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Marty Friedman

Progressive Metal

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Marty Friedman Tokyo Jukebox album cover
3.17 | 4 ratings | 1 reviews | 25% 5 stars

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Studio Album, released in 2009

Songs / Tracks Listing

01. Tsume Tsume Tsume
02. Gift
03. Amagigoe
04. Story
05. Polyrhythm
06. Kaeritakunattayo
08. Yuki no Hana
09. Eki
10. Sekai ni Hitotsu dake no Hana
11. Romance no Kamisama
12. Asu e no Sanka


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Music tabs (tablatures)

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Line-up / Musicians

Marty Friedman - guitars

Releases information

CD, Original Release Date: May 20th, 2009

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Buy MARTY FRIEDMAN Tokyo Jukebox Music

Tokyo Jukebox Vols. 1 & 2Tokyo Jukebox Vols. 1 & 2
Prosthetic 2012
Audio CD$11.86
$11.46 (used)
Tokyo JukeboxTokyo Jukebox
Avex Korea 2011
Audio CD$6.43
$6.42 (used)
Tokyo Jukebox 2/Bad D.N.A.Tokyo Jukebox 2/Bad D.N.A.
Imports 2012
Audio CD$9.81
$4.82 (used)
Tokyo Jukebox by MARTY FRIEDMAN (2011-08-23)Tokyo Jukebox by MARTY FRIEDMAN (2011-08-23)
Avex Korea
Audio CD$186.00
Tokyo Jukebox by Avex Korea (2011-08-23)Tokyo Jukebox by Avex Korea (2011-08-23)
Avex Korea (2011-08-23)
Audio CD$39.35
Tokyo Jukebox 1 & 2 by Prosthetic RecordsTokyo Jukebox 1 & 2 by Prosthetic Records
Prosthetic Records
Audio CD$60.16
Tokyo Jukebox 2/Bad D.N.A. by Friedman, Marty (2012-05-22)Tokyo Jukebox 2/Bad D.N.A. by Friedman, Marty (2012-05-22)
Audio CD$57.61
Tokyo Jukebox 1 & 2 by FRIEDMAN,MARTY (2012-11-19)Tokyo Jukebox 1 & 2 by FRIEDMAN,MARTY (2012-11-19)
Prosthetic Records
Audio CD$33.63
Tokyo Jukebox by Friedman, Marty (2010-02-23)Tokyo Jukebox by Friedman, Marty (2010-02-23)
Mascot Records 2010
Audio CD$56.61

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MARTY FRIEDMAN Tokyo Jukebox ratings distribution

(4 ratings)
Essential: a masterpiece of progressive rock music(25%)
Excellent addition to any prog rock music collection(50%)
Good, but non-essential (25%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

MARTY FRIEDMAN Tokyo Jukebox reviews

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Collaborators/Experts Reviews

Review by Prog Sothoth
3 stars Marty is best known as a guitarist for Megadeth from its lofty heights (Rust In Peace) to embarrassing lows (Risk), but these days he's basically a go to guy to support Japanese pop starlets in concert and in the studio. This album basically cements his obsession with what is commonly referred to as Jpop, and insinuates that he'll probably never go back to Megadeth for any reunion tour, much to the chagrin of Rust In Peace fans & such. Seriously though, if I were to put myself in his shoes, would I rather support an aging "born again" egomaniacal dude or a twenty year old Japanese girl in a miniskirt to roughly the same size audience (unless its some serious A-lister Jpopper, which translates to a stadium sized crowd)? Exactly.

So here Marty takes a bunch of Jpop numbers and basically morphs them into metal instrumental pieces. Most of the tracks are played with a heavy metal edge to them, with the opening track veering into pure thrash aggression. The overall results of this project are sort of a mixed bag. The interesting thing about Japanese pop is that it tends to be more 'melody' based than 'vocal prowess' based like a lot of western acts, thus the music itself has some strong melodies and memorable chord progressions built right in, which in turn leaves little room for this case, guitar solos over a basic backdrop chord sequence. Yes, this is a guitar showcase, but the shredding and general wankery has to be incorporated within the tight song structures rather than given space to breathe for a crapload of bars after a couple of minutes into the tune. Also, some of these melodies do sound similar after a while, with a sort of signature vibe of "energetic joyful vibrancy with just a slight melodramatic undertone". Some of these songs really tend to blend into each other after awhile. The song "Story" is such a generic jpop template that it seems like a strange choice for an instrumental metal workout. Metal muzak for elevators that soar up and down really fast.

There are two songs that stand out for me. One is the album's centerpiece, "Polyrhythm", a rockin' version of a sprightly techno song that has a real mind-bender of a mid-section. I kind of dug the original for the loopy polyrhythms that pop after the first chorus, so it was cool to hear Marty and the gang mimic all this crazed techno wonkiness. As a result, this song actually sounds progressive, easily the most interesting and memorable cut off the album. The finale track is a standout too, with its majestic vibe and synth washes to back up the guitar's interpretation of original singer Alan's stratosphere reaching vocals.

It's a bit much to digest though as a whole...sort of like trying to eat an entire birthday cake by yourself. There are nobler tasks one can undertake.

Still, it's good for a few slices, sugary and loud for sure, but the enthusiasm can be felt in the delivery. An interesting endeavor.

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