Opener Gimme A Dose gives a very good indication of what to expect on the majority of the album, with its big riffs tasty lead work and dynamic rhythm section. This is quite a step beyond what appeared on Marty's debut solo album Dragon Kiss, gone is the million miles an hour everywhere lead approach to be replaced by what can only be described as songs with no vocals.

Fuel Injection Stingray is firmly in the Satriani mold with its strong riff and complementary lead motif. Again the rhythm section show their caliber.

Ripped is exactly what the title suggest, super intense with speedy licks but enhanced by some industrial effects and a moody sound effect middle section. 1:45 in we get in to what can only be described as Megadeth intensity before launching into a quasi eastern slightly Vai sounding brief section. Before more FX's come in leading way to some of Marty's trademark 'exotic' lead work.

Its The Unreal Thing comes across with more than a nod to Astro Creep era White Zombie with super fuzzed out guitars and a monster groove before setting into quasi funk areas. An original blend but it works, before smacking you face in once again with its huge riff.

Cheergirl Rampage is just plain nuts! So much so I will use Marty's own words to sum it up, '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". I will add that at 2:08 we have an ascending guitar line that I could have swore was going to lead into the verse riff of Guns N Roses' You Could Be Mine!

Lust For Life is next and to these ears its the highlight. With it roots firmly in ballad mode the melody is everything here. Very delicate to begin with over lone piano before the electric guitar kicks in along with bass and drums. Its all pretty straightforward but listen to the phrasing - beautiful. Not too dissimilar to Uli Jon Roth's best moments. Marty makes great use of dynamics in respect to speed on this track. Words quite simply do not do this anthemic composition justice and the price of album is justified here alone!

Lovesorrow sees the tempo relaxed again for this orchestral backed track. Again great dynamics are shown in the lead guitar with Marty making good use of various tones to really drive the message home. Again quite Uli Roth with a little Brian May thrown in for good measure. Another highlight.

Nastymachine is based on a background of loops and samples, quite techno in this respect but the guitar adds the metal element required. Many tasty licks are to be found here and some great stereo effects on the backing.

Catfight starts has everything but the kitchen sink from a Japanese woman warbling in the intro before heading into pure Metal territories with some absolutely smoking lead guitar before a detuned riff which really gets the speakers kicking some dust when the bass and drums come in. Another doomy riff enters the frey and is heavier than anything Marty released whilst in Megadeth before heading back in to more FX soundscapes, very enjoyable.

The pace drops again for Corazon De Santiago, boasting a strong latin influence. Again very soulful and earthy melodies run throughout the track and there is even some nice mock flamenco acoustic work in the background. When the band kicks in Marty treats us to another melodic masterpiece. Reminiscent at times of John Petrucci's most melodic moments coupled with Santana sustain really hits the heart. Another highlight.

0-7-2 is a 40 second classical piece which sees acoustic guitar combine with strings and piano. Based on a section of Marty's solo spot whilst still in Megadeth. Sadly its just too short.

Salt In The Wound is heavy. Some killer riffs that is the closest this album gets to Martys work in Megadeth (particularly Rust In Peace era). Great guitar throughout this track.

Novocaine Kiss has a lot of space, particularly the intro which is just like floating around the galaxy. Again home to the more melodic side of Marty's playing shows us that this man can play. The melodies are again strong and to the fore. Marty describes this track as "being the kind of music you would imagine going through your head when you know you were going to die". I take this to mean that its a very introspective track and has enough emotional content to get you thinking about what has been done through your life. Ultimately I would not be in the least disappointed if this is what plays when the final curtain falls.

So there it is. Music For Speeding is quite simply an extremely strong instrumental album that covers a lot of basis. From it we learn that there is much more to Friedman than being Mustaine's sidekick and that the guy knows how to pen a few killer melodies and can play the guitar better than most could ever wish to achieve. Lust For Life is simply stunning and with other tracks not far behind I feel that every listener could get something from this release.

Hot Spots: Lust For Life, Lovesorrow, Corazon De Santiago, Novocaine Kiss.
Rating: 88%