Watch Marty Friedman track by track from his new album “ Tokyo Jukebox 3 ”


Former MEGADETH guitarist Marty friedman recently sat down for another interview with Cassius morris at WatchMojomusical podcast “Innersleeve” to discuss his latest album, “Tokyo Jukebox 3”, his metal version of Japanese music and his love for Japanese culture. It also provides track-by-track analysis of the entire LP. You can now watch the chat below.

“Tokyo Jukebox 3” received a North American release on April 16 via The Players Club/Group of mascot labels. The disc, which was made available in Japan last October, is the third in a series that began with “Tokyo Jukebox” in 2009, then “Tokyo Jukebox 2” next in 2011. The trilogy presents Friedmanperformances inspired by the Japanese repertoire he chose to cover. He explained: “I played stuff from the first two ‘Jukebox’ albums live all over the world, and it has taken on a life of its own. Especially in places like North and South America, Australia, Italy, France and even India. My fan base is very dedicated, and what I have found is that a lot of new fans have been introduced to Japanese music and culture through me, which is very gratifying. On touring, it seems that aside from dedicated guitar fans, Japan fanatics have grown considerably, so now I felt like the right time to do so. ‘Tokyo Jukebox 3’. “

At “Jukebox 3”, Friedman takes J-Pop hits and offers his own charismatic interpretations of the contemporary repertoire that includes LiSAof “Gurenge” and Official Hige Dandismof “Shukumei”, next to Da pumpdance floor “UNITED STATES”, Sekai No Owariballad of “Sazanka”, and the vocaloid hit “Senbonzakura”. Old school Japanese standards, Zardof “Makenaide” and All the small things“Time flies”, are also given Martythe album’s modern overhaul to complete the album’s track list to cover the full breadth of his vision of the Japanese music scene.

Friedman put a lot of energy into selecting the right songs to cover for the album, he shared, “In Japan you have to get permission to record and release cover versions, and it can be a very tricky process and long. So the last thing I wanted to do was ask permission to make a song, but not record it for some reason. That would be very rude. I spent several weeks choosing songs and doing demos to see if I could create versions that I could get excited about, before I even contacted any editors. I found a short list of 20 songs, and from there, picked 15 that I could use knew I could really score.

Friedman also included “The perfect world”, which he wrote, recorded and originally released in 2018. It is the only track on the album with vocals. He reflected: “At the time, I did the song with Jean-Ken Johnny of MAN WITH A MISSION on vocals, and which was used as the main theme for the Netflix series ‘B: the beginning’. On the day of its release, the song went straight to the top of the Japanese itunes graphic. “This recording is a fresh new interpretation with Alfakyun, one of Japan’s greatest J-pop singers performing the vocals. As Friedman suggests, “It’s really a self-cover, so it fits the idea of ​​it being a cover album.”

Friedman also included “Japanese Heritage Theme Song”, another of his own compositions on which he worked with the Tokyo Philharmonic orchestra. He said, “The Japanese government asked me to compose an official song to play at government sponsored events that celebrate Japanese heritage. It was a huge honor, and it was wonderful to be able to work with such a prestigious orchestra which, rather practical, my wife plays the cello. It was a little different from what I’m used to, because instead of playing a whole song to the record company people, I had to deal with Japanese government officials. I remember looking at their stony faces after they heard it and sweated impatiently waiting for their reaction. Fortunately, they liked what I had done. I found it to be a great and uplifting way to end the album. “

Much of the registration process was carried out at Power House Studios in Tokyo, with Friedman, who was also the producer of the project, joined by bassist Kiyoshi and drummer Anup sastry. He said: “Kiyoshi has been with my band for about six years and now does all of my tours and recordings. She’s a powerhouse, and honestly, I’ve never seen anyone hit the bass as hard as her, especially while following my kind of uplifting music. Anup was a member of SKYHARBOR (an Indian / American progressive metal band) and has been on my last three albums. He’s just phenomenal too. “

The registration process began in January 2020 and was due to end in March with a release in May. Then the pandemic struck and everything was pushed back. Friedman didn’t have a firm deadline to complete the album inside, and he took the opportunity to reflect on realizing his limitless vision. He proposed, “I kept reworking the music and improving everything. In the end, it took several months to finish the album, but it was time well spent. I think the music did. is so much improved because I wasn’t under any pressure on the deadlines. ”The mixing was handled by Jens bogren by himself Fascination studios in Sweden. It is a resource Friedman has the utmost confidence in offering, “Jens mixed my last three albums and he’s one of the best in the business. He knows what I want and I know he will get it for me. “

FriedmanThe remarkable attention to detail on this album goes beyond the music. The cover image shows the guitarist wearing a traditional Japanese kimono, with make-up that honors the authentic tradition. He said: “I have to admit doing this was a hellish process. It could easily have looked like a guy on the run and therefore pretty dumb. It takes a very serious attitude and approach to be successful properly. If you look at the covers for the first two ‘Jukebox’ albums I had on kabuki makeup. There was no photoshop used at all and that is precisely why they came out so well. This time around, I brought in the absolute best professionals in the unique wardrobe and makeup business, and I believe we’ve hit the nail on the head. I’m actually wearing two kimonos in the photo, as well as some padding to fill me up a bit like a sumo wrestler. You would never believe I’m that skinny rock dude from the East Coast of America! ”


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