Tasty instrumental licks aren't always a big focus in Music City writing circles, where wordplay and clever titles are king (or queen).
full of such riffs, which often make the difference between a good song and an addictive one.
But secondary instrumental riffs — the twangy lick at the outset of Jake Owen’s “Best Thing Since Backroads,” the relentless guitar in Dwight Yoakam’s “Fast As You,” the bluesy piano in the opening of Crystal Gayle’s “Don’t It Make My Brown Eyes Blue” or the woozy guitar intro in Dierks Bentley’s “Drunk On a Plane” — often elevate the songs they inhabit. None of those titles would be quite the same recording without that defining musical support.
But creating a memorable riff requires the songwriter — or, often, a studio musician and/or producer — to find a very short space in which to develop an earworm. Tammy Wynette’s “Stand By Your Man” employed two repeating riffs: the unison sound of Bob Moore’s bass and Hargus “Pig” Robbins’ left-hand piano on a six-note fill, and Pete Drake’s spiky steel bursts.
Identifying those kinds of features helped Malloy earn his place in the Nashville Songwriters Hall. The “snaps and claps” behind Eddie Rabbitt’s “I Love a Rainy Night,” the ringing nylon strings of “Drivin’ My Life Away,” the staccato keyboard figure in the Kenny Rogers/Dolly Parton duet “Real Love” and the rolling chord progression in Reba McEntire’s “One Honest Heart” are typical of Malloy’s compositions.
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