TMG1 Tak Matsumoto Group | Release date: June 23, 2004 Review by --- Dave from B'z Fanatics Click to buy this album and get FREE Shipping!! "They gave me no trauma"-Keen ^0^

This album was a pleasant surprise when I picked it up. The sound is an updated 80’s metal sound, with a few obvious influences from bands like Linkin Park. There is a concerted effort to distance the music from B’z, and it stands alone as an excellent piece of work.

For a debut from a new band, it stands out very well. I have had fun playing for my friends who don’t like B’z because of the lack of English lyrics, who can now finally appreciate Tak’s mastery. Eric Martin and Jack Blades are some of the most gifted musicians from the 80’s, and continue their foray into modern rock with a vengeance.

Eric’s voice has noticeably aged since the heydays with Mr. Big, but still has a significant range to play with. Jack has always been able to play tasteful bass, while complimenting the rhythm section well. Brian Tichy and Cindy Blackman give excellent performances in the percussion end of things. And for all of you Toku-chan fans out there, the arrangement is exemplary.

Tak’s tone is absolutely crushing; his new Gibson Signature Model (looks vaguely like a Les Paul Junior Double-cut with a slightly tilted body shape) seems to have a fuller, more rounded sound than even the TakBurst. His partnership with Bogner** has been an exemplary one, and the sounds that he’s creating with it are amazing. There are experiments with different techniques, but the majority of the riffs simple, bone crushing, and memorable. This is easily some of his heaviest rhythm work to date, including some work with drop-D tuning in a few tracks.

1| Oh Japan ~ Our Time Is Now

A straightforward rocker, it blends Japanese musical influences throughout. What can I say? It’s heavy, and has luscious tone. The solo has some tasty bits, including the last measure. Eric’s voice seems a little rusty, but nothing to shake a stick at. It’s all in all, a good performance.

2| Everything Passes Away

This includes another experiment with Japanese scales in the beginning keyboard track, which leaves you breathless. There are some solid lyrics from Jack, who digs deep into his soul. Jack and Eric’s voices work well together, but they don’t blend well. The solo is fairly standard with a slight neo-classical bent, and is executed flawlessly.

3| Kings For A Day

A nice intro arpeggio with some solid rhythm work and nice fills. It’s strong, well produced, but I can’t get into the story in the song, so I have to mark it down. The lyric “Baby, we were rebels, so how did I get here? Haunted by the ghosts in my rearview mirror?” shows incredible depth. The solo is a bit lackadaisical, and really uninteresting.

4| I Know You By Heart

Another strong outing, this song has some really solid lyrics, and some ethereal guitar work in the intro. The inclusion of Liar Liar-style rhythm work on the intro and during the verses is really well executed. Eric’s performance is really good on this track.

5| Wish You Were Here

I’ve seen this song referred to as a “monster” on a couple of sites that have rated this album. I have to disagree. It’s not really that great of a song, it’s actually an average 80’s hard rock track which makes it disappointing to someone who has grown accustomed to the quality tracks laid down by B’z. The solo is well done with some bright spots, but it doesn’t save a really poor attempt.

6| The Greatest Show On Earth

The intro on this track is ALL Japanese melody, as well as the chorus harmony! Here’s another excellent solo, and fairly solid arrangement.

7| Signs Of Life

Starting with a short Sitar intro, the riff is almost East Indian in flavor. Jack writes some pretty solid lyrics on this track. The band sounds like it’s having fun on the track. Tak’s rhythm is another splendid show of taste and substance. Check out the symphonic bits in the Interlude and the subliminal tapping before the solo.

8| Red, White and Blue Bullets

Not bad… the message is about personal responsibility and the lack of it in the United States. I think it’s a universal message. The music is Ok, but it’s not one of my favorite songs. The slide work on the solo is not a side of Tak that we see, and on the whole is pretty solid.

9| TRAPPED

Another excellent track for no other reason than it is simply a solid arrangement. The melody compliments the rhythm very well. The rhythm during the verse is a new sound from Tak… a sort of flanged chorus with a little compression built in. The solo is more of a bluesy feel with some neo-classical mixed, with the classic Tak vibrato shipped in by the truckload.

10| My Alibi

This track has great rhythm, and a little lighter than most of the album. The chorus is catchy with some hook to it. This one has a downright goofy solo, more of an experimentation, which loosely fits into the scale and mode. As one site said, a very commercial sound.

11| Wonderland

People like this track. Personally, I think it’s average. The rhythm reminds of an inverted riff from “Juice”, and just as unimpressive. The solo is another experiment, but it is very solid… probably the only thing to save this track. I think I’ve skipped this track more than I’ve listened to it.

12| TRAIN, TRAIN

I like this track quite a bit. The story is engrossing, and gets you reeled in right way. The rhythm is a laid back groove, almost vaguely Jimi-esque. Tak pulls out some bluesy licks, with a little bit of his own twist.

13| Two Of A Kind

The intro sounds vaguely SRV-like*, and the rhythm has a similar vein. The chorus effects on the chords before the chorus are really nice. The chorus is solid as well. The solo is VERY good… I can’t describe the emotion I feel when I hear this one. This is just a solid ballad, something we haven’t heard from Tak since Raging River.

14| Never Goodbye

Starting with a simple techno riff, and another simple one string riff, this one is vaguely nu-metal sounding. The curious clean and flanged verse riff is VERY interesting, and will have any guitarist scratching their head. The rest of this one is very commercial, but it is produced so well, you forget it soon after listening a few times. Tak shows his typical brilliance during the solo with some nice harmony overdubs and a diverse display of chops and technique within 32 bars. All said, a really well rounded track.

* Stevie Ray Vaughan - Blues guitarist from Austin, Texas. Single-handedly resurrected blues back to modern music.
** Bogner Amplifiers – California based amplifier manufacturer. Tak’s Signature Model is a heavily modified 100-watt Bogner Ecstasy.

Final Thoughts

So, as you see… this one is fairly solid. TMG has produced an exceptionally good debut album, and while using modern influences, manages to make their own statement. I have to say that Tak could not do this kind of work with Kohshi. B’z SOUNDS heavily produced in comparison, but TMG manages to BE heavily produced without sounding like it. That is an accomplishment in itself.

Eric and Jack, while seasoned, seem to come at this project with life and vitality that I have not heard since their early 90’s efforts. Tak also sounds energized, and his playing seems to be liberated with every track as the album progresses.

Would I recommend this album? I’d be insane not to. This album is a great display of musicianship, talent, and outright bragging rights. Tak has outdone himself this time with this project, and I hope that he has much success. The chances of seeing a tour in Europe is likely once this is released, so let’s hope there is a distributor with the gumption to release a REAL rock album stateside. Steve Vai…are you out there?

Overall Rating 4.5/5

- Dave -

COOL LINKS: Read more glowing reviews on TMG1 at Melodic Rock, Hard Rock House

Other reviews by Dave --- BUZZ (video), Big Machine, GREEN, Brotherhood, LOOSE and The 7th Blues (album)

Oct 4, 2004 | B'z Fanatics | Gathered by Keen for this website ©