets completely lost. | 0:51:23 | 0:51:27 | |
People got so... | 0:51:31 | 0:51:33 | |
out of control with the recording process in the '80s. | 0:51:33 | 0:51:37 | |
They were like, "What are we doing?! Are we thinking too hard?" | 0:51:37 | 0:51:42 | |
Or like, "Have another line. Jeez, dude!" You know. | 0:51:42 | 0:51:45 | |
But finally, in 1991, a riff exploded from the underground | 0:51:47 | 0:51:51 | |
whose rawness and simplicity | 0:51:51 | 0:51:53 | |
reconnected a generation with the primal power of rock'n'roll. | 0:51:53 | 0:51:58 | |
To a 13-year-old kid it was just everything you'd been waiting for. | 0:51:58 | 0:52:01 | |
You know, it was absolutely perfect. | 0:52:01 | 0:52:04 | |
Here are these guys that were rocking far, far, far harder | 0:52:19 | 0:52:24 | |
on just, you know, cheap pawnshop guitars and three chords. | 0:52:24 | 0:52:29 | |
Smells Like Teen Spirit really affected...kids. | 0:52:35 | 0:52:40 | |
I think there were a lot of people like me that was like, | 0:52:40 | 0:52:43 | |
"God dammit! I want something fucking real and noisy! | 0:52:43 | 0:52:46 | |
"I want someone to break their shit in front of me." | 0:52:46 | 0:52:49 | |
At a time when you would have thought all the great guitar riffs have been invented, | 0:53:00 | 0:53:05 | |
along comes this guy who just puts his passion into it, his physicality. | 0:53:05 | 0:53:09 | |
Kurt's ability to... | 0:53:09 | 0:53:13 | |
play a riff that was easy to play, | 0:53:13 | 0:53:17 | |
easy to hum along, but so original, | 0:53:17 | 0:53:20 | |
he had a really unique... | 0:53:20 | 0:53:23 | |
sonic palette. | 0:53:23 | 0:53:26 | |
I was just knocked out. | 0:53:26 | 0:53:28 | |
First of all, that guitar riff just grabs you right away, | 0:53:28 | 0:53:32 | |
and then it comes right back with that powerful, powerful chorus. | 0:53:32 | 0:53:36 | |
# With the lights out it's less dangerous | 0:53:36 | 0:53:40 | |
# Here we are now, entertain us | 0:53:40 | 0:53:44 | |
# I feel stupid and contagious... # | 0:53:44 | 0:53:49 | |
The inspiration for this anti-mainstream anthem | 0:53:49 | 0:53:52 | |
came from a TV ad. | 0:53:52 | 0:53:54 | |
The title actually came from a friend of ours. | 0:53:54 | 0:53:57 | |
We got all fucked up one night and came back to the apartment, | 0:53:57 | 0:54:00 | |
kind of trashed the place, and she spray-painted on Kurt's bedroom wall, | 0:54:00 | 0:54:04 | |
"Kurt smells like Teen Spirit." | 0:54:04 | 0:54:06 | |
-It's a physical sensation -# New Teen Spirit # | 0:54:06 | 0:54:09 | |
Anti-perspirant made for you and your generation. | 0:54:09 | 0:54:12 | |
Teen Spirit was like this teen deodorant | 0:54:12 | 0:54:14 | |
that was...that had just come out and had these ridiculous ads | 0:54:14 | 0:54:18 | |
of teens like, "Yay," but their armpits smelt or whatever, you know. | 0:54:18 | 0:54:21 | |
And it just seemed really funny to us. | 0:54:21 | 0:54:25 | |
Cos we wanted to start a revolution | 0:54:25 | 0:54:26 | |
but it wasn't going to happen with this deodorant ad, you know. | 0:54:26 | 0:54:30 | |
Nirvana's Teen Spirit had connected with '90s teenagers | 0:54:30 | 0:54:33 | |
in a way that corporate America could only dream of. | 0:54:33 | 0:54:37 | |
# With the lights out It's less dangerous | 0:54:37 | 0:54:41 | |
# Here we are now, entertain us... # | 0:54:41 | 0:54:44 | |
What alternative bands like The Smiths, Sonic Youth | 0:54:44 | 0:54:47 | |
and My Bloody Valentine had started, | 0:54:47 | 0:54:49 | |
the Smells Like Teen Spirit riff finished off. | 0:54:49 | 0:54:52 | |
Hair bands went from being par for the course | 0:54:52 | 0:54:55 | |
to looking extremely silly in the space of about 48 hours. | 0:54:55 | 0:54:59 | |
The era just like guillotined off. | 0:54:59 | 0:55:02 | |
It was really Nirvana's Smells Like Teen Spirit | 0:55:11 | 0:55:14 | |
that kind of broke that door down | 0:55:14 | 0:55:17 | |
and all of a sudden made it possible for all these underground bands | 0:55:17 | 0:55:21 | |
to explode into the mainstream. | 0:55:21 | 0:55:22 | |
The past 60 years has seen the evolution of the riff | 0:55:30 | 0:55:33 | |
relentlessly ebb and flow between the elemental... | 0:55:33 | 0:55:37 | |
..and the experimental. | 0:55:41 | 0:55:43 | |
And as the 21st century unfolds, the power of the riff | 0:55:49 | 0:55:53 | |
continues to transcend the sum of its profound but limited parts. | 0:55:53 | 0:55:58 | |
The idea of the riff that has its own life outside of the song | 0:55:58 | 0:56:04 | |
is most easily demonstrated by what has happened to Seven Nation Army. | 0:56:04 | 0:56:10 | |
CROWD CHANTS RIFF | 0:56:14 | 0:56:16 | |
You've got, like, 40, 50, 60,000 football fans singing that riff when they score a goal. | 0:56:23 | 0:56:28 | |
That is like a mega riff. | 0:56:28 | 0:56:30 | |
It just makes people go absolutely ape shit. | 0:56:34 | 0:56:36 | |
It's a simple riff that feels less like someone wrote it than that it was unearthed. | 0:56:36 | 0:56:41 | |
You know, it's something that's always been there | 0:56:41 | 0:56:43 | |
and it's something that really speaks to the reptilian brain of rock listeners. | 0:56:43 | 0:56:47 | |
We live in an age where advances in music software and technology | 0:57:03 | 0:57:07 | |
could see the guitar riff under threat, | 0:57:07 | 0:57:09 | |
but some force repeatedly draws us back to the DNA of rock'n'roll | 0:57:09 | 0:57:14 | |
and the primordial power of the riff. | 0:57:14 | 0:57:16 | |
Anybody now can get a laptop and tap in single notes | 0:57:23 | 0:57:27 | |
or program beats and create music, and that's amazing, | 0:57:27 | 0:57:30 | |
but there's something about that physical connection | 0:57:30 | 0:57:34 | |
with strapping on a guitar and trying to play a guitar riff. | 0:57:34 | 0:57:40 | |
And that's always going to be with us. | 0:57:40 | 0:57:43 | |
The more everything's virtual, | 0:57:43 | 0:57:46 | |
people are going to ache for something | 0:57:46 | 0:57:48 | |
like holding a guitar and playing a riff, | 0:57:48 | 0:57:51 | |
because that's going to be like an orgasm. | 0:57:51 | 0:57:53 | |
As long as pop and rock music is going to be around, the riff will be around. | 0:57:55 | 0:57:59 | |
They'll always be popular, always. | 0:57:59 | 0:58:02 | |
Any kid can pick up a guitar and get something out of it. | 0:58:02 | 0:58:05 | |
And the something that he gets out of it will be very related to how he feels unconsciously. | 0:58:05 | 0:58:10 | |
That's the great thing, | 0:58:10 | 0:58:12 | |
you can hear the guitar and it will kind of express you in some way. | 0:58:12 | 0:58:15 | |
You can tell the world who you are, what you care about. | 0:58:16 | 0:58:20 | |
The great riff is the key to unlocking | 0:58:20 | 0:58:23 | |
the mysteries of the universe. | 0:58:23 | 0:58:25 | |
MUSIC: "Johnny B Goode" by Chuck Berry | 0:58:25 | 0:58:28 |