Are you able to perform with her often?įriedman: We almost never play together. When you're living with demos for six, eight or 12 months, it gives you the time for the honeymoon period to wear off. That runs the risk of not being that great two to three months later. Usually when you write a song and you record it, love it and can't wait to play it for everybody. Which is pretty much the key to making a great album, I'm finding. I'd throw out something that I thought was cool at one time and stopped liking it after six months. Q: You spent 18 months tinkering with "Wall of Sound." What did you spend that time on?įriedman: Most of it was reviewing demos and trying songs in different keys, tempos and arrangements. I never really made the connection to me and Phil Spector. The singers have this great springboard to emote over. What he did was created a great wall of sound so that when the singers are singing, it's like they're being supported by a huge, huge piece of music. In a sense, that's similar to Phil Spector. If you listen to the atmosphere that I'm playing over, the band and the music that I'm playing my melodies to, it's really quite layered and in a very detailed fashion to absolutely maximize the impact of whatever melody I'm playing. Marty Friedman: I'm definitely the driving force behind it, but one thing I take pride in, that maybe sets me apart other instrumental music, is that I probably put more effort into what's backing up my guitar playing than actually put on guitar playing itself. So, what's it like being the driving force on your "Wall of Sound." I understand he made studio musicians wait hours before he'd hit record to make them tired, so they'd fall together easier. Q: Your new record shares a name with the popular description for Phil Spector's recording method. Here's a few highlights from my phone interview with Friedman.
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