Marty Friedman
Loudspeaker

Needless to introduce Marty Friedman.

A guitarist who would make anyone pale given his long career. Not only long but also of a certain prestige: founder together with that other genius Jason Becker of the Cacophony, a group where he showcased all his budding technical skills; guitarist of the Megadeth and creator of that masterpiece that is 'Rust In Peace'; and finally a solo artist who launches into solo guitar albums full of an extraordinary dose of energy as well as those exotic atmospheres that so fascinate the audience (Friedman recorded an entire instructional video on studying these Eastern-exotic scales).

Now, in 2006 he returns with another album titled "Loudspeaker" that relies heavily on great power as well as great guests: John Petrucci, Steve Vai, Billy Sheehan, Jeremy Colson, and keyboardist Jens Johansson. The premises for a high-level album are all there. And indeed I immediately feel satisfied listening to the first track: "Elixir" with an inspired Billy Sheehan on bass. Riffs of a certain consistency, excellent solo parts, indeed, I would say objectively original even if they don’t entirely forget the clichés of instrumental rock. The same I say of "Street demon", an excellent rock track, with good solo intuitions that nevertheless do not neglect the rules of an instrumental piece: time changes and time changes. Nothing new you might say? Indeed, but there is Friedman’s merit in creating excellent melodies.

"Black orchid" presents an energetic and rhythmic start and a very good central part. Also note the presence of John Petrucci in a jazz-like appearance, which is neither cocky nor show-off. Excellent track. "Paradise Express" brings back Mr. Sheehan on bass in a track which seems to evolve into something better every second, but remains quite disappointing for me. It's the turn of "Sekai ni Hitotsu Dake no Hana", with fairly predictable and trivial melodic solutions and a rather monotonous and repetitive progression. "Glycerine Flesh", on the other hand, presents a great improvement: a well-played track, but above all rich in cues worthy of the best Friedman, and moreover, it is a very varied track with multiple sounds that will certainly win you over. "Stigmata Addiction" brings Marty back to good levels of riff-making in a track that doesn’t heavily emphasize its length.

In "Viper" you immediately feel the touch of Steve Vai, and the track, when he enters with his guitar tricks, gains great value: another pivotal track of the album. "Static Rain" I see as a fairly transitional track for the excellent "Coloreas mi Vida", between acoustic and the most expressive rock. Marty's expressive performance in this beautiful track is remarkable. The epilogue is truly wonderful instead: "Devil take Tomorrow" is a romantic ballad punctuated by breathtaking vibratos and bends, with a great dose of emotion and sentiment. Excellent closure.

Honestly, it’s a good work, which presents very high levels only to fall into quite significant trivialities. The tracks overall are well played, equally excellently composed, and the presence of certain stars alongside Friedman will surely attract even those who are not very familiar with Marty’s solos.