Domestic artists do many more things outside of recording and touring than in the U. They can be regulars on TV or radio shows, have magazine columns, and do other events to keep them in the spotlight.
That's why it's not a big stretch for me to do so much TV here. I hope to be somehow involved with something that bridges the gap between American music and Japanese music. There's a lot of great projects that are being heard outside of Japan, like BabyMetal and Kyary Pamyu Pamyu, and other great things. I would like to be involved in some kind of a mash-up, some kind of mix between Japanese stuff and American stuff. I have no idea what that's going to be. When the right thing happens, it will happen, but I'm open for so many different things, and I have a real open mind.
I have a couple of ideas in the fire right now that I'm working on, but you just never know what it's going to be. You never know what that thing is that's going to explode, but I just hope to be part of something where you can really bridge the cultures musically and break down some of the stereotypes, as well as build up some of the stereotypes.
I'm looking forward to that. So many…Hyadain is one of my favorite producers. Enka artists, yes, and I've performed with the absolute best. I've done Kohaku with Ishikawa Sayuri. I've also played and arranged two new songs on her latest album that Takuro from Glay wrote. I wrote a song for Yashiro Aki, and played it on so many TV shows.
It's her latest single called MU-JO. Energy-wise, I love all of the artists I've worked with. Every single one has been fantastic.
I really love playing with Kitade Nana. This was in about , and I did five songs with her, my favorite being My Treasure. We did some live stuff. Energy-wise, Ame, she's not from Japan she's from Taiwan. I would say she's the Beyonce of Asia.
Her energy is mind-boggling, and I just go crazy when I play with her. Of course, Momoiro Clover, we've done a bunch of stuff together and there's no words to describe the insane energy that we have, and that they have. This past May, Marty released Inferno , his first album to be released outside of Japan in over a decade. It combines Marty's years of dedication to the art of guitar playing with his diverse musical background.
As I mentioned earlier, it melted my face off. All of my experiences added up, create the music that I make, so my Japanese experience is all in there. To be specific, the song Inferno is kind of arranged like a Japanese drama. It's based on a main theme that's performed several times with different interpretations, different moods with exciting things connecting them in contrast. This I got from watching Japanese dramas, and watching the way they use musical themes in so many different interpretations.
There might be a quiet version, a busy version, a jazzy version, a light version, a heavy rock version, punk version, whatever. That's all kind of in the song Inferno. It's by far the most Marty-influenced album of all. All of my albums pretty much, they smell like Marty, but this one stinks of me. Even though I've had a lot of fantastic guests on this record, they've all gone through the Marty strainer, so to speak. I got exactly what I wanted out of these people.
Their sound, not my sound, I didn't make them play to my sound. I got what I loved out of their music and I got it in my record. It's the most Marty as a musician, the most Marty as an artist, and the most Marty as a fan. I think, that in itself, sets it apart from other heavy metal albums, because I just have such a warped musical identity, that I can't think of anything that it sounds like, for better or for worse. I love playing music.
I just got off a European tour and it's my favorite thing to do, playing live. It took me maybe 16 months to record Inferno. I've pretty much had my fill of studios for awhile. I got back on the stage and played the stuff live in Europe, and I just loved playing live.
That's my favorite thing to do, whether it be Japan or anyplace in the world. Maybe one of those mahjong games, where every time you win something, a girl strips. I like that. Tofugu Japanese View All Japanese. View All Japan. There are a million answers to that question, but Marty Friedman had only one: Japan. Learning Guitar Marty began teaching himself guitar at the age of fourteen. When did you first hear Japanese music? How did enka influence your early guitar playing?
What enka singers were you listening to and which would you say had the most influence on your music? For those who have never heard enka but are interested, what enka singers would you recommend starting with? What Japanese experiences did you have in Hawaii that foreshadowed your future in Japan? When did you first go to Japan and why? What were your first impressions?
Did you have any idea you would eventually live there? Learning Japanese with Megadeth Marty played in several bands during his early career, most notably Cacophony from to What prompted you to start learning Japanese? How did your abilities as a self-taught musician influence or help your language learning? What are some ways you sidestepped traditional textbook language learning and took your own path? Did your ear for music help you with learning Japanese?
For those who are not musically inclined, what are some ways to train their ears for music and thus also for language learning?
What made you decide to make the bold move to Japan? You had a flourishing career in the states, after all! After you moved to Japan, did you experience any culture shock? How did you establish your career in Japanese music? What did you do that was unusual? How many events and shows did you play in Japan before you felt established? Was it hard starting your career over?
How did you get started in Japanese TV? How did you get that initial gig on Hebimeta-san? That got me started and on my way to doing the things that I wanted to do.
He was initially hesitant — he had finally established a foothold in the J-pop world and thought a heavy-metal show might be counter-productive to his musical goals — but the pitch was so specifically written with Friedman in mind that he decided to give it a shot. Who else could do that?!
Hebimetal-San was a hit from day one. His career as a TV star and general celebrity took off from there. When most Americans imagine modern Japanese music they probably conjure a vague image of bubbly Japanese teenage girls with perma-smiles performing tightly choreographed dance routines in impeccably designed, highly colorful outfits matching, naturally. Friedman explains that Japanese pop music is typically much more complex than its American counterpart. He compares the structure of Japanese pop songs — which he says might contain as many as 60 chords, compared to six or so in a typical Western pop song — to that of a jazz format but with extremely strong, pop-sensible melodies.
Friedman is a huge fan of Babymetal, an offshoot of the Japanese idol group Sakura Gakuin that consists of three teenage girls girls dancing, singing and generally looking as adorable as their name would imply in their matching red-and-black tu-tus, all while fronting a full-on heavy metal band.
Formed in , Babymetal have been garnering serious worldwide attention over the past several months, performing for sold-out crowds in London and Los Angeles before five dates opening for Lady Gaga on the West Coast of the U. At their core Babymetal are a pop act wrapped in metal coating, and to Friedman the band represents the perfect embodiment of the creativity and freedom Japanese music offers that American pop so sorely lacks.
The sound of metal is what I love about it, but the fact that you have to stay within a genre, and you have to be in this really narrow genre, really turned me off. To me it sounds like Meshuggah with Japanese pop on top of it. Friedman moonlights as a songwriter for Japanese idol groups like the one from which Babymetal was born, manufactured boy or girl pop groups that are the most popular musical acts in Japan.
During a lecture to visiting American songwriting students, Friedman gave a peek behind the curtain. Marty speaks Japanese well and when in Japan, does all of his TV and radio interviews in fluent Japanese. Marty has around 25 guitars in his collection, the majority of them being variations of his signature series Jackson KE-1 Marty Friedman model guitar. Prior to joining Megadeth, Marty produced a handful of albums for indie labels, some of which to lead to major label releases.
He has also produced or co-produced all of his solo albums. In his spare time on the road, Marty likes to give music seminars or sit in and jam with the local bands at clubs around the country. When at home off the road, he often plays the national anthem at Phoenix hockey games. A major Elvis fan, Marty has collected Elvis stuff since elementary school. In Marty played all the lead guitar on "Explorers Club 2" with Terry Bozzio Marty played lead guitar as a guest on the major label debut indie debut sold double platinum of "Mr.
Orange", a wildly popular band in Japan. Marty also did guest guitar work on a track for Avex band "03" for an album saluting the legendary Gedo which will be released on Sony.
After over shows worldwide Marty finally played at Budokan on Oct. Marty has inked an endorsement deal with Ibanez guitars who in turn are sending him around the world to play their guitars and promote his album, "Music for Speeding".
Aikawa Nanase's New Year's concert at Nagashima brings in 30, in attendance. It was Marty's first recording on a J-pop single. Intent on making his mark on the Japanese music world, Marty has spent much of being involved in extensive music work in Japan, from guitar playing to producing, songwriting, arranging and live concerts, all leading towards some very special music from Marty in Marty also inked an endorsement deal with Ovation Acoustic Guitars. He debuted these guitars at the Aikawa Nanase unplugged concert in November.
The show is ranked 7 in the top rankings. After one year of starring on the weekly "Rock Fujiyama" and accompanying "Gyao Fujiyama" Marty is a constant guest on several top rated TV programs in Japan. Marty has been featured in all major newspapers, Playboy, and there are full features on Marty in 4 major mainstream magazines magazines every month.
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