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Karri Weston
Riff was an Argentine heavy metal band formed in Buenos Aires in 1980.[1][2] The band was fronted by guitarist Norberto "Pappo" Napolitano, who formed Riff after dissolving his old musical project, Pappo's Blues. The group was mostly influenced by acts like AC/DC, Motrhead, Saxon, and the new wave of British heavy metal scene, who helped introduce heavy metal music in Argentina in the early 80s.
The group dissolved after the death of Pappo in 2005. In 2007, the Argentine edition of Rolling Stone magazine ranked their album Contenidos (1982) number 58 on its list of "The 100 Greatest Albums of National Rock".[3]
On 14 November 1980, Pappo organized a show called "Adis Pappo's Blues, bienvenido Riff" (Goodbye Pappo's Blues, welcome Riff). This band emerged as a continuation of Pappo's former group, and would change the Argentine rock with the inception of heavy metal music, a genre that was completely new for the local scene.[citation needed] Riff's debut album Ruedas de metal was released in 1981. A second album was released later the same year, Macadam 3...2...1...0..., which was officially launched with a show at Estadio Obras Sanitarias, in December 1981.[4]
In October 1982, their new album Contenidos was released, which included tunes that turned out to be new classics of the band, like "Susy Cadillac", "Maquinacin", and "Pantalla del mundo nuevo". In November that same year, Riff was featured at the popular BA Rock festival, along with prominent local artists, such as Spinetta-Jade, David Lebn, La Torre, and Len Gieco, among others.[5]By 1983, Riff performed at La Falda Festival. In March, keyboardist-vocalist Danny Peyronel (Michel's brother) joined the band.The first performances as a quintet took place in April 1983 at Estadio Obras Sanitarias, which were recorded and released on a double live album entitled Riff En accin, the first of the band.Unfortunately, violent incidents took place during these shows, which received media coverage.
Trying to reverse this bad image, that gained certain public attention, the band organized a big concert on 17 December 1983 at Ferrocarril Oeste Arena, with Los Violadores as supporting act, this gig was called "Riff ends the year without chains", nonetheless serious incidents were also reported during this show, forcing Riff to disband.Danny Peyronel returned to the US, Boff started rehearsing with his group Boxer, and Pappo resumed his solo career, same as Michel Peyronel and bassist Vitico.
In 1985, Riff returned to business with Pappo and Vitico, plus two new members: rhythm guitarist and lead vocalist JAF and veteran drummer Oscar Moro, former Pappo's bandmate during his days with Los Gatos, in the late 60s.
In 1986 Riff performed a series of shows in pubs and clubs, as Jota Morelli replaced Oscar Moro on drums, followed by a period that culminated in a new dissolution of the group in 1986. JAF and Vitico went solo, and Pappo and Boff create a new band: Hoy No Es Hoy, releasing only one album: Plan diablico in 1987. After this, Pappo moved to the Los Angeles where he created a new musical project: Pappo & Widowmaker, though, in 1989, he returned to Argentina to resume his solo career.
Pappo, Vitico, Boff and Michel Peyronel reunited for some performances in Argentina in the new decade, releasing a new album entitled Zona de nadie in 1992.Through the 1990s, Riff opened for Motrhead and AC/DC (at River Plate Stadium). The reunion ended in 1998, after their new album Que sea rock was released.After this, main man Pappo shared his time between his solo career, and sporadic reunions with Riff. The last show of the band took place at the Cosqun Rock Festival, on 4 February 2005.
On 25 February 2005, Pappo Napolitano was killed in a motorcycle accident near Lujn, Buenos Aires.[7] The rest of the band decided to call it quits after this misadventure, signalling the definitive end of the group.
The first thing I have to say about the new Hurray For the Riff Raff album is that visuals are startlingly weird. On the cover Alynda looks like an extra from some 80s Io-fi swamp movie, and one of the videos released cast them as a nature punk, with a mullet, cavorting around drenched in blood. You can see why some of the below the line comments on the recent Guardian interview accused the artist of the crime of pretentious hipsterdom. Personally, I love their offbeat style. Alynda is unafraid of transformation, their artistry has vision, ideas, personality and above all something much rarer in this modern, homogenised music industry: individuality.
The album ends with the epic song Saga detailing childhood trauma, contemplating how to endure the brutal realities of life. When I first heard it I sobbed. Like Palante the song contains a call for understanding, a wish to be heard, believed, full of hope for freedom, for healing.
My passion waxes and wanes. On the good days, I enter a flow state and music becomes a soundtrack that enhances the good feelings and the bad; a good album resonates with the right feeling and I can soar with the positive or drown in catharsis with the bad ones. Other times, nothing connects, and music that everyone else loves feels like static. After a period of listlessness, a piece of music dispels my malaise, and I fall in love with music (and life) again. Understanding that I have times where I cannot connect with great music, I must learn to recognize its greatness so that I connect with readers who may have that great experience, even if I cannot.
What strikes me about this album is the sense of urgency portrayed in a genre known for its plodding nature. Running 45 minutes across six songs, it races to the end, leaving the album feeling like it finishes in record time. This leaves the listener spent, ready to reflect on the experience, and wanting more.
Hidden has a special place in the Ufomammut discography, nearing all time greatness second only to Eve. I whole-heartedly recommend buying this album, turning the lights off, clearing some mental space and opening yourself to the cathartic musical experience this can provide.
Riff Raff released his debut album, Neon Icon, today after over a year of anticipation. It is difficult in deciding whether to take Riff Raff seriously or not, and I will attempt to answer this question in listening to his debut.
I was a long time student of David's but havene't been an online member for a while, but lo and behold I guess I have a temporary membership, because I get a free month when I buy a harmonica from Richard Sleigh. So I wanted to post David's answer to my question for everyone's benefit:
The riff in that Howlin' Wolf plays in his song "Nature" on the Real Folk Blues album seems simple, but I'm having a lot of trouble with it. (Similiar issues with smokestack) I tried it in cross-harp (G harmoinica) in the first octave, too low. Then I tried it on the 2nd octive, doesn't sound quite right. I wondered if it was on a high G harp, but other friends convinced me they didn't have high G back then. Someone suggested 1st position, then we convinced ourselves it was 556+6+ (and 456 for the V chord) in 2nd on the G harp. I shoulda tried first! Cause you can't get the same chording in 2nd position or octave opportunities.
"Ah, positions can be challenging. He's playing the D Harmonica in 1st Po. The lick is essentially 3 3 4+ 4+, and he plays it many different ways, but the most common way is 3 draw with 4 draw, then a draw pull and then two 4+ octaves. He's tongue blocking. It's possible that he could be switching to pucker in some places, though there's no reason to think that he is, so stay in a TB."
Thanks, David! The tips on the "different ways" are espicially helpful. It gives me the freedom to try different facsimlies. And you saved a "marriage" (I live with my boyfriend who's a lead guitarist. Now ain't that a challenge! LOL! Anybody wanna hear the joke I heard yesterday to comfort me, I might be persuaded.)
BTW, Smokestack is similar because HW uses the same kind of loose style of chording, or dirty notes (double notes), but Smokestack is in 2nd position. But still it's hard to hear exactly where he's playing, for me anyway, when the notes are dirty like that, which is a big part of his sound.
I had the pleasure of having a lesson with Curtis Salgado once, and he described HW's "chording" like this: "He just doesn't care! He just doesn't care!" To me it seems that it's so loose and relaxed, but just sounds so right.
Hurray for the Riff Raff (aka Alynda Segarra)'s new album, The Past Is Still Alive, is due February 23 on Nonesuch. Segarra created the album during a period of personal grief, when they found inspiration in radical poetry, railroad culture, outsider art, the work of writer Eileen Myles, and activist groups like ACT UP and Gran Fury. They use their lyrics as a way to immortalize and say goodbye to those they have loved and lost, and to honor both the heartbroken and the hopeful parts of themselves. Though made in North Carolina by the Bronx-born, New Orleans-based Segarra and produced by Brad Cook, the record brings listeners to places far beyond, evoking vivid experiences of small shops and buffalo stampedes in Santa Fe, childhood road trips and Florida storms, struggles of addiction in the Lower East Side, and days-long journeys to outrun the cops in Nebraska. Hurray for the Riff Raff will lead a headline tour of the US and Europe from February through May.
Koe has done little renditions of it before, and has mentioned in the past that he was named after the legendary David Allan Coe, so this is an absolute must, at the top of my list for obvious reasons.
While no one on the planet will ever be able to match her vocal ability or delivery, I think Koe could really make this his own and sing the hell out of it (which is kind of the point of a covers album).
But of course, it was made most famous by Nirvana, more specifically frontman Kurt Cobain, during the bands iconic Live On MTV Unplugged set in 1993 and remains one of my all-time favorite musical performances to this day.
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