Martin ( Marty ) Adam Friedman ( born Martin Adam "Marty" Friedman ; December 8, 1962 , Washington ) - American musician , virtuoso guitarist, primarily known as the guitarist and backing vocalist of American thrash metal Megadeth groups in 1990–2000  . He shares with Dave Mustaine 19th place in the list of the best guitarists according to the magazine Guitar World .
|Full name||Martin Adam Friedman|
|Date of Birth||December 8, 1962 (56 years old)|
|Place of Birth||Washington , DC , USA|
|Professions||Guitarist , composer , arranger , sound engineer , producer , teacher|
|Years of activity||1978 — present|
|Instruments||guitar , bass , keyboards , shamisen|
|Genres||heavy metal , speed metal , thrash metal , progressive metal , instrumental|
|Collectives||Deuce , Vixen , Hawaii , Cacophony , Megadeth|
|Labels||Avex Trax , Shrapnel , Capitol|
In 1986, Marty met Jason Becker. Together they formed the Cacophony group. After its breakup in 1989, Marty joined Megadeth .
- 1 Biography
- 1.1 Deuce (1978-1981)
- 1.2 Vixen, Aloha, Hawaii (1981-1987)
- 1.3 Cacophony (from 1987-1989)
- 1.4 Megadeth (from 1990—2000)
- 1.4.1 Rust in Peace
- 1.4.2 Youthanasia
- 1.4.3 Leaving the group
- 1.5 Solo work (from 1988 to the present)
- 1.5.1 Dragon's Kiss
- 1.5.2 Scenes
- 1.5.3 Introduction
- 1.5.4 True obsessions
- 2 Life in Japan
- 3 manner of playing
- 4 Sound equipment
- 5 Discography
- 5.1 Deuce
- 5.2 Vixen
- 5.3 Hawaii
- 5.4 Cacophony
- 5.5 Megadeth
- 5.6 Solo albums
- 5.7 Guest Appearances
- 6 notes
- 7 References
Martin Adam Friedman was born in the city of Washington  into a Jewish family  . His grandfathers and grandmothers came from Russia and Austria  . His father worked at the National Security Agency , his mother was a writer  . Impressed by the concert of Kiss at the age of fourteen, he independently learned to play the guitar.
In 1977, in Laurel  ( Maryland ), teenagers Marty Friedman and Tom Gattis formed their first band, called Deuce. Marty Friedman was then 15, and Tom was 14, but playing the Ramones , Generation X and Kiss songs in a note for them was not difficult. Gattis could play sheet music from the sheet — his years of study at a music school in the class of flute affected him, and Friedman, being a self-taught  , always picked everything up by ear. Immediately after the group was completed with drummer Chris Tinto and bass player Steve Leter, they began to actively compose and perform very aggressive rock and roll. Every evening, young people from all over the area gathered for powerful and aggressive sounds coming from this barn, and Deuce rehearsals often seamlessly turned into a concert with a party.
Deuce became the youngest rock band in the city, and their nightly "concert type rehearsals" soon became famous throughout Washington , DC . In one concert, in addition to songs, tons of rebellious energy poured onto the audience.
Over time, vocalist Eddie Day was fired, and Tom Gattis's vocals were no worse, and in some places even better than Day. The resulting new classical composition Deuce was to become a Washington legend of rock music.
The popularity of Deuce soared primarily due to their youthfully energetic, frank, furious and modern original music, performed by them in almost every club in the district. These performances created Deuce's popularity, spreading to the states of New York , Delaware , Maryland and Virginia . Fans of the group could already be counted in thousands - sometimes they traveled a hundred kilometers in order to join the party, which was typical accompaniment to the Deuce show since the time of the performances in the "barn".
The self-titled debut album, recorded in 1979, accurately captured this stage in the development of the group. The recording was done in 2 days - on the first day all the main vocal / guitar / bass-guitar and drum parts were recorded, and after three days everything else was finished.
However, the young guys did not find any support from the record companies.
In 1981, Marty and Deuce moved to live in Hawaii . But in Hawaii, Deuce did not last long, and by the end of the year their activities ceased.
Vixen, Aloha, Hawaii (1981-1987)
In 1982, Marty Friedman formed a new band called Vixen . The group included vocalist Kim La Chance ( English Kim La Chance ), bass player Kimo ( English Kimo ) and drummer Jeff Graves ( English Jeff Graves ). In this lineup, Vixen recorded one five-track mini-album Made In Hawaii and one single to compile US Metal, Vol.2 , after which the group changed - La Chance was replaced by vocalist Lisa Ruiz , and the name Vixen - on Aloha (from the Hawaiian hello). Aloha's only existing recording is the single Heavy Metal Virgin , recorded specifically for Metal Massacre 2 .
Less than a year after founding Vixen, Marty and Jeff formed a new band - Hawaii with vocalist and bass player Gary St. Pierre . Later, his vocals were replaced by Eddie Day, the original vocalist of Deuce . In Honolulu, they recorded their debut long-playing album, One Nation Underground . Musically, Hawaii strongly resembled the weighted Judas Priest , which at that time were very popular, but with an original bias in Japanese and Arabic melodies; although the recording quality left much to be desired.
In 1985, immediately after the release of the four-track mini-album Loud, Wild And Heavy , Hawaii again recorded the track for compilation US Metal, Vol.3 , and then released their second album, already expected by fans The Natives Are Restless . It became softer and acquired high-quality sound. In support of the latest album, Hawaii went on tour with the recently revived Deep Purple , and upon returning from the tour went on tour with Kix , which became the final point in the history of the group.
Friedman motivated the dissolution of the group with a desire to fulfill his old dream - to create a progressive speed metal group with the main emphasis on guitar technique. The albums of the group had more exotic value than financial value - they never reached commercial success.
Marty arrived in San Francisco in early 1987. There he met Steve Fontano, who worked as producer and sound engineer for Mike Verney, the owner of the Shrapnel Records label . Mike introduced the world to Yngwie Malmsteen in 1983. It turned out that Marty and Mike had long known each other in absentia: from the age of 13, the young Friedman unsuccessfully sent the Shrapnel boss a raw demo of his compositions composed in the garage of Tony Gattis. Steve called Mike immediately, and after a brief audition, Marty Friedman received permission to record his debut album for Shrapnel Records.
Work on the album, dubbed Speed Metal Symphony , was drawing to a close when Marty met guitarist Jason Becker . This 17-year-old boy not only played at Marty's level, but also had his own unique style, and Friedman decided to invite him to his group, called "Cacophony". Peter Marrino took the place of the vocalist, and Atma Anur, the session drummer and regular partner of Shrapnel Records, was accepted as the drummer. The bass was played by Marty Friedman himself.
The album was released in 1987 and showed that the duet of Friedman and Becker was very good. Two virtuosos perfectly complemented each other, and the result of this merger was sound - a mixture of neoclassical metal and speed metal . The weaknesses of the album were vocals and bass, which Marty had to think of on the go, and drums, recorded on some songs, in the last turn, after the main guitar parts. For the tour, which was waiting for the group on the threshold of the studio, bassist Jimmy O'Shea and drummer Kenny Stavropoulos were selected.
Next album, Go Off! (1988), was devoid of most of these shortcomings - all, with the exception of vocals; The drum parts on the album were performed by Dean Castronovo . The album mixes a wide variety of styles, although it still relies on a powerful rock sound with a metallic hue. Among the fast and energetic compositions, there are several interesting ballads that demonstrate the versatility of the talent of the guitar duo. From this album, Friedman and Becker have a new guitar sponsor - Carvin, known mainly for its amplifiers and electronics.
By 1989, the development of Cacophony had come to a standstill. Shrapnel Records could not provide them with the support they needed. Even the change of vocalist and label to Rainbow Records did not help the group, and, due to the low commercial success in June 1989, the group was disbanded. Jason Becker joined David Lee Roth , a former Van Halen vocalist, while Marty Friedman focused on teaching at a guitar college .
At the same time, the famous band Megadeth with Dave Mustaine at the head required a replacement - a new guitarist and drummer. The last few months have been unsuccessful for Megadeth : at the end of the World Anarchy Tour with a concert in the London Hall of Hammersmith Odeon , guitarist Jeff Young and drummer Chuck Behler were fired from the band; then, upon returning to the States, Mustaine and bass player David Ellefson were arrested and deprived of a driver’s license for drunk driving. They were sent to compulsory treatment, since this violation was far from the first; and immediately after that they were waiting for a single for the soundtrack of the film Wes Craven Electroshock (1989). Among the songs Dave Mustaine chose was a cover version of the famous hit Alice Cooper ( Eng. Alice Cooper ) with a very symbolic title “No More Mr. Nice Guy "(from the English." There is no longer Mr. Glorious Small "). He had to record all the guitar parts of the songs himself, and since Megadeth did not have a permanent drummer, I had to use the help of their drum technician named Nick Menza .
Mustaine wanted to take a real virtuoso guitarist and professional into the group, with whom it would be easy to work both in terms of performance and songwriting. Of the previous candidates, Dave was quite satisfied with the work style of Chris Poland ( English Chris Poland ) and the technician Jeff Young , but none of them suited him as a person. Therefore, invitations were sent to Dimebag Darrell of Pantera , Jeff Waters of Annihilator and Marty Friedman. Darrell and Waters refused: they had their own groups, whose affairs went well. And Marty Friedman needed money by then. Upon learning of this, Waters commented on it simply:
“The right man got the job!” (“A worthy man got the job”).
The search for the drummer dragged on. Marty wanted to invite his old acquaintance Dean Castronovo to the group, but he was too busy. After the second and third times the drummer was never found, the drummer Megadeth was their drum technician Nick Menza , who had an impressive technique and was ready to fully concentrate on working in a group. In this classic composition for Megadeth, the group went to Rumbo Recorders studio in the summer of 1990 to record an album under the working title "Rust in Peace". Listening for Marty was a real test:
“Mustaine has a strange way of playing. If you make an inch an error when you put the edge of your palm near the bridge, he will tell you about it. But since he does not have much time to explain, Ellefson showed his knowledge of the guitar. ”- Friedman recalled.
Another test is mastering the solo parts of previous guitarists, for example, Chris Poland.
“I hate him for such complicated and technical solos. Awesome musician, ”Marty said. 
Rust in Peace
After several months of hard studio work, on October 20, 1990, the album Rust in Peace appeared on store shelves. In the work on the album Marty for the most part used unused pieces of solo parts written back in the days of Cacophony , and which remained unclaimed for more than a year.
New members instantly transformed and updated the sound of Megadeth. Marty's innovative melodic solutions added new unexpected dimensions to the group, previously determined only by the rhythmic patterns of Dave Mustaine. The deep melodic content and impressive technical performance of the album brought Megadeth a nomination for the prestigious Grammy Music Award in the category "Best Rock Album".
After the album was released, Megadeth went on a world tour for a whole year, during which they visited South America and North America , Europe and Asia and took part in two of the largest rock festivals - Monsters of Rock in Rio de Janeiro and Clash of the Titans in London , where they played with rock monsters like Judas Priest , Queensryche , Sepultura , Guns N 'Roses , Billy Idol , Faith No More , Testament , Suicidal Tendencies and Slayer .
The album was sold in the amount of 1 million 810 thousand copies  , for which it received platinum status in the USA, fell to 23rd position on the Billboard 200 American chart  and 8th position on the British charts  .
The finest hour of Marty Friedman has arrived, and from now on he became a world-famous musician. In addition, he had a great influence on Mustaine as a guitarist. Dave noted: “Marty taught me a lot in terms of solo, but his playing style is not for me” 
Youthanasia was recorded in Arizona , Phoenix , at Fat Planet in Hangar 18. It was very difficult to find a suitable place and there were many problems with the organizations of real estate owners. Then Max Norman , producer of Megadeth, decided to rent a warehouse and build a studio inside it.
The construction began on February 6, 1994, the drum set was assembled on May 16, after which they began rehearsing with the group, which lasted until June 6. Then the team began recording material. Sound engineers used a 48-track digital apparatus, a 64-channel remote, and many different additional effects.
Unlike previous albums, on “Youthanasia” the musicians were written all together. If you listen to the material more carefully, you will notice noise and other errors that would never have appeared, for example, on a Countdown to Extinction polished to a shine. But precisely because of this, you can clearly hear what people are playing, not computers. Speaking of this, Friedman remarks:
“I always thought that a mistake is a mistake, and it needs to be fixed. But once, leaving one error, I was surprised at how suddenly the song “began to breathe” right away. So human imperfection adds to the feelings of being played and taped. ”
After recording Youthanasia, Dave Mustaine once said:
“Marty’s playing on this album is the best thing he has done so far”  .
Leaving the group
Having recorded five full-length studio albums with Megadeth, Marty Friedman announced his retirement from the group in December 1999  . The last concert with Megadeth Marty played on January 14, 2000. In his interview with Ultimate-Guitar.com, he said that Megadeth were “not aggressive enough”  for him.
|In those days, there was a lot of cool nu-metal music. We needed to become more modern, because the shit that we did was not aggressive enough, and our pop things were not pop enough. If we are going to play pop, let's make the right pop songs. If we are going to play metal, then let's make a completely metal song and make it really hard.|
According to another version, Marty left Megadeth due to the fact that Dave replaced Marty Friedman's solo in the song “ Breadline ” from the album Risk with his own. [fifteen]
Throughout his tenure at Megadeth, the group has sold over 10 million albums worldwide. 
Solo work (from 1988 to the present)
В перерыве между турне в поддержку «Speed Metal Symphony» и записью «Go Off!» Марти успел записать Dragon's Kiss (1988 год) — свой настоящий сольный альбом, на сегодняшний день являющийся классикой жанра и одним из эталонов стиля. До отказа наполненный интригующими сольными гитарными партиями и экстраординарной работой ударника Дина Кастроново, он содержит выдающиеся композиции и впечатляющую демонстрацию техники игры на обоих инструментах. Все песни альбома являются инструментальными композициями и запоминающиеся экзотические мелодии — что-то наподобие смеси арабских и японских мелодий с сильным влиянием нео-классики. Без сомнения, Dragon's Kiss — одно из величайших достижений Марти Фридмана и как композитора, и как музыканта. Этот альбом сделал Марти широко известным среди поклонников гитарной музыки, и его наконец-то услышали и признали в широких кругах музыкальной общественности.
Вот что говорит сам Марти Фридман о Dragon's Kiss:
Я удовлетворен достигнутым на 90 %. По-моему, в партиях ритм-гитары я местами переборщил с «distortion», что сделало звучание альбома довольно-таки грязноватым, особенно в «Thunder March»; я думаю, мне все-таки следовало сыграть ритм-партии чистым звуком или вообще обойтись без них, оставив одни только соло.
Работая с Megadeth , занимаясь подготовкой к туру, в условиях полнейшего отсутствия свободного времени Фридман всё-таки находит время для записи своего второго сольного альбома под названием « Scenes » .
По словам самого Марти, он получал истинное удовольствие от работы над этим альбомом. «Scenes» — это заметное повышение уровня игры Марти. Здесь Фридман значительно снизил темп игры, хотя кое-что от его прежней манеры по-прежнему осталось, например, взрывные гитарные соло, которые то утихают, то снова нарастают. Увлечение Марти китайской и японской музыкой явно сказалось на материале альбома. Песни медленно и величаво перетекают одна в другую, унося слушателя в путешествие на Дальний Восток, к Тибету и дальше, в реалии страны чувств.
Кроме того, в проекте активно участвовал ещё один человек. Это японский пианист Китаро ( англ. Kitaro ). Участие Китаро придало альбому «Scenes» особое звучание. Дуэт музыкантов существует уже в течение нескольких лет — с момента начала тура в поддержку альбома Rust in Peace группы Megadeth . Китаро сразу согласился участвовать в проекте Scenes , даже не прослушав ни одной демо-ленты.
Необычным этот альбом делает то, что Китаро и Марти не провели в студии ни одной минуты вместе. Интернет тогда только набирал обороты, поэтому общались они друг с другом только по телефону. Китаро работал с записями, которые отсылались в его студию в штате Колорадо , а Марти в это время находился в Лос-Анджелесе .
Союз этих двух музыкантов дал альбом, показавший, что можно создавать музыку, в которой выражение чувств стоит выше техничной игры на гитаре. Марти Фридман в своём стиле сделал гораздо больше, чем сотни гитаристов, основным критерием для которых служит скорость. Партии ударных исполнил тоже занятый на то время Ник Менца, коллега Фридмана по Megadeth.
“Scenes” reaches the level of musicality, allowing Marty Friedman to be considered one of the most significant contemporary rock composers. An interesting look at Marty’s previous works is “Triumph”, where the melody is taken from the song “Thunder March” from the Dragon's Kiss album, and the orchestral arrangement and performance on acoustic instruments turn it into something completely different.
Marty Friedman on "Scenes":
|“I wanted to create harmonious, calm, melodic, beautifully sounding guitar pieces. Here you will find neither imitation of the sounds of a rushing train, nor noise. The album will contain a bit of complex, fast and slow guitar passages, but in the first place it will contain great sound. No dirt. ”|
In Megadeth , Marty Friedman’s music is thoroughly penetrated by overt and straightforward aggressiveness, but as soon as he is outside the group, his musical design becomes more calm.
The next album Introduction , created in Scenes tradition, developed the idea that was embedded in it even further - not only were there more orchestral arrangements on it, but real, “live” instruments — violin, viola, cello and several others — were also used in the recording. Naturally, there are Marty’s magical melodies on it, but this time the emphasis was placed on the arrangements. The sound of the piano and oboe is wonderfully interwoven with guitar melodies in his compositions and adds to their atmosphere of previously unattainable depth. This album is more “licked” than its predecessor, possibly losing somewhat in the “liveliness” of orchestral arrangements; but, nevertheless, it produces the desired effect on the listeners.
When recording Introduction, Marty used mostly the same musicians who helped him with his work on Scenes. ( Nick Menza - drums, Brian BeckVar - keyboards, Steve Fontano - engineer / co-producer). On the new album, as well as on "Scenes", the sound is based on sampling . 
I guess I would have invited a large orchestra of 70 people to record, but I just could not afford such luxury. I had to deal with the use of samples. My engineer Steve Fontano has a friend named Alex Wilkinson who works on film and TV shows. He has access to various amazing phonograms, such as the sounds of an oboe, bass clarinet or flute that sounds so that it can be mistaken for a real flute.
I took advantage of thirty or forty fragments received from Alex. In my opinion, the album turned out to be successful. I write stuff all the time. Ideas come to mind quite unexpectedly. When this happens, I record them on tape and put them off for the time being. Then, after I have accumulated a whole bunch of cassettes with ideas, I listen to them all and choose the best ones from there. Since my musical concept has not changed over the past 10-15 years, individual ideas can accumulate over the years, and then be used in the current work. For example, some material on “Scenes” was invented when I was 15 years old, another was written 8 years ago, and something was created the day before I started recording the album.
Marty Friedman’s fourth solo album, True Obsessions , released in 1996, shows an interesting fusion of his past and present musical addictions. With all the strengths of the Scenes and Introduction albums, this one is more guitar oriented. Some songs are filled with aggressive and “driving” guitar parts and are clearly influenced by Megadeth . And this is contrary to the fact that since 1992 Marty Friedman tried to make his solo albums as opposite as possible to his “main job”. There are Marty's signature tunes, which are simply impossible to confuse with anyone else; but here they are very mixed with an unusually large amount of blues for Marty, and most of the compositions bear the traces of experiments with jazz influence, which adds an interesting twist to Friedman's work. In addition to Marty himself, on this album you can hear his constant companions - keyboardist Brian Beckwar , orchestral arranger Alex Wilkinson , as well as drummer Nick Menz. But not all the songs on the album are instrumental - some of them have the vocals of Stanley Rose ( Eng. Stanley Rose ) and Jesse Bradman ( Eng. Jesse Bradman ). Of the session musicians on the album, I would like to note the presence of virtuoso drummer Greg Bissonette ( Eng. Gregg Bissonette ) and even Tom Gattis as a vocalist. Another interesting fact is that when recording the album Marty used only the guitars of the Japanese branch of Charvel / Jackson - Grover Jackson Japan.
And here is what Marty Friedman himself thinks of True Obsessions :
|Unfortunately, we cannot describe in words what our life is, or what it should be; but with the help of art we can express it as perfectly as our dreams allow us. My passion for this emotional outpouring tool called “music” is the passion of that part of my soul that I would like to share with you. These notes are pulsating in my fingers just like blood is pulsing in my heart. Accept them and step into my world.|
Life in Japan
Currently, the musician lives in Tokyo , Japan  . He travels to countries in Asia, Europe, North and South America, giving guitar lessons and participating in various conferences. He became a prominent figure in the Japanese music scene, playing solo guitar parts in groups of some of the country's most famous singers of the rising sun. He also appears on Japanese television and is a commentator on the main Japanese music magazine and daily national newspaper. [eighteen]
Friedman speaks fluent Japanese.  He could be seen as a regular guest of the hebimeta-san music television program ( Japanese ヘ ビ メ タ さ ん ) (translated from Japanese as “Mr. Heavy Metal”) with Japanese popular television presenter Yoko Kumada until they stopped broadcast in 2005. He had his own television program dedicated to heavy metal called “Rock of Fuji”  , broadcast from April 2006 to March 2007. In November-December 2005 he toured with Japanese singer Ami Suzuki in English. the Japanese part of her world tour in Tokyo , Osaka and Nagoya .
Marty played guitar in support of Japanese musicians such as Nanase Aikawa , Miyawi , and former Pierrot vocalist Kirito .
Marty was later featured on Jukebox, a television program in which Marty and two other Japanese translators translate the lyrics of various English songs into clear Japanese. On July 23, the book Samurai no Ongakuron was published in Japan. This is already Friedman's second book, and his first work was the bestselling book Ii Jyan J-Pop ( Awesome J-Pop ). [twenty]
In 2010, a series of Fanta commercials featuring the FANTA rock band was released on Japanese television. Among its participants Marty was noticed. Other members of the “supergroup” include several Japanese DJs and a sumo star named Akebono. 
In 2011, the famous Japanese metal guitarist Omura Takayoshi performed with Marty. As a world tour dedicated to the latest Friedman album, they visited Russia.
Marty Friedman has the same guitar school and technique that Joe Satriani and Steve Wai . Friedman, as a composer, at the same time gravitates to the jazz texture of compositions, which is especially noticeable on Dragon's Kiss debut album. This is partly related to him by John McLaughlin . Technically, Friedman is somewhat reminiscent of Joe Satriani , although his manner of playing the pick is different from the style of Satriani: Marty is considered a master of “backward movement,” that is, string-wrestling from the bottom up, unlike most hard rock and metal guitarists  . Many famous guitarists turned his attention to the "clumsy" staging of his right hand. But Friedman chose to leave it as is, thereby emphasizing its originality, the so-called CP-style. Although at the same time, he himself repeatedly noted that such a manner of playing is extremely inconvenient, since it is very difficult to control the purity of sound production. Friedman often uses melody chords and sweeps ( en: sweep-picking ) .
Marty has no musical education and has been playing by ear all his life. According to him, the fact that he plays fast is just an illusion, and the fact that he is considered an expert on all kinds of scales and modes is a misunderstanding. He explained this by the fact that if he set himself the goal of mastering any instrument, then he simply sat down and mastered it.
“I'm just trying to understand the interaction of harmony and melody. “I don’t like listening to 64th notes, therefore, if you successfully played the climax, then a simple triole at the end of the measure can fit better than a dazzling passage,” Marty explained.
Marty was inspired by such guitarists as Brian May , Ulrich Roth , as they wanted, according to Marty, to achieve something new in terms of emotionality and personality in their game. 
Marti used to play Hurricani with Hawaii and Cacophony , using MXR distortion plus and Electro-harmonics. At Megadeth, he began playing the Jackson guitar with 24 frets, a single volume knob and one Seymour Duncan pickup JB-J. Sound was formed through two separate systems: one for rhythmic accompaniment, the other for solo. For rhythm, the preamplifier is Custom Audio Electronics, then the signal goes to the Yamaha SPX 900 and the VHT amplifier. Power Amp Regulator - Furman .
Until 2000, he actively used Jackson guitars, until the company itself was sold to Fender Corporation. For a long time after that, he used Ibanez guitars, but in 2009 decided to switch to PRS, Gibson (in particular, the Gibson Les Paul model) and several others. 
Sometimes he uses pre-amplifiers - Bogner , Tube Works , CAE 3t .
The solo sound is created by the Chandler Tubeworks preamp, the signal from which also goes to the VHT amplifier. Both of these amplifiers have a Marshall speaker output, with 25 watts Celestion speakers . Using the effects of the SPX-900, Friedman prefers only “soft” sound samples so that the sound is not too colored.
Marty uses the Aural Exciter, a Sushson and Bradshaw Hush instrument. This system was specially developed for Marty Friedman by the famous rack systems designer Bob Bradshaw. The essence of the system is as follows: all processing and connecting wires are behind the stage, and all switching during the transition from one sound to another is made by Friedman's guitar techniques in the same place. Everything is programmed and rehearsed: the transition from rhythm to solo, again to rhythm, and then to clear sound - all the movements that Marty should have performed are performed by his technicians, using the pedal control panel specially made by Bradshaw.
Favorite guitar equipment: 1976 Marshall amp, Electro-Harmonix Memory Man effect.
- Deuce (EP) (1980)
- Made In Hawaii (EP) (1982)
- The Works (Vixen album) (2004)
- One Nation Underground (1983)
- Loud, Wild And Heavy (EP) (1984)
- The Natives Are Restless (1985)
- Speed Metal Symphony (1987)
- Go off! (1988)
|Album Release Date||Title||Label|
|September 24 , 1990||Rust in peace||Capitol|
|July 14 , 1992||Countdown to extinction||Capitol|
|October 31 , 1994||Youthanasia||Capitol|
|July 18 , 1995||Hidden Treasures ( EP )||Capitol|
|June 17 , 1997||Cryptic writings||Capitol|
|November 3 , 1998||Cryptic Sounds: No Voices in Your Head ( EP )||Capitol|
|August 31 , 1999||Risk||Capitol|
|Album Release Date||Title||Label|
|August 8, 1988||Dragon's kiss||Shrapnel|
|November 17, 1992||Scenes||Shrapnel|
|November 8, 1994||Introduction||Shrapnel|
|2002||Music for speech||Mf music|
|September 26, 2006||Kick ass rock||Phantom|
|July 22, 2007||Exhibit A - Live in Europe||Avex trax|
|2008||Future addict||Avex trax|
|2009||Tokyo jukebox||Avex trax|
|August 25, 2010||Bad DNA||Avex trax|
|September 14, 2011||Tokyo jukebox 2||Avex trax|
|2012||Metal Clone X (with Freddy Lim)||Avex trax|
|May 23, 2014||Inferno||Prosthetic|
|August 4, 2017||Wall of sound||Prosthetic|
- Perpetual burn (1988) Jason Becker - “Eleven blue egiptians”, “Dwellar in the cellar” and “Temple of the absurd”
- Built to perform (1994) Phantom blue - “A Little Evil”
- Tribute to Ace Frehley: Spacewalk (1997) - “Deuce” cover
- Tribute to Queen: Dragon's attack (1997) - “Sheer Heart Attack” cover
- Humanary Stew: A tribute to Alice Cooper (1998) - “School's Out” cover
- Duke Nukem (1999) Soundtracks - “Duke Nukem Theme” and “New World Order”
- Raspberry Jams (2000) Jason Becker - “Black Stallion Jam”
- Warmth in the Wilderness: A Tribute to Jason Becker
- Tribute to Queen 2: Stone Cold Queen (2001) - “Play The Game” cover
- Where Moth And Rust Destroy Torniquet (2003)
- Ink compatible Spastic ink (2004) - “A chaotic realization of nothing yet misunderstood”
- RUOK ?! Aikawa Nanase (2005)
- Forged by fire Firewind (2005) - “Feast Of The Savages”
- All that remains Fozzy (2005) - “Born of anger”
- Zeta Zeta (2006)
- Rock Fujiyama Rock Fujiyama Band (2007)
- Yakou / Crystal Rain Lovefixer (2008)
- Sonic and the Black Knight (2008) / Face to Faith (2009) - “With me”
- Kiba (single) Marty Friedman feat. Andrew WK (2010)
- Hikari to Yami no Douwa (single) - Sound Horizon (2010)
- Skyharbor - Catharsis (2012)
- Yossi Sassi - Desert Butterflies (2014)
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- Marty Friedman Comes Home
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- Interview with Marty Friedman
- :: Marty Friedman Official Website ::
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- Chart Stats - Megadeth
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- Ex-Megadeath Guitarist is now a Japanophile - TOKYOMANGO
- J-POP メ タ ル 斬 り Archived on May 16, 2007.
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- July 23, the book Samurai no Ongakuron was published in Japan
- Marty Friedman became part of Fanta
- Archived copy (inaccessible link) . Date of treatment February 15, 2008. Archived September 23, 2005.
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