MARTY FRIEDMAN will release the new studio album Tokyo Jukebox 3 via The Players Club / Mascot Label Group on April 16. The record is the third in a series that began with Tokyo Jukebox in 2009, and then Tokyo Jukebox 2 following in 2011. The trilogy presents Friedman’s inspired performances to Japanese repertoire he’s chosen to cover. He shares, “I’ve been playing stuff from the first two ‘Jukebox’ albums live all over the world, and it’s 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 lots of new fans have been introduced to Japanese music and culture through me, which is very gratifying. On the tours it seems like aside from the dedicated guitar fans, the Japan fanatics have been noticeably growing, so now felt like the right time to do Tokyo Jukebox 3.”
Check out the new track Kaze Ga Fuiteiru here:
Marty Friedman: “While keeping intact the essence of Ikimono Gakari`s “Kaze Ga Fuiteiru” melody that I loved, I tried to destroy it, reconstruct it and create 5 minutes of new music that might bring a tear or a chill, and decidedly lifts your spirits. Whether I accomplished that or not is entirely up to you, but when I just finished the recording of “Kaze Ga Fuiteru”, someone who’s opinion I respect very much called it “grand and elegant”, so I`ll go with that!”
MARTY FRIEDMAN will release the new studio album ‘Tokyo Jukebox 3’ via The Players Club / Mascot Label Group on April 16. The record is the third in a series that began with Tokyo Jukebox in 2009, and then Tokyo Jukebox 2 following in 2011. The trilogy presents Friedman’s inspired performances to Japanese repertoire he’s chosen to cover. He shares, “I’ve been playing stuff from the first two ‘Jukebox’ albums live all over the world, and it’s 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 lots of new fans have been introduced to Japanese music and culture through me, which is very gratifying. On the tours it seems like aside from the dedicated guitar fans, the Japan fanatics have been noticeably growing, so now felt like the right time to do Tokyo Jukebox 3.”
Kaze Ga Fuiteiru
The Perfect World (feat. Alfakyun)
Time Goes By
Japan Heritage Official Theme Song
Friedman put a lot of energy into selecting the right songs to cover for the album, He shares, “In Japan, you have to get permission to record and release cover versions, and that can be a very tricky and long process. So, the last thing I wanted to do was to ask permission to do a song, only to wind up not recording it for whatever reason. That would be very impolite. I spent several weeks choosing songs and demoing them to see whether I could create versions that I could get pumped up about, before I even approached any publishers. I came up with a short list of 20 songs, and from this chose about 15 that I knew I could really score with.”
Friedman has also included “The Perfect World,” which he wrote, recorded and originally released in 2018. This is the only track on the album with vocals. He reflects, “Back then I did the song with Jean-Ken Johnny from Man With A Mission on vocals, and that was used as the main theme for the Netflix series B: The Beginning. On the day of release, the song went straight to the top of the Japanese iTunes chart.” This recording is a new, fresh interpretation with Alfakyun, one of Japan’s premier female J-Pop singers performing the vocals. As Friedman offers, “It’s really a self-cover, so it fits in with the idea of this being a covers album.”
Friedman has also included “Japan Heritage Theme Song,” another of his own compositions on which he worked with the Tokyo Philharmonic orchestra. He reflects, “I was asked by the Japanese government to compose an official song to be played at government sponsored events which celebrate Japanese heritage. This was a huge honor, and it was wonderful to be able to work with such a prestigious orchestra which, rather conveniently, my wife plays cello in. Doing this was a little different from what I am used to, because instead of playing a completed track to record company people I had to face Japanese government officials. I recall looking at their stony faces after they heard it and sweating anxiously awaiting their reaction. Thankfully, they liked what I’d done. I felt this was a great, uplifting way to close the album.”
Much of the recording process was done at Power House Studios in Tokyo, with Friedman, who was also the producer on the project, joined by bassist Kiyoshi and drummer Anup Sastry. He shares, “Kiyoshi has been in my band for about six years now doing all my tours and recordings. She is a powerhouse, and I honestly have never seen anyone hit the bass as hard as she does, especially while keeping up with my kind of challenging music. Anup was a member of Skyharbor (an Indian/American progressive metal band) and has been on my last three albums. He is just plain phenomenal as well.”
The recording process started 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 had no firm deadline to finish the album within, and he took advantage of the time, reflecting on executing his vision without limitations. He offers, “I kept reworking the music, and improving everything. In the end it took several months to get the album completed, but it was time well spent. I believe the music turned out so much better because I wasn’t under any deadline pressure.” The mixing was handled by Jens Bogren at his own Fascination Studios in Sweden. He’s a resource Friedman has the utmost confidence in offering, “Jens has mixed my last three albums and he’s one of the best in the business. He knows what I want, and I know he’ll get it for me.”
Friedman’s remarkable attention to detail on this album goes beyond the music. The cover image presents the guitarist dressed in a traditional Japanese kimono, with make-up that honors authentic tradition. He offers, “I have to admit that getting this done was a hellish process. It could easily have just looked like a dude in drag and therefore rather stupid. It does take a very serious attitude and approach to pull this off properly. If you look at the covers for the first two ‘Jukebox’ albums, I had on kabuki make-up. There was no photoshop used at all and that’s precisely why they came out so well. This time I brought on the absolute top professionals in the unique field of wardrobe and make-up, and I believe we’ve hit the bullseye. I am actually wearing two kimonos in the photo, as well as padding to fill me out a little like a sumo wrestler. You’d never believe I am this skinny rock dude from the East Coast of America!”
The latest incarnation of Marty Friedman`s long-selling signature model guitar, Jackson`s MF-1, will be released this month. It is a brand-new Purple Cracked Mirror model, with a stunning design and ultramodern construction. For more information click here.
Friedman staged a live streaming concert on New Year’s Day 2021 to celebrate the ‘Jukebox’ series. Plans to tour worldwide are in his sights sharing, “Obviously, we have to wait and see what happens with international travel protocol. But I cannot wait to get back on the road again. I have really missed it terribly.” In the interim, he hopes The World enjoys the fruits of his labor of love on ‘Jukebox 3’, where Friedman takes J-Pop hits and offers his own charismatic interpretations of contemporary repertoire that includes LiSA’s “Gurenge” and Official Hige Dandism’s “Shukumei,” alongside Da Pump’s dance track “U.S.A.,” Sekai No Owari’s ballad “Sazanka,” and the vocaloid hit “Senbonzakura.” Japanese old school standards, Zard’s “Makenaide” and Every Little Things’s “Time Goes By” are also given Marty`s modern overhaul to round out the album’s track list to cover the full scope of his take on the Japanese music scene. In closing Friedman offers, “I am so happy with the way this turned out. And I am also grateful for how it’s been received so far. The reaction has been fantastic. It was joyful and cathartic to record, and I am delighted it’s now giving people such a fun diversion.”
Following up the previous albums ‘In the Name of the Father’ and ‘In The Name of The Son’, Enzo Donnarumma teamed up once again with Gary Wehrkamp (Shadow Gallery) for the production of the new record entitled ‘In The Name Of The World Spirit’. The album is set to be released on March 27 via Rockshots Records.
ENZO AND THE GLORY ENSEMBLE’s stellar line-up includes Enzo Donnarumma, Marty Friedman, Kobi Farhi (Orphaned Land), Ralf Scheepers (Primal Fear), Mark Zonder (Fates Warning, Warlord), Gary Wehrkamp & Brian Ashland (Shadow Gallery), Nicholas Leptos (Warlord, Arrayan Path), Derek Corzine & Amulyn Braught Corzine (Whisper from Heaven) , David Brown (Metatrone), Alessandro Battini (Dark Horizon), Maria Londino and Francesco Romeggini (S91), Mr Jack, Claudia Coticelli and Clara People.
In addition to this out-of-this-world line-up, bass player Philip Bynoe (from Steve Vai’s backing band) joined the Glory Ensemble for the new album.
Lasting over one hour across 13 tracks, ‘In The Name Of The World Spirit’ will be definitely a must-have for all those who are into progressive metal with ethnic influences. This final chapter of the trilogy is a bridge between the western and the eastern cultures, besides a huge step towards a top-notch production. The balance between the instrumental parts and the vocals are now improved, while the ethnic arrangements are driven by the magnificent Weza Meza Choir ensemble from Congo. Once again, thanks to the massive choir section, ‘In The Name Of The World Spirit’ sets a new standard into the so-called “Gospel Metal” scene.
You can Listen to the first single “Last Weep” at the following link:
SPOTIFY ➤ https://spoti.fi/3aD0XYu or via Youtube, below.
Artwork by Nello Dell’Omo / Art For Music, Mastered by Simone Mularoni at Domination Studio.
02 Nothingness (It’s Everyone’s Fate)
03 The Bronze Age
04 Try To Put In Pit The Fear
05 To Every Chest
06 Just In My Heart The Blame
07 I’ll add more
08 My Pillory
09 Last Weep
10 Psalm 13 (Tell Me)
12 One Reason
13 The Silence Speaks For Us
Pinnacle Music Group are thrilled to announce that the legendary guitar virtuoso MARTY FRIEDMAN will be returning to Australia, for the first time with his full “Super Band” across four VERY intimate venues.
With a career of over thirty years with some of the world’s biggest heavy metal acts on top of an absolutely monumental solo career, Marty Friedman is a household name for guitarists across the world, and Australian fans get the chance to see the legendary shredder himself tear it up onstage in four incredibly intimate venues, giving fans a once-in-a-lifetime opportunity to experience Friedman’s guitar wizardry closer than ever before.
ULTIMATE VIP PACKAGES AVAILABLE!
You all have heard how great the VIP packages were for Marty`s US and Europe tours-this time will top even that! What you get with this great package:
– Meet Marty and have ALL your items signed – no limit
– Photo with Marty – with your own camera
– Chat with Marty – no rush through
– Exclusive Marty Friedman guitar pick – the exact same one he uses
– And the rarest of the rare—the VIP only CD, “Marty`s Vault 4: Wicked Sh*t From Japan”
If you know anything about the previous VIP packages, you will know that participants all received “Marty`s Vault 1, 2 & 3” Those are not available anywhere anymore. The new 75 minute Marty`s Vault “4” cd continues in a series of Marty`s recordings that he has done in Japan that have not been heard outside of Japan and contain some of Marty`s finest and favorite playing of his career. This is a must have for any Marty collector and is not for sale anywhere and ONLY available with the VIP package.
VIP packages are limited. To get yours now, please send an empty email to: firstname.lastname@example.org
A special collaboration between the Israeli Embassy in Japan and the most popular “JWAVE” Radio in Japan, as a major release for the “Japan-Israel Cultural Bridge” project, YOSSI SASSI & THE ORIENTAL ROCK ORCHESTRA, have released a special rock version of the well-known folk song “Mayim Mayim” featuring the guitar legend MARTY FRIEDMAN.
Stream “Mayim Mayim” here:
As part of the project, Yossi Sassi was asked by the embassies to produce an Oriental rock adaptation to the familiar Folk-song.
Yossi hosted The legendary guitarist Marty Friedman (Ex-MEGADETH), who lives in Japan for the last 15 years, considered as an idol in the Japanese entertainment industry and as an international guitarist. Marty even received an honorary ambassador degree from the Japanese government.
Over the years, Sassi and Friedman combined forces several times. Recorded songs in 2 albums, and toured together across Europe (“Guitar universe euro tour”).
The unique adaptation of Sassi and the Orchestra, combined with Friedman’s instantly recognizable sound, brings to the song a new and kicking sound. Full processing Punch, joy and lots of “Bouzukitara” (Sassi’s one of a kind instrument). In addition, as a homage to his Israeli friends and being a Jewish in origin, Marty wanted to introduce his interpretation into the anthem “Hatikvah” into the song “Mayim Mayim”. This is a very moving thing, especially during such a period of cancelation of international artists appearance in israel, due to a growing boycott led by Roger Waters.
Why an Israeli folk song from the 50’s for Japan?!
The original version is very familiar to both Israeli and Japanese since the 1950s, when the original version was imported to Japan as a way to reunite the people after the way. In the 80’s it was used as the theme song of a very popular educational animation show, and to this day it has been considered a hit and appears not only as a folk song but also as mentioned in films, a manga animation and folk-dance ceremonies at schools. It’s funny that most Japanese are not even aware of the fact that the Hebrew song in the original, and most of them don’t even believe it ..
The song was premiered on 17/9/18 at the very popular “JWAVE” Radio in Japan.
Original Composition by Emanuel Amiran
Arranged & produced by Yossi Sassi
Yossi Sassi – Guitars, Bouzoukitara
Marty Friedman – Guitars, Solo
Or Lubianiker – Electric Bass
Shay Ifrah – Drums
Recorded & Mixed by Liron Schaffer at ‘Jaffa Sound Arts’, Tel-Aviv Jaffa.
Drums recorded at Shiffo Studios by Asaf Shif. Bass recorded by Or Lubianiker.
Mastered by Jonathan Jacobi at Jaffa Sound Arts.
Production & management by Amir Rozanes “Southern Productions”
Familiar internationally to music fans by his unique trademark sound signature, Yossi Sassi merges roots with contemporary music, while taking Oriental Rock to levels unheard before.
Sassi plays 17 different types of guitars and traditional instruments, and was invited to play live and share the stage with artists such as Metallica, Steve Vai, Marty Friedman, Steven Wilson, Dave Lombardo, Ron ‘Bumblefoot’ Thal (G’n’R) and many others. Sassi invented the unique Bouzouki-Guitar (Bouzoukitara) instrument (Electric guitar combined with acoustic Bouzouki & Acoustic guitar), gave a TED talk on “The power of music to unite people”, and was awarded 4 peace and friendship awards.
With over 25 years’ experience as a Producer and Composer / Arranger, as well as co-founder of “Orphaned Land” (Century Media USA/EMI), Yossi Sassi continues to soar to new horizons.