| Story Behind The Song - Music For Speeding
21 December 2005
| The latest updates - Jun 5th 2003
AC/DC meets Cacophony meets Raven and Fastway in the new
millennium. I always wanted to hear music like this. The intro was supposed to
sound like a stoner just picking up the guitar and trying to play the main riff
in the song. It has some timing errors in it, but I don?t think it sounds as
messed up as I had hoped it would be. Maybe I needed to hire a stoner to play
the part, or just get stoned myself~!
FUEL INJECTION STINGRAY
This song inspired the ?music for speeding? title. I had much of this tune
written while I was in Megadeth, but I made it a little more modern when I did
it for this album. This song is all about full speed driving in a muscle car.
The title I borrowed from a Beach Boys tune, and no one writes car songs like
they do, but they never really did any heavy ones so I had to be the one to do
it. This song features both bass players, Jimmy and Barry. Jimmy is playing the
funky stuff under the solos and Barry is holding down the heavy riffs. I got
really particular about using each player?s separate strengths to the fullest.
This has got everything in it that I would have
drooled over had I heard this in the Cacophony days. I finally figured out a way
to mix fast, syncopated leads in a heavy but mod context. Old school and new
school co-exist on this track. Sonic Bitch (my engineer) called this one ?Layla
IT?S THE UNREAL THING
With a backbeat that reminds
me of Andrew W.K. or Rob Zombie, again I try to bridge the world of modern
percussive elements with aggressive soloing and warped guitar arrangements. I
played this song in Chile with the backing track on a cd, and the audience was
jumping up and down so furiously that they made the cd player skip. I love a
beat that makes people do that. A version of this tune was just done by an up
and coming heavy rock/metal band, Razer. They added lyrics and some really cool
vocals, and retitled it ?Do Ya Want It?. I think their version is absolutely
amazing. You will definitely hear a lot from this band in the near future.
CHEER GIRL RAMPAGE
This tune has so many facets and unique
elements that it is literally an amusement park for the ears. I was aiming for
that unique happy noise you hear when you walk by a pachinko/slot parlor in
Japan and the door opens and you hear this magical noisy pumping music coming
out. It?s like there is something really exciting going on behind those doors,
and the music draws you in. That said, I?ve only played pachinko once or twice.
It?s hard. ?Cheer Girl? has techno, bubblegum, and heavy metal elements along
with my strange way of playing guitar all co-existing in a hard and pounding
arrangement. This was absolute HELL to mix, as there were over 128 tracks to
deal with. Also, the sound at the end of the song where it sounds like the tape
is being slowed down, was done by literally leaning on the 24 track 2 inch tape
machine with my whole body with force and slowing down the actual tape. I don?t
think that the studio owner would like to know about that...
This was written in my first Tokyo apartment. I had no guitar so I
just hummed the melody into a cassette recorder. My fave thing about this one is
the girl?s voice that I slipped in right before the guitar solo near the end of
the song. When I was a kid, I thought guitar solos were totally orgasmic, so
what better way to enter a solo than with a moaning voice? Just for the record,
the voice was taken from an outtake of the spoken part from ?Realm of the
Senses? from the ?Scenes? album. I still had the master tapes! Thanks, Kayo!
This is my fave ?orchestral instrument emulating?
piece to date. I?d love to do ?Triumph? (Thunder March) with an arrangement like
this. How many times have I recorded that song?? I learned a ton about
orchestrating various instruments during the making of this song. What is
amazing to me is that I used the exact same amp (Crate 300 Watt) for the glassy
clean melodies at the beginning as well as the loud lead guitar at the end. I
think this tune is what I may have been aiming at with ?Be? on the Introduction
album. I feel like I came a lot closer to the mark this time.
Dedicated to the nasty machines that some girls
use so well, this one has more electronic elements in it than I?ve ever used
before. I really got into hacking up samples and creating my own loops before
starting recording on this album and aside from ?Cheer Girl Rampage? this has
the most sequencing going on. I believe no one has done anything like this;
techno beats, but with instead of electronic bass, a retro 70?s disco feel human
bass piled high with fast and weird guitar all ending up in a heavy metal
crescendo, or climax, if you will. Kind of a ?Free Bird? for techno geeks. This
one also took about 128 tracks to record. The mixing engineers hated me!
My fave intro on the album. It was fun to create. I
blended traditional Korean music with Japanese Gagaku music and warped both of
them; stretching out words and sounds, playing parts backwards, the whole lot.
The middle of this song has one of the heaviest riffs I?ve ever played. It?s one
of those simple riffs that I wouldn?t mind looping and listening for an hour
straight. Feel free to do that at home...
CORAZON DE SANTIAGO
I don?t know if my Spanish is correct or not, but I titled this one after a
trip to Santiago, Chile. That?s a great town, with many warm, friendly people,
and I would love to spend more time there. The theme of this tune is pretty
Latin, at least for a white boy like me. This tune is the first of the
?Quilogy??my tongue-in-cheek expression for the fact that the last 4 songs kind
of tie into each other.
This 40 second classical piece
is semi-serious, semi-joke, and was loosely based on part of the live guitar
solo I did on the last few Megadeth tours. I?ve been asked what 072 means so
many times, I guess I owe it to all of my friends who visit this site to put the
answer here. OK, it means masturbation in Japanese. Get it? Fast, classical
flavored guitar playing, high on technique but low on melody = Masturbation?
Anyway, it?s mercifully short so enjoy.
SALT IN THE WOUND
Great war flick title. There are some cool military-like, drum rudiments by
Jeremy Colson in here that really gives the tune a ?battle? theme. Richie Kotzen
engineered some of the solos on this track, and he put some wicked plug-ins on
my guitar when we laid down the tracks.
Semi-ripped this title off a Runaways song. This is the spaced out tune to
end all spaced out tunes. The spacy intro took many hours to create. How does
one know when there is enough space? When do you say, ?It?s done.??? I have had
this main melody for a while and I had grown quite accustomed to hearing the
demo. I was chasing the sound of the demo quite a bit for the real album and was
unsatisfied most of the time so I used some of the actual demo tracks in the
final version. That was quite a technical task, as they were in a different
tempo, recorded on a different format (digital tape as opposed to hard disk) and
in some parts were even in a different key. What I?m saying is that it was
basically a pain in the ass. It was worth it, because you forget the pain after
it?s all said and done. You just wind up with a perfect piece of art. (or just a
piece of something?) Growing up, I always wondered what kind of music would be
running through your head if you knew you were going to die. (Kinda heavy
concept...) I figure it would be something like this.
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