
Marty Friedman with his Jackson signature model, the double-EMF-humbucker MF-1.
Now big in Japan, the ex-Megadeth fret-burner takes his axe to that country's modern megahits for a collection of instrumental guitar rock, Tokyo Jukebox 3.
Over a career that spans almost four decades, Marty Friedman made his mark as a guitar hero with his playing on Megadeth's iconic albums, including the classics Rust in Peace and Countdown to Extinction, and as the co-founder of Cacophony—a shred-metal duo with Jason Becker (whose career was tragically cut short after he was diagnosed with ALS). But there's a whole 'nother side of Friedman that many might not be aware of. In the Land of the Rising Sun, where he's lived since 2003, Friedman is a huge television personality who has appeared on over 700 TV shows. In fact, Friedman has even been dubbed "the Ryan Seacrest of Japan."
Essentially, Friedman is having his cake and eating it, too. He's still a guitarist par excellence, and his latest release, Tokyo Jukebox 3, features exciting instrumental arrangements of popular hits from Japanese idol culture. To put this rather strange marriage of influences in context for a Western perspective, it would be akin to someone like Steve Vai covering Backstreet Boys hits. "Nothing wrong with being strange [laughs]," says Friedman. "But yeah, that's a very good American analogy. I'd love to hear Steve Vai cover a Backstreet Boys song. Those Backstreet Boys songs are absolutely wonderfully crafted pieces of music, and Steve Vai is an absolutely wonderful guitarist, so to hear him play those kinds of great pieces of pop music, his interpretation, would be of very high interest to me. If you notice, the music that I chose is very well crafted in the first place, and then I totally destroy it and build it back up from the beginning, keeping the essence of what I like about it very much intact."
Tokyo Jukebox 3 is the third in Friedman's Tokyo Jukebox series, which showcases his affinity for J-Pop. "In Japanese pop music, there's absolutely no genre laws at all," he explains. "You might have a totally sappy ballad right next to a totally dark, gruesome heavy metal song, and then a real cheerful disco-type song, all within the same artist. I like that freedom and the lack of stigma to a particular genre. In American music, it's either heavy metal, pop, dance music, R&B, or hip-hop. The genres might collaborate but they don't really collaborate in the mainstream very much. The other thing I like about Japanese music, as compared to American music, is the melody is top priority—it takes an even higher priority than the abilities of the singer! In America, many times in mainstream music, a vocalist is a super-vocalist, and you wouldn't even want to attempt to try to sing like that because you'd just be making a fool of yourself. You don't have people dancing around the house trying to sing like Adele, because she's too amazing of a singer. But in Japanese music, it's the magic of the voice, not the technique of the voice, so anybody can sing the song. It's kind of doable."
The recording of Tokyo Jukebox 3 began in January 2020, and Friedman had hoped to release it by May. Then the pandemic hit. This setback turned out to be a blessing in disguise. "I was like, 'Oh yes, I can always find something to polish up, something to throw out and replace with something better,'" recalls Friedman. "When I'm actually playing and recording, it's hard to really listen objectively, but after you've done a few mixes of something, you listen to it while you're jogging and you hear things that are just not there when you have your instrument in your hands. Just because you played something that is difficult or maybe feels like a big achievement doesn't mean listening to it is any good at all. The proof is in the listening—when you listen back to it, do you get chills or not?"
"The other thing I like about Japanese music, as compared to American music, is the melody is top priority."
Friedman was appointed a Japan Heritage Ambassador by the country's government in 2017 and has played the opening ceremony of the annual Tokyo Marathon since. In an unofficial capacity as ambassador, his albums like Tokyo Jukebox 3 serve to bridge a cultural gap. "I think it might be a way to introduce [my fans] to certain Japanese artists and songs that I like," he says. "By the time I'm done with my arrangements of the songs, they just sound like my music anyway. It's kind of all through my filter, so even if you don't know the origin of the song, you could listen to it on face value as just another one of my songs. If they hear it and if they like it, they might be interested in the origin of it."
Of course, as an ambassador of heritage, Friedman does have more responsibilities than just being a figurehead. He was commissioned by the Japanese government to compose the "Japan Heritage Official Theme Song," which he performed with the Tokyo Philharmonic. This composition—which features a cello solo that Friedman wrote for his wife, Hiyori Okuda—appears on Tokyo Jukebox 3 and was quite an undertaking. "I had to write for a 70- to 80-piece orchestra, and I wanted to come up with something that was kind of everyday Japanese. A lot of times when foreigners try to compose a piece of music that sounds Japanese, they come up with something that sounds like what's in the background of a sushi restaurant or martial arts movies," says Friedman. "I just prayed that the people who asked me to compose it weren't going to turn it down and say, 'Okay, we need a Japanese person to do this. You have no idea what you're doing. Let's scrap it.'"
TIDBIT: Friedman says the photo shoot for his latest album's cover was "a huge undertaking. It was done with so much energy, love, and expertise. There were just so many experts on the scene—the kimono expert, the kabuki makeup expert, regular makeup expert, hair expert, photography expert, graphic designer expert, all in the same room doing this thing."
But composing the piece was only the beginning. After it was completed, Friedman had an even more daunting task: He had to play the song in front of Japanese-government officials. "That was nerve-racking, man," admits Friedman. "It's nothing like playing for record company people. With record company people all you do is turn the volume up in the studio and anything sounds great. But this is different—the government people were there with their suits! Luckily, everybody liked it."
When we spoke, I mentioned the composition's pungent but beautiful and ear-catching bends. "Pungent is a great word," says Friedman. "I'm going to use that from now on. I find that, not only with bending but with any note that you have, especially since I play so many melodies, you have to come up with interesting ways to interpret them. If you're always interpreting them with the same kind of phrasing all the time, all melodies would get redundant. I like to have hundreds of options to approach things and it seems like when I do bends, people respond to them. They notice them more than a lot of the other things that I might put more attention to. That might be a thing that sticks out and is quite pungent [laughs]. It stinks. It really has an aroma, good or bad. I tend to do that and that's one of the things that people pick up on."
Marty Friedman's Gear
Friedman played a variety of Jackson guitars during his tenure with Megadeth, including the Randy Rhoads model in this 1992 photo.
Photo by Frank Forcino/Frank White Agency
Guitars
- Jackson MF-1 with two EMG MF (Marty Friedman Signature) humbuckers
Amps
- ENGL Marty Friedman Inferno E766 (100-watts)
- ENGL 4x12 cabinets
Strings and Picks
- D'Addario NYXL (.010–.046)
- Dunlop 1 mm
Effects
- Boss ES-8 Effects Switching System
- Boss CH-1 Super Chorus
- Boss DD-500 Digital Delay
- Maxon AF-9 Auto Filter
- Ibanez TS9 Tube Screamer
- MXR M135 Smart Gate
- MXR Phase 90
- MXR M87 Bass Compressor
"The Perfect World," the sole vocal track on Tokyo Jukebox 3, is a "self cover" and was actually originally released in 2018 as the theme song for the Netflix anime series B: The Beginning. The song went straight to the top of the charts, and then took an unexpected detour. "It was one of those music business things that happens, and when it happened it was a drag," says Friedman. "Between myself, Netflix, and the creators of that anime, the song took a year in production to get to where it was just right. Then all the stars aligned, and it was perfect—it hit No. 1 on the iTunes chart the day it came out, and everybody was just fantastically happy. The very next day, there was a shakedown at the record label and the team working on my record was all gone. There was a whole new staff and whole new plans for everything, and all promotion for the record was completely shelved. So, I really felt like there was unfinished business with that song. It was almost like a revenge version."
The latest version of Friedman's signature model Jackson has the same MF-1 appointments but comes with a prismatic purple mirror finish.
Photo by Susumu Miyawaki
The cover image for Tokyo Jukebox 3 features Friedman in kabuki makeup, decked out in a traditional Japanese Kimono. "It came out like one of these wonderful album covers from the '70s," says Friedman. "I'm just really proud of that cover." Now, in advance of any pitchfork-wielding wokesters ready for their next "cultural appropriation" hit piece, Friedman is quick to point out that the album cover was the brainchild of a Japanese crew, and has been very well received in Japan. "They love it—it was their idea," he recalls. "It was the product of many meetings with the best graphic designers in Japan. It was a huge project, a huge undertaking. It was done with so much energy, love, and expertise. There were just so many experts on the scene—the kimono expert, the kabuki makeup expert, regular makeup expert, hair expert, photography expert, graphic designer expert, all in the same room doing this thing."
Marty Friedman on Black Sabbath's "Into the Void" - Hooked
The former Megadeth lead guitarist and shredmeister remembers being dumbstruck by Master of Reality's imposing sound.
As both a guitar god of the highest order and a mega-celeb TV star in Japan, Friedman still refuses to simply rest on his laurels. "I always say the best thing is the thing I haven't done yet," he confesses. "I'm trying to raise the bar on my own work, so it's like a personal best kind of thing. I'm really proud of the most recent video I did for 'Makenaide.'" That particular video features a super tearjerker ending with Jason Becker, in the center of a massive Zoom collage of over 120 people from Friedman's Facebook fan group, holding a sign that reads "Never Give Up On Yourself."
Bach, Sarasate and "Japan Heritage Official Theme Song" - Marty Friedman / Gen Ohta / OEK
Marty Friedman is one of the few electric guitarists that has the experience and technical ability to successfully perform with a full orchestra—a task fraught with an endless array of potential landmines. Here, he performs the music of Bach and Pablo Sarasate in addition to his own composition, "Japan Heritage Official Theme Song," on which he imbues the uplifting melody with some pungent yet beautiful bends. He's accompanied by the Orchestra Ensemble Kanazawa in this April 2021 performance.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |