I caught up with George Lynch to discuss the new Lynch Mob album, any potential Dokken reunion, and his future 2018 plans.
Congratulations on the new Lynch Mob Album The Brotherhood. Personally, this is my second favorite Lynch Mob album as the first Lynch Mob is my favorite. A classic!
GL: Well thank you. That’s saying something.
What is your favorite song on the new record?
GL: Miles Away is a beautiful song it’s Pink Floyd’ish. It’s intense, and that came out of soundcheck rehearsals when we’re on tour, and there was this typical thing you kept quiet, and we got to the point where we were playing it as sort of an interlude piece in between other songs. We did it quite a few times probably a dozen times, or more words become a song, and we developed this song by jamming it live in front of audiences which is interesting so yes, but it’s just I did that stand out.
One of the standout tracks is Main Offender which was the first single primarily written by the drummer Jimmy D’Anda. And although we all handed him some parts and things like that; we got good things from Jimmy in the end. So it was some fresh blood, and then I say Dr. Jekyll Mr. Hyde which is another song interestingly which was created while we were on the road just jamming at sound check. We never jam the song live in front of the audience. The bones of it were built on the road, and then we brought in the studio and developed it from there. And that’s the second video that’s coming out. It’s a trippy video.
The main feature of the song that I love is just that trance like hypnotic groove at the end that just goes and goes up.
Chris Collier produced The Brotherhood. He also did the KXM albums?
GL: Yeah I mean the band produced. The producer is a tricky word I get you know when I was in bigger bands in the 80s we’d have producers who did a lot less than Chris Collier did. Who could maybe be listed as an engineer, so it’s tricky. I would say to be fair that any record that Chris has been involved in with me whether it’s KXM or Lynch Mob or others. It’s pretty fair to say he’s a co producer because we use him as a sounding board for ideas and a multi-instrumentalist. He does it all like Jeff Pilson in that respect. Chris is kind of a utility guy I’m excellent at a lot of things, but Chris is very knowledgeable, with music theory and music history from engineered to mixing mastering. Chris could get up there and help with background vocals or help Oni flesh out the vocal melody with words. He gets his hands involved in all areas of the music that we’re creating.
Have you thought about producing Lynch Mob Records yourself?
GL: I’m not much of a producer. I used to produce stuff years ago. Zakk Wylde doesn’t live far for me he lives up the street. We were talking at one point a few years ago, and I tried to be really honest with him, and it was a bit different to be objective I said without hurting feelings or anything, and I mean Zakk’s in a way better place than I am in the marketplace and so it’s a very widely recognized and a fantastic musician.
What I thought was his records don’t do him justice you know. I mean I feel that he could present himself in a lot better way with the right team or producer or writers. But you know what I’m just expressing my opinion, I suggested to him why don’t we get together, and you don’t even have to put my name on it. You don’t even have to pay me. But we live right down the street from each other, and maybe we’ll work on songs together in crafting some songs that are a little more memorable, with bigger hooks sonically a little bit more sophisticated. He’s such an amazing musician because of so many different things I j know how well directed it is. And that’s just my humble opinion.
Of course, that never happened. So my point is I’d say to your question of whether I would ever consider producing it could be possible in a particular situation that was tailor made to what I can do.
Are you considering doing a solo album?
GL: I’m considering doing an instrumental solo album next year, but I have many projects going on. I’ve Never done one. I thought if I do it I figured I need to bring in somebody complete an objective outside influence that takes control. And so you know I’ve done records on my own now for the past 40 years. So maybe I need some fresh ears and eyeballs and new thinking. You know somebody they’ll take me in a whole different direction I’ve never thought of it. I’d love to have Daniel Lanois produce it.
You’re considered one of the top shredders of all time.
GL: I wouldn’t consider myself a shredder by any means. I was practicing last night. I read somewhere somebody said gee I think that I don’t know what they’re referring to but they said something about me and I don’t think I ever heard was the first time I ever heard George attempt it’s like sweeping. I don’t sweep. Any time I sweep is when my wife asks me to grab a broom and clean up. That’s as close I get to sweeping. I’m not that guy. I have no interest in it. I think at one point it starts looking silly.
I always try to elevate my abilities to a certain point. I’m not a woodshed guy that sits there and practices you know 10 hours a day or anything like that.
I don’t think I want to get complacent in my in my place and my style. I like to push myself. You know I’m not going to transform myself. It’s not super secret or anything, so shredder is not a term that applies to me.
Which guitars of yours did you use in The Brotherhood?
GL: The rhythms were one of my ESP’s I can’t remember which one like the Tiger or the Kamakazi.
George Lynch Les Paul I’ve built it the specs of the 59 or 58 standard, and then I’ve got a beautiful couple of Teles a couple ESP Tele’s, and I’ve got a Linhof tele, and sometimes I’ll throw those on the second track when I want something with more spunk. For solos, I guess I mix it up I’ve got to get a kamikaze with great sustain. On some of the tracks where I want that infinite like Steve Vai sustaining kind of the thing. My Kamikaze is probably the bulk of the soloing and when I do ear candy for atmospheric stuff at the very end of the recording process who knows what I’ll bring.
What’s your guitar neck sizes and ratios?
GL: I have necks that can go from seven and a half radius to no radius. My necks are a 16-inch radius.
What does the rest of 2017 and the beginning of 2018 have in store for you?
GL: I’ve recorded seven albums in the last two years. So I’ve got to Lynch MobBrotherhood coming out on September 8th. Next step is we have Sweet and Lynch’s second album coming out in November of this year. Then we have the Ultrasonics record which is finished, and that is coming out January 2018. A team with Corey Glover and guys from War and Tower of Power. That’s our second record. Then we’ve got a Dokken Live DVD and album with new studio tracks coming out sometime early next year as well as a Lynch Mob Live DVD/CD next year. Then I have a project called The Banishment. Tommy Victor from Prong that I’ve been working on for about five years, and we’re hoping to get that out later, the music’s all been made it’s just a slow process getting the vocals finished, and that will come out at some point, and I might even be missing a project here.
Are you going to rejoin Dokken for another reunion?
GL: No there’s nothing. I’m pushing for it. But you know unless all parties are or wanted to happen it’s not going to happen. For various political and economic reasons, there’s there are reasons why it won’t happen. I think those are pretty strong arguments that it won’t. But you know what. Having said that I think there might be a couple of one offs here and there but I’m not sure I’m interested in doing that.
The boys from Warrant are back with their new album, Louder, Harder, Faster that’ll be released on May 12, 2017, by Frontiers Records. I caught up with guitarist Erik Turner to discuss their new album and touring plans.
Robert Mason sounds great! I would go as far to say that this album, I don’t dislike your previous work, but this one is one of your best ET: Thank you, man. It’s a pleasant surprise, we’re getting a lot of positive feedback from different journalists that have got advanced copies, and it’s always nice to hear
Did you guy’s do anything different this time around with this album that you have done within previous times?
ET: Well, the biggest difference is the producers. We used in 2006 on our Born Again CD we were produced and mixed by Pat Regan. On the Rockaholic CD we did in 2011, it was produced by Keith Olsen and mixed by Pat Regan, and on this new CD, Jeff Pilson produced it and then once again it was mixed by Pat Regan. So having a different producer is a big difference. It’s not necessarily better or worse, you know it’s just different you know Keith Olsen and Jeff Pilson are two very talented musicians
Absolutely! I think Jeff brought out more of the guitar parts on this album than Rockaholic. That’s just from a guitarist standpoint, listening to it
ET: Yes, yes. There is a lot of really cool guitar work on Rockaholic, the whole record I think a big difference is Rockaholic is like this smooth, shiny piece of metal and this new record we left some of the scratches on it and rough edges and dents and stuff
it’s just more organic you know like old school blues band based hard rock the way they did it in the 70’s
Now regarding you guys writing process, do you guys all have an equal say or do a couple of members mostly do that? ET: Well, there are a couple of guys that stand out in the band that is good at writing melodies and lyrics and riffs, and that is Jerry and Robert. And you know Joey I thought had some great riffs. I contributed and sent a bunch of song idea riffs. Joey and I neither one finish songs, we don’t write the lyrics and melodies and then tweak it as a band you know. I co-wrote one song on the record this time around and in the past on average probably three or four songs that I co-write usually, and that’s just the way it turned out on this record and then what happens is we do all our demos and pass songwriting files and record some guitars at home or a friends studio and send them to Jerry. You know the same with Joey and Robert might sing some vocals and send them to Jerry, same with Joey, Robert might sing some vocals and send them to Jerry and Robert will demo his songs and Jerry will demo his songs and about the time we have 20 to 25 songs is when we think like okay we’re probably ready to do a record. We’ll vote, everybody votes on which 13 songs that should go on the record and that’s how we decide what songs go on the record we just make a vote and a very democratic process there choosing songs
Then we go into the studio and sometimes know when we are working with the producer or something and a song that we thought only three guys voted for might come up and shine and another song that everybody loved you know it’s not turning out as great as we hoped and you just never know until you get in there and start making the record. But everybody was telling us about Jeff Pilson, and his name kept coming up, and we have begun listening to his records, and the label liked him. A friend of mine Vinny Appice recorded with him and spoke highly of him and started recording with Jeff in his studio and so we met with Jeff and started talking, and we just hit it off right away. His enthusiasm and energy and positivity are contagious and overwhelming and his amount of vintage gear is very awe inspiring and amazing to be able to select from and record.
He did a fantastic job with you guys. Before you go into the studio do you guys write the lyrics or the music first? Or is it a combination? ET: Oh yes. No, the songs are written pretty much. I mean there might be a few lines here a few lyrics there or change the title. You know Robert, Jerry or somebody, the producer, might suggest a different song title but no, we’re 99% done before we get into the studio. We go into a rehearsal room usually for two to three days. We’ll block it out and spend 6,7,8 hours a day in there going through each song from kick jump patterns to bass line to guitars to ideas that come up like hey what if we change this cord here or what if we added this little riff here, and then we just record them really roughly on the computer. A live recording to have a reference to listening back to when we go into the studio so we can remember what changes we made and what we did. So by the time we get into the studio, everything is mapped out you know 90%. There’s always room for magic, accidents happen that are cool or, “wow, wow, wow what was that?” you know! “I don’t know; I played the wrong note.”
Devil Dancer is one of my favorite songs.
ET: Well there you go, how did you know?
Devil Dancer was one of my favorite songs, I think it shows Robert’s voice, and you guys are attracting a new fan base, you know seems we’re in a new millennium now, and we started hearing you guys 30 years ago. I think you guys are attracting new fans. I think with Robert’s voice, your guitar playing and Joey’s guitar playing I believe that it just hits; just everything blends in this album. I think you guys knocked it out of the park with this one with Jeff on there.
ET: Thank you, man! That’s good to hear
When you’re doing your parts, are you doing rhythm or the leads or do you and Joey kind of switch around?
ET: Joey and I what we do is typically we’ll record live with Steven while he is recording the drums and we’ll record scratch guitars and bass and stuff that we’ll go back and rerecord, but we’re all playing along to the song when we are playing live in the studio until we have a great drum track. Then after all the drums are done then, Jerry will typically lay his bass down to all the songs with some scratch guitars on there, so you know he has something to play with another instrument. And then Joey will lay down his basic rhythm guitar and then all this to my thing is always to try and play something different than Joey rhythmically, you know
ET: It may be something as different like playing a different chord in a different position on the neck; it might be a different part you know maybe he’s playing a crunchy tone, I do something that’s just real dry and clean. We always try to play something else, so something is going on there I don’t just go and carbon copy with the rhythm track that we laid down. Then after I’m done doing that, then Joey will go in and play his solos over those tracks, and that’s how it works
What are you using now are you using different rigs in the studio than you do live?
ET: Well, we use some of our Hughes & Kettner stuff that we use in the studio, and then we use a lot of different stuff, vintage gear that Jeff had you know. I use my GMP guitars on a lot of things. I know Joey did as well, but then there’s also that ‘59 Les Paul in there. There’s a ‘52 Les Paul Jr; maybe we need to do something with more of a strat sound, play an old strat 60’s, Tele’s CS335. On one track I’ll play my GMP, and on another, on the next record I’ll play my 69 Les Paul, and then we’ll double on my doubles you know. We typically increase all our stuff all our rhythm tracks are doubled 90% of the time. So instead of doubling it with the same guitar and the exact tone, Jeff will say, “Hey, try that little Les Paul Jr” you know to go along with the track you just did with your GMP. I have a spreadsheet with everything on it, every amp we used on each song, every guitar we used on each song so we can go back and look at what guitar we used on a track.
I would love to see that, that’s like guitar notes
ET: Yes, yes, Joey has that he was a Nazi about it, “Write down what you use! Write down what you use!” you know every day. If he wasn’t there and I was there making tracks, and he wasn’t there he’d text me, “don’t forget to update the spreadsheet!”
We have everything, what amp we used, what effect pedal we might have used. You know Jeff has Echoplexes and Wah-wah pedals. You can hear it all on the record you know all the cool stuff that we use on certain songs. It was just a lot of fun for guitar players like kids in a candy store. And Jeff’s is a real comfortable environment to work in you know. Sometimes you work with different producers and it might be a little more stressful, or the vibe in the room is a little, I don’t know, tense. You know everybody was just really relaxed, we felt right at home in the studio, and Jeff was just great. We got some great performances out of everybody and in my opinion, pushing me and Joey and Robert and Steven and Jerry that extra mile to record some special stuff.
How was it working with Jeff compared to like Beau Hill that produced your stuff for a long time?
ET: You just heard what I said about Jeff. Beau would be the exact opposite.
When you’re on the road, what does your rig consist of?
ET: Right now I’m just using a Grand Meister 32, I believe it is a Hughes & Kettner Amp, and I have a little Shure wireless combo guitar tuner, and that’s what I use. And I have new GMP’s I bring out one of my GMP pawn shop customs and then I have a GMP that’s a Tele-style guitar that has a Floyd on it. It’s a Floyd FU (Floyd Upgrades) I don’t know if you’re familiar with that gear, it’s got so much gear on there so yes, I have a signature pickup that I use by RocketPickups Rocket?
ET: Rocket Pickups is their name; they are out of Atlanta, Willy Houston is the owner. He hand (winds) our pickups and he did a signature pickup for me called the Dirty Nickel, and we use My Star Sound cables (mystarsound.com). I use Dean Markley Strings; we use In Tune Guitar Picks, I don’t want to forget anybody, we use Hughes & Kettner Amps. Steven uses Pearl Drums and has been forever. Live we all use GMP Guitars, me, Jerry and Joey
What made you pick GMP?
ET: A friend of mine turned me onto them in 2000 and introduced me to the owner, and I saw that Duff Mc Kagan was playing them and gosh who else was playing them? Gilby Clarke and Tracii Guns and Kelli Keri, a bunch of different guys were playing them, and which is cool, I didn’t seek it out, but a buddy of mine was like hey I’m great friends with Cameron, the owner, would you be interested in going down to the shop? So I went down and met everybody and some of the guys that work there used to work at BC Rich when we were there, and it’s just an excellent vibe man, and so I just started playing some of the guitars, and I was like, wow man! All hand made custom made all made right there in San Dimas, California
Do they endorse you?
ET: Yes! And then they just started hooking us up with guitars, and I’ve been playing them on and off. The company went out of business for a while and ironically the guy that bought the company and resurrected it, Dan Lawrence, we had been working with over at BC Rich, and Joey used to work with him over at Jackson Charvel over in 1985 they were working together. So Dan is like, having Dan building our guitars now, is like a dream come true
Very nice! With the record coming out, what are you guys’ plans regarding touring for 2017? Are there any festivals that you are headlining?
ET: We’re going to do what we do every year and yes, everything you just said from Biker Rallies, Casinos, State Fairs, Big Rock Festivals, the occasional night club, if it makes sense, we’re just going to go and play and play and play you know, like we do every year. We typically do around 50 shows a year, so we’re right on track to do that. I think we already have 43 shows contracted for the year and we’ll keep booking year round. So yes, it looks like it’s going to be another good year of touring. The only thing that will be different is all our staging is now the new album cover with all our graphics of the new album cover and you know we’ll be playing songs from Louder Harder Faster as well as all the songs that people want to hear you know. We’ll probably play 2 to 3 songs off the new record, and we’ll play you know 13 songs from the past
Working with Robert, how is it different than Jani?
ET: You know they’re very similar in a lot of ways as far as you find out when they get in a studio environment both total pros, amazing singers you know they can harmonize and just really meticulous, talented guys you know. As far as playing live, you know Jani liked to party, and his approach was I think a little looser you know then when he was on stage you know doing his stick and showmanship, he’s one of the best front men from that era, he’s definitely one of the top guys you know. And Robert takes a little more of a serious approach to going out there and just nailing everything. A total pro, you know! But they’re both you know, how lucky am I to get to work with both those guys? And still do get to work with Robert so yes from a guitar point of view, and all the years I’ve been in this band, and what we’ve done to make records with Jani Lane and with Robert Mason and tour with both of them, I feel very fortunate.
George Lynch is more than an extraordinary guitar player. He’s a luthier, an activist for causes he firmly believes in plays in multiple bands and has over 20 albums worth of music. His work has spanned over thirty years. Although he was born in Washington, Lynch grew up in sunny California, and it was there that he learned how to play the guitar at only ten years old. Roughly two decades later, in the 1980’s, the band Dokken began to rise, with Lynch as the guitarist, Don Dokken as the vocalist, Mick Brown as the drummer and Jeff Pilson, the bassist. Due to the fame of Dokken, Lynch’s work became well-known. Lynch had been a member of Dokken is what truly started Lynch’s career. Dokken has sold more than ten million albums throughout the world.
In 1990 George Lynch left to form Lynch Mob. George Lynch then released a solo album, entitled Sacred Groove, which was well received by his fans.
In 1994 Lynch and Dokken reunited and released two more albums, while Lynch continued to work on his solo work. Regardless, Lynch and Dokken still had differences that they were not fortunate enough to settle and Lynch again left the band in 1997, returning to Lynch Mob. This time, Lynch took his band in a new direction, and by 1999 Lynch Mob was touring. After the tour, Lynch put the band on hiatus to focus on some other work. In 2002, Lynch brought Lynch Mob back, again, this time with more contemporary music than before.
George Lynch worked with Dokken’s former bassist Jeff Pilson to create Lynch/Pilson, and then he also went on to form The George Lynch Group. In 2008, Lynch Mob released a new album. In 2009, Lynch worked with Raven Quinn for her self-titled album which would be released in 2010. That same year, George Lynch toured with Souls of We and Lynch Mob.
It was in 2013, at a birthday party for Ray Luzier’s son, that band KXM was first thought of. Lynch, along with Ray Luzier and Dug Pinnick decided to label their new band after the names of their full-time bands. K for Korn, X for King’s X and M for Lynch Mob. KXM released their first album in the next year, after hard work from the three members. They released their second album, Scatterbrain, with part of Lynch’s most recent work, on March 17, 2017. Saying George Lynch is a busy man is an understatement. I recently caught up with George to discuss his new KXM album, Lynch Mob, and Dokken.
The KXM album, I think it’s darker and heavier than your first KXM album. Would you agree with that?
I don’t know if it’s heavier, not that it’s contested, but I think some elements might be heavier. I believe that it’s recorded better, sonically or pleasing, you know. It’s got more fidelity and frequency range and depth because we did it in an actual real studio rather than a vacant house that we just built a studio in you know. So sonically it was a better record. A more adventurous album by the mere fact that we already established something with the first record and we built it. Since we created a foundation, we could start building on it and expanding on it a little bit. Go sideways, up and down and so forth and add different influencesa little bit of ska and jazz motives here and there
You guys don’t have a lot of pre-production when you are going in. Do you guys just do it on a whim when you’re in there?
For sure! That’s the whole philosophy behind the KXM. It’s the whole premise of the band, and it’s funny I read some comments from someone yesterday saying that they thought the record was whatever, but they felt that we should spend more time on the next record working on the song
That is the whole defining thing about KXM is that we don’t do that. That’s like telling a jam band well you guys should you know you guys should go in and have well-prepared songs and that’s a jam band that’s the whole point. I try to press that in interviews to people whenever I talk to them
I have other projects that we put more thought into, but we didn’t need to take time in developing an arrangement in songs we have that already
You have many projects going on. I see you with one band then you’re with another then you’re back with Lynch Mob. I don’t know how you do it. And then you make guitars too Yes. I’ve got a project called Abanishment which I’ve been working on for about five years with a gentleman called Haze who is an industrial programmer engineer, fixer, real talented and has worked with Brian Schnell The Prodigy and Zombie things like that. It’s an industrious less project. And Tommy Victor is the singer, and again that’s called Abanishment we just got everything done except we’ve got some vocals to finish up. I’ve got the new Sweet & Lynch record that I just finished writing that last week. We were in the studio on the east coast with Brian Tichy, James Lomenzo, and Michael Sweet and we finished tracking that. We’ll be done tracking tomorrow and finish up the vocals, and that will be done this coming week. Sweet & Lynch 2 or whatever we end up calling it, which I hope we don’t call it that Thirdly, we have a project called Ultra Phonics which is an evolution of Project Nfidelikah which features Angelo Moore from Fishbone on vocals which we replaced with Corey Glover from Living Color.
And that took the rhythm section more with Tower of Power. That record has all been written, and Corey is finishing up the vocals, and we’ll be getting the mix on that, and that record should be coming out soon, I imagine. And our new Lynch Mob is coming out it’s called The Brotherhood that’s coming out, it’s been finished for a while, that will be coming out in June
Any future Dokken records going to be released?
A Dokken Live album was coming out with three new studio tracks on it as well as live DVD. That will be coming out probably at the beginning of 2018. And then Lynch Mob also has a live album and a DVD coming out at some point. So yes, I’ve got a lot of things in the pipeline which is very confusing
It’s confusing to me. I had to get that all off my chest, sorry
The KXM album I know you go in that’s the whole preface to it that you guys don’t have any production. Do you like it that way or do you like it where you guys go in with a plan?
Well, there’s apple and oranges, I like them both. I’ve made a similar approach to other projects where it’s just sort of jam things out, improvise and just capture the moment. The Lynch Mob EPSound Mountain Sessions is done that way. It is done in the same way we did in the studio with KXM in, and a lot of my records are done very quickly. We’re just kind of done working on another secret kind of project right now with Jeff Pilson and Mick Brown we’re working on it as we speak and we write a song a day. Now we’re writing it in a controlled atmosphere without the whole band, but it’s still somewhat the same thing. The difference is the full band we are just working off each other, feeding off each other, reacting off each other. Point being is I’m most comfortable being in an improvised atmosphere rather than being in a laboratory situation. I come from that era of jam and the lost art improvisation at least in the rock context work. You don’t see bands do that at all. Even bands that classify themselves as jam bands, I don’t think they are jam bands because to me a real jam band is when you just start something at the top of your head, and everybody picks up on it, and you just take it where ever it leads you. Whether it’s without a safety net, whether it dissolves into whatever or it evolves into something else. That’s a true improvisational jam band environment. And I don’t appreciate the bands that do that. Even the bands that claim to be like Phish or anything like that. They seem to jam like Umphrey’s McGee they’re amazing, and I love them. They improvise within the context of a prearranged composition versus which is everybody actually creating something in the moment. You’re recreating the creative moment, you’re in the creative moment, creating on the spot and the audience is witnessing that. Which sometimes isn’t as exciting as it sounds. I mean if you listen to Band of Gypsies, which a lot of it was spontaneous, Early Led Zeppelin’s Black And White stuff, some of those shows we were just kind of going off jamming a bit. You know it takes some work to listen to that and appreciate it. It’s not an easy sell but challenging both for the player and I’ve heard you use the word evolve and evolving in a lot of interviews on music. How important is growing today with all your projects that you have going on? Without change, we die so you know I think we’re always in a state of flux. I think for me it requires more work to remain in a status. I mean it’s tough for me to put myself back in the 80’s and recreate that. I’m evolving fine, and I’m in a position to, for instance, writing new Dokken stuff. I’ve done a project or two where I was hired to recreate that era of myself and write a song and play in that style with that sound, and that is tough to do. I think asking does it matter is the wrong question it just isn’t inevitable and I think it just depends on who you are. I mean I know a lot of my friends do what I do and they’re a different animal than I am. They’re comfortable doing what they’ve always done it’s not a right or wrong thing. I don’t think AC/DC can change any at this point and all of a sudden start playing an influence to any of the rap metal.
Because I’m not locked into anything with like with the mega-millionaire success you know I’m not trapped. Which is a little bit of a good and bad thing. I have the freedom of flexibility to do go a lot of different directions to be nimble and be flexible. It’s not the smartest thing. I’m marketing and selling myself as an object that you sold, a marketable product; they can go and just market that. But I don’t worry about that you know,? I go out and do just the best I can do honestly, creatively, genuinely and just hope it takes me in the right direction. For me, it’s an adventure. Otherwise, it’s just a job. Recreating what I did in the last 30 years was not just enticing or appealing to me at all.
Not saying that what I’ve been involved with in the past is not valid not to say that at all, not denigrating my work or anybody else’s work for thirty years ago. You know I’m still just trying to be Jimi Hendrix, Jeff Beck, Jimmy Page and Eric Clapton and Cream I mean I just try to live in the shoes of my hero’s and just try to fill them a little bit Many people include you in the best of the best.
You know the other thing about the guitar aspect is you are aware that I again use that word evolve to try to describe my philosophy or my view about that is you know over the years I’ve sort of transitioned I think from as a younger man wanting to be you know the fastest you know the loudest, the shreddiest or whatever and you know which is a natural thing as you get older just to sort of think about compositions actually as a more global historically significant thing and gratifying thing than you know being the fastest guy on the block which if that stays behind me, that’s okay. I mean I have my little tool bag, and I do what I do, and I have a style, and I’m very comfortable with that, and I try to learn new things and evolve as a better player but on the same note what more interests me is the bigger picture which is a song and creating a band that matters. I mean building Rage Against the Machine says more to me than doing you know a kind of shreddy solo that’s guitar players do. Or writing a song that stands the test of time you know writing Imagine. Could you imagine writing Imagine? I mean it’s writing a prayer for the world, come on!
Your CD Shadow Train, when it came out, I knew it there was a story behind it. Are you ever going to make the movie that you said you were going to about it? Oh, the film’s done, been working on it for eight years. It’s essentially finished. It’s been finished for a few years now. The struggle that we’re having getting it out there is recently we’ve had some fans who have taken it upon themselves who pick up the initiative and say look we’ve got to get these done and are helping us get it out there. Without getting into the nuts and bolts of the complicated inner workings of getting the film distributed it’s a monolithic task. And you know I’m used to doing records obviously which you know have their obstacles and challenges they’re nothing like a film which seems to have been cursed from the beginning. It’s just like moving many mountains and rebuilding them again and rebuilding them again; it’s just insane. So having said that, it will come out, and I can say that with some certainty that it will be before the end of the year
I’ve been waiting for this movie to come out; You’re very active in a lot of different political/social movements., Do you like having those deep conversations on your social/political issues when you’re talking for an interview on a record?
Well, no, of course, I don’t mind. I think it’s important to talk about things that matter, all of it. I’ve been blessed with you know I have the luxury of having a small soap box and a megaphone because of my music career so that I feel that I have a compulsion and an obligation to talk about things that matter. A responsibility to address issues that affect all of us and I think that’s what you know rock & roll did when I was a kid. You know I mean there was serious revolution going on in this country and the world, the Vietnam War and the Civil Rights Movement and the Environmental Movement and millions of people were protesting and rallying and you know the country was polarized at a critical time and music would help litigate on a lot of those issues and mainly a reflection of the culture and reality at the time and lent power to the voices of a lot of people on both sides. So music has always played an integral part of that you know the way people see themselves and manage ourselves, and I think it should continue to so you know I try to play a small part in that. Not saying I’m superb at it but I’ve got to try you know.
Take some of the hot topics, environmental stories like the Dakota Access Pipeline, something you feel strongly about. Is that something you would try to get your opinion out there and get a movement against that? Well absolutely! I was at the Seti camp my wife and me were there for a week. It was a very profound experience, and I’m very passionate about it. You know the reason in that particular case, that was such an important issue or say it was because apparently money won and people lost is because it was revealing in a very transparent fashion to people about what was really at stake. So FOX News couldn’t lie about it because of jobs, it doesn’t provide jobs. What it was really about was a handful of banks and industrial billionaires and hedge funds. You know people who are millionaires and multimillionaires and multimillionaires becoming billionaires. Individuals with you know that financially have the luxury of having their money work for them and the rest of us have to suffer and the environment suffers, and environment means we suffer selectively. Well, these people are insulated from suffering because they have so much money they can protect themselves. They have great health care, and they can live in you know glass towers and filter their air and eat pure food, and people wait on them and so forth. You know the rest of us don’t have that luxury and they don’t care. So you know it exposes the capitalistic side of a system that is uncaring and uncompassionate and very harmful to most people. You know 60% of the wealth and assets on the planet are owned by forty families in the world I mean that’s inequality on a historically precedent scale. And that is the basis of all of our problems, inequality. I mean if you’ve got to simplify things make them a blanket issue really, I would say that all your environmental problems, your health concerns, your unemployment issues, just about any issues you can run down you can trace it back to inequality being corporate. So you fix that you fix a whole lot of other things just as a trickle down effect.
Yes, Dakota was one of my proudest and saddest moments in my life. I mean to share that struggle with 7,000 to 9,000 other people and you know, the Lakota Sioux and Standing Rock Tribe, as well as 250 other tribes that were represented there along with all the other supporters. Including the Veterans who came in for us and that changed everything. The real war is getting in the face of these rental cops and local police who are just working for the pipeline company working for Dapple. You know I saw a couple of cops just take their badges off and cross the line. But it was a very profound and very scary experience. I mean these are militarized the police, they’re no joke. You know you’re up in the middle of North Dakota out in an hour from Bismark you’re in the midst of nowhere and these guys are using you know armor, armored Humvee’s with sonic weaponry and automatic AR 15’s with bullets and drones and planes and connected to wires and tanks you know fully swatted out with gas masks and concussion devices. If you’re willing to use that kind of militarized weaponry against our own citizens who are basically fighting for all of us and fighting for the earth is disgusting. And you know trace it back of course to we have to mention Indigenous Rights and Treaties I mean again, the Treaty of Fort Laramie explicitly, a grant made of Americans this land that now is covered in the same as in dispute which is not in dispute but a Treaty which is a contract. So when a country built on rule of law supposedly a contract is basically scripture. And this country can basically say fuck you because you know what, you have resources that we want to steal and we’re just going to take them regardless of what we signed and what we agreed to because you have what we want. Resources are the basis for you know our capitalistic economy where all the money flows through the pump and there’s no inherent cost put on those increases you know on the books. They call them externalizing externalities. A fancy way of putting the cost of extracting resources that do cost all of us something. I mean and externalizing them so they are not reflected in the cost of doing business. So it’s a complicated issue but to really keep it simple you know do know harm or do as little harm as possible and make things that most benefit most people all the time and that’s the right thing to do. Keep it simple.
Have you ever considered running for public office?
No, I’m kind of busy right now. You know, listen, when I lived in Cave Creek Arizona for 13 years, I was involved a little bit in things like political things on a very local level thinking globally and acting locally, city council and so forth. I wouldn’t wish that on my worst enemy. I thought band politics were ugly, oh my God! I mean literally, I witnessed fistfights in the parking lot, the silliest shit, crazy! So you know I’d rather influence people through my art, my music you know maybe write a book someday you know if I ever have the time to sit down and you know to apply myself and maybe with some help write something that matters and not some rock autobiographical silliness you know. Not the Bobby Blotzer book. Write something about something that matters.
I wanted to get to Mr. Scary Guitars. When did you decide you were going to start Luthering your guitars? Are you doing this in conjunction with ESP or is this strictly all you?
No, it had nothing to do with ESP. Well actually, I started, listen the two go back in time. I was younger. I gave guitar lessons on the side to sort of supplement my income, and I would like a lot of occasions to assemble guitars out of you know a bolt on necks and bodies and throw some parts on it for my students, and of course, I do that for myself as well. My entire guitar or many of my earlier guitars were bodies and necks that I picked up at Mighty Mite and bolted them together. You know the tiger guitar costs me $40.00. $20 for the body and $20 for the necks and I got the parts for free, and my friend painted it in his garage, and so that got me started. And then 6 or 7 years ago I set up shop at ESP, and they gave me a room there, and I started taking my signature models of ESPs and tearing them down and rebuilding them. I learned a lot doing that, and those were my first Mr. Scary Guitars. They were modified GL 56’s and Super V’s built on an ESP platform. Then I completely moved away from that. Everything I’ve made in the last six years is basically from scratch, no C NC, everything is pin routed. I’ve got a pin router that used to belong to Leo Fender from the GL factory and I’m proud of that.
You’re doing this from your house, aren’t you?
Well, I do a lot of the work at my house but I don’t have room for machines at my place, so I work at a shop that is not my shop that I rent and I’m able to come in and use tools when I need to but all cosmetic work and finish and stuff is done at my house, yes. I mean literally, I spray nitro in my back yard, I hang a body of the guitar with a clothes hanger on a tree you know and when I’m done and send it to you-you know it’s probably got bugs and lint and leaves in it.
I saw some of your pictures on Instagram about that.
Yes, it’s all pretty much learning as I go. I’ve taken luthier lessons on and off the last 5 or 6 years and learning more and more as the time goes on and changing up my approach and designs slowly
Are you still going to carry on with ESP as an endorsee? Oh absolutely! They’re gracious enough to allow me to do this. It’s extraordinary. It’s a company I’ve been endorsing for over 30 years and a great guitar company. But you know I make very few instruments. I probably go at the most, ten a year. It’s a lot of time to do, and so it’s not anything that’s going to threaten ESP it’s a different animal. You know ten made. It was interesting though ESP did do a run of 300 of my Tiger which is one of my models for a much more affordable price and they’re great. Sound great, they look great. Obviously, you know they’re Korean made but still high quality. Not hand made or anything but at a much cheaper price point
Are you using the same rig for each of your different bands? Or do you just change it up? I mean Dokken, then KXM and Sweet & Lynch?
You know I change everything up with every band all of the time. There’s no set anything, and I love that. I just love experimenting with gear and swapping heads out. I mean it’s kind of stressful in some ways, and I just don’t have one thing that I use, and you know it probably would be nice to have that some day but I’m always swapping heads out and swapping pedals out and changing up guitars. It makes it fun for me and challenges me and interests me. You know sometimes I think I’m going forward and then I’ll end up you know after a whole bunch of experimenting I’ll go after all these years I went back and use my amp I used you know back in the Dokken days with Lynch Mob days and it sounds better in everything so I’ll go back to that. Maybe it’s just the exercise in enjoying you know, actually just enjoy trying different gear but I don’t know. Maybe I’m evolving; maybe I’m not with my tone. It’s fun because I’m trying anyways.
You guys put three tracks on the new Dokken DVD project that’s coming out next year you said? Right, yes
Have you guys completely shut down doing any more reunion shows? Is that all done and over with?
Oh no. We’re talking about doing something possibly in 2018. Don’t want to say what yet because you know nothing is set in stone. We’re talking about it. I think something might happen next year.
There’s a lot of people hoping that you guys will do some dates in the US. Yes, you definitely would have sold them out Right
I know what we can expect from you in 2017. Are you going to be touring with Lynch Mob? Which albums are you going to be touring with? KXM, Sweet & Lynch or just one of the bands you are this year?
Primarily Lynch Mob is my touring band, and we’re walloping it starting in June through the fall
What musical direction did you go with the new Lynch Mob record?
It’s along the lines of Rebel. I don’t know if you heard the Rebel Record, but I think an extraordinary Lynch Mob effort you know it came out two years ago. It’s right along those lines. You know we always try to kick back into the Wicked Sensation days and always make sure you know that that’s in the mix a little bit, but you know again it’s 25 years later so you know we’re not that anymore so yes. This album is adventurous but still, that blues based hard rock with a trippy element and with Oni (Logan) doing his magical poetry and you know one of the greatest rock singers on the planet, unique obviously, he’s got his ways. Nobody else sounds like Oni. Yes, we’ve got a chemistry here.
How does it feel to know you’ve inspired so many guitar players to pick up the instrument?
Well, it makes you feel good. It’s hard for me to appreciate it in a truer sense in that you know I can’t feel that. For me, I’m on the inside of it. To me, I’m just a guy playing like everybody else and trying to make a living and trying to make music and just you know in the middle of the process. I don’t see it that way. It’s interesting I met Jeff Beck for the second time just very briefly in the lobby of a hotel somewhat recently, and you know the way some people have talked to me about expressing gratitude that I’ve influenced them and so forth and it’s hard for me to get my head wrapped around that. I felt that same kind of dynamic with Jeff Beck when I met him. I was so in awe and almost near tears and shaking. I didn’t know what to say and here’s this guy who is a giant in my life you know, influentially you know guitar wise and I’m standing right next to him, and it’s just you know. You could see it in his eyes he was just you know, he needed to get in his cab and get to where he was going you know. I mean he was just friendly and polite, and it was like, okay good meeting you, gotta go! You know he doesn’t understand the fact that you know Truth was the first album I bought and took my lawn mowing money and walked two miles to Mom & Pops Record store and brought it back and put it on my dads tv console stereo and plugged my guitar into the headphone jack and jammed along with it for a whole year, trying to be Jeff Beck. You knew and been an enormous influence on me throughout my entire playing life you know. He doesn’t understand that nor should he.
Do you think that with the current state of the music scene, what is your opinion about that?
I believe that it’s an excellent time. I feel that there’s so much out there for people to pick from and choose from it’s phenomenal. I mean and guitar playing is at such a high level right now. I mean these younger generations are just taking it to a point where you know it’s beginning to explore places that people have never gone before, it’s just fascinating. And the music itself too, you can pick a genre and find so much great music in every genre. People are just pushing the envelope in all directions, so I think it’s very gratifying and satisfying. It’s a little challenging to pick through I mean from this thing back in the day when I was growing up there’s like a half a dozen or 10 big giant great bands that are super groups you know. Now it’s like there are thousands of bands. Picking through everything is hard. It’s stressful trying to find all the right music you know.
I saw a video of you at NAMM 2017, and there was that 11-year-old kid that you were playing before. Oh geese, yes one of the things is I don’t think he was human. I believe he was a robot
A lot of these YouTube kids are now; they’re just 4,5 years old. They’re picking up and playing parts of music of Bach and Beethoven, and it’s incredible
Yes, some of these younger people their first influence might have been Yngwie. That’s their first influence you know. They start with that.
Gеоrgе Lуnсh iѕ оnе оf thе mоѕt recognizable nаmеѕ in thе world of hеаvу mеtаl guitar. With a саrееr spanning mоrе than thirtу years, George has rесоrdеd mоrе thаn twеntу albums, toured thе еntirе glоbе mаnу timеѕ, аnd iѕ thе оnе оf thе most rесоgnizаblе еndоrѕееѕ of thе wоrld’ѕ finеѕt guitars аnd еԛuiрmеnt.
Gеоrgе Lуnсh began learning to рlау guitar at thе аgе оf 10. A nаturаllу giftеd muѕiсiаn, his guitаr рlауing ԛuiсklу рrоgrеѕѕеd аnd became a сrеаtivе outlet for him during hiѕ tееnаgе years реrfоrming with several bаndѕ, mоѕt nоtаblу Sеrgеаnt Rосkѕ.
In thе late 1970ѕ, George mоvеd to Lоѕ Angеlеѕ, California where he formed twо bаndѕ, The Bоуz and Xсitеr. With Xсitеr, Gеоrgе’ѕ tесhniсаl аbilitiеѕ and uniԛuе style wаѕ a vеrу important drаw tо the bаnd’ѕ fаn bаѕе. Plауing the L.A. сlub сirсuit, it wаѕ сlеаr thаt hе wаѕ аlrеаdу taking the nесеѕѕаrу ѕtерѕ thаt would lеаd him tо ѕuссеѕѕ in thе 1980ѕ аnd hiѕ partnership with legendary bаnd Dоkkеn.
Whеn Gеоrgе Lynch jоinеd Dokken in the early 1980’ѕ, success саmе very quickly. As hiѕtоrу proves, muсh of thе bаnd’ѕ аlbum ѕаlеѕ аnd credibility iѕ the rеѕult оf Gеоrgе Lynch’s guitаr аbilitiеѕ аnd ѕоngwriting. With Dоkkеn, Lуnсh recorded fivе albums frоm 1983 to 1988, аll of whiсh did remarkably wеll in thе Unitеd Stаtеѕ, Eurоре and Asia. This wоrldwidе ѕuссеѕѕ mаdе George Lynch one оf the mоѕt influential rock guitаriѕtѕ in mоdеrn muѕiс, еvеn еаrning thе bаnd a Grammy nоminаtiоn in 1989 fоr Best Rock Inѕtrumеntаl. 1989 was also thе уеаr thе Gеоrgе раrtеd ways with Dokken аnd bеgаn the new dесаdе with a diffеrеnt аррrоасh…еntеr Lynch Mоb.
Bу thе early 1990ѕ Gеоrgе hаd bесоmе a mаrԛuее guitаr hеrо throughout thе world. Aѕ a rеѕult, wоrking with Lynch Mоb wаѕ a highlу scrutinized аnd аntiсiраtеd project. In juѕt three уеаrѕ, Lуnсh Mоb rеlеаѕеd two rесоrdѕ and hit the rоаd on two wоrldwidе tоurѕ. Aftеr the ѕесоnd tоur’ѕ completion, Lуnсh tооk hiаtuѕ and retreated tо thе ѕtudiо tо сrаft hiѕ firѕt ѕоlо recordings.
“Sасrеd Grооvе,” Lуnсh’ѕ firѕt ѕоlо еndеаvоr was rеlеаѕеd in 1993. Fоr thе firѕt timе in his саrееr, he wаѕ аblе tо display a broader аѕѕоrtmеnt оf musical and guitаr ѕtуlеѕ. The “Sасrеd Groove” аlbum clearly еѕtаbliѕhеd Lуnсh аѕ аn есlесtiс muѕiсiаn with a volume оf eccentric work. Hаving ѕаtiѕfiеd thiѕ еndеаvоr, Gеоrgе Lуnсh tооk ѕеvеrаl уеаrѕ оff tо ѕреnd timе with hiѕ children аnd еnjоу life in Arizоnа. That wаѕ until a call frоm an old friend саmе in 1994.
Fоllоwing his dераrturе, Dоkkеn hаd reformed without the use of Gеоrgе Lуnсh, but whеn thе rесоrd соmраnу rеfuѕеd to rеlеаѕе a nеw Dokken rесоrd without Lynch, рhоnе calls wеrе made in lаtе 1994. Lynch came in tо fulfill thе rеԛuеѕtѕ оf thе record соmраnу and rоund twо with the bаnd bеgаn. Sооn to follow were twо mоrе Dоkkеn records and thrее more уеаrѕ оf touring thе globe.
By 1998, Lуnсh finiѕhеd hiѕ соmmitmеnt with Dokken аnd ѕеt оut to wоrk with Lуnсh Mob. Thiѕ rеѕultеd in “Smoke This,” аn аlbum thаt featured a сulminаtiоn оf hiѕ playing styles, but with a nеw аррrоасh. Thе 1999 tоur thаt fоllоwеd brought Gеоrgе’ѕ playing tо a nеw audience аnd rеѕultеd in a rеnеwеd interest in thе bаnd аnd Gеоrgе Lуnсh’ѕ influеnсе. With nеw соnfidеnсе, George began working with fоrmеr Dоkkеn bаnd mаtе bassist Jеff Pilson оn what wаѕ tо become a lеngthу album titlеd “Wicked Undеrgrоund.” Which wаѕ соmрlеtеd undеr thе nаmе LP (Lynch/Pilson) аnd dеlivеrеd tо ѕtоrеѕ in Aрril 2003.
Also in 2003, Lуnсh bеgаn rеwоrking thе sound оf earlier Lynch Mоb аnd Dоkkеn material. Tо соmрlеtе thiѕ tаѕk, Gеоrgе rе-аѕѕеmblеd Mоb bаnd members, Robert Mаѕоn аnd Anthony Esposito, аlоng with Michael Frоwеin оn drumѕ. Tоgеthеr, they rеinvеntеd the ѕрirit аnd firе of early Lуnсh соmроѕitiоnѕ onto аn аlbum titlеd, “REVоlutiоn,” which was аlѕо rеlеаѕеd in 2003. Thе guitаr wоrk on both “Wicked Undеrgrоund” аnd “REVolution” demonstrated Lуnсh’ѕ соnѕiѕtеnсу with his ѕignаturе sound while bаlаnсing a mоrе еxреrimеntаl ѕidе.
In 2012 Gеоrgе released 3 ѕuссеѕѕful аlbumѕ via Rаt Pak Records, “Legacy” an аll instrumental EP, Lynch Mob “Sound Mоuntаin Sessions” and T&N “Slаvе Tо Thе Emрirе” that featured оriginаl Dokken mеmbеrѕ Jeff Pilѕоn аnd Miсk Brown along with a hоѕt of оthеr guest singers including Sеbаѕtiаn Bach, Tim “Ripper” Owens, dUg Pinnick аnd Wаrrаnt ѕingеr Rоbеrt Mаѕоn) & the album fеаturеѕ remakes оf 5 classic Dоkkеn ѕоngѕ and 7 new оriginаl ѕоngѕ.
In 2014 George rеlеаѕеd Lynch Mоb “Unрluggеd – Livе Frоm Sugаr Hill Studiоѕ” (Rat Pаk Rесоrdѕ) аn аll-асоuѕtiс performance оf thеir сlаѕѕiс hitѕ. In 2013 Gеоrgе fоrmеd KXM a super-group trio that fеаturеd King’ѕ X frоnt man dUg Pinniсk аnd Kоrn drummеr Rау Luziеr. Thеir debut album rеlеаѕеd in Mаrсh оn Rat Pаk Records аnd lаndеd #31 оn thе Billboard tор 200. Lаtеr thаt year in December, George hit #6 оn thе Billbоаrd Hаrd Rосk Albumѕ сhаrt with thе сritiсаllу ассlаimеd Lynch Mоb “Sun Rеd Sun” (аlѕо оn Rаt Pаk Rесоrdѕ) that fеаturеd Oni Lоgаn, Robbie Crаnе and Scot Coogan.
January of 2015 Gеоrgе Lуnсh rеlеаѕеd album Sweet Lynch, “Onlу tо Rise” fеаturing Miсhaеl Sweet оf “Strуреr”. In July Gеоrgе rеlеаѕеd the аlbum “Shadow Train” the movie ѕоund trасk оf his forth соming dосumеntаrу film “Shаdоw Nаtiоn”.
Dokken is reuniting in Japan for six shows titled “Unleashed in the East.” starting October 5th, 2016.
George Lynch iѕ аlwауѕ еvоlving аѕ a musician. And with the Gеоrgе Lynch guitаr legacy соmеѕ rеmаrkаblе business орроrtunitiеѕ. Many musical instrument mаnufасturеrѕ consult with Gеоrgе сrеаtivеlу tо produce еԛuiрmеnt. As a rеѕult, mаnу quality products bеаr his nаmе.
The mоѕt nоtаblе iѕ his еndоrѕеmеnt with ESP Guitаrѕ. ESP hаѕ hеld George аѕ their highest рrоfilеd еndоrѕеr for сlоѕе tо 20 years. Electric guitаr pickup guru Seymour Duncan has also hоnоrеd Gеоrgе with hiѕ оwn signature ѕеriеѕ рiсkuр called thе “Screamin’ Dеmоn.” Now a highlу rеgаrdеd ѕtаndаrd in thе guitar world, thе “Screamin’ Dеmоn” rеignѕ as оnе of Sеуmоur Dunсаn’ѕ mоѕt popular itеmѕ to date. Gеоrgе аlѕо соnсеivеd thе design fоr a triрlе amp selector switching system called thе “Tripler” which iѕ mаnufасturеd bу Morley. Amеriсаn Rесоrding Tесhnоlоgу mаnufасturеѕ аnd distributes the Gеоrgе Lynch Signаturе guitаr, раtсh and ѕреаkеr cables. In 2005, Rаndаll Amрlifiеrѕ revealed a nеw George Lуnсh modular amp called the “Lуnсh Bоx.” Alѕо оf note, Gеоrgе Lynch and Robert Kееlеу hаvе developed thе Lуnсh Time Machine, a uniԛuе аnd powerful еffесt unit that iѕ gаining a lоt of intеrеѕt аnd momentum within thе guitаr industry.
SOME OTHER EQUIPMENT USED BY GEORGE LYNCH
The Kamikaze mоdеl, bаѕеd оn hiѕ first ESP guitar
Thе Tiger mоdеl, a hоmеmаdе Strat constructed frоm a ѕtосk of parts George bоught frоm Chаrvеl in the 1980ѕ
The Skull & Snаkеѕ, a design later used fоr the Lynch Mob “Wicked Sensation” аlbum artwork
The Flame Bоу, bаѕеd on аn ESP Forest dеѕign
The Nеw Suреr V, whiсh inсludеѕ diѕtrеѕѕеd hardware and fеаturеѕ аnd a nеw “Suреr V” рiсkuр
Thе Ultrа Tоnе, the firѕt ESP guitаr thаt Gеоrgе designed himѕеlf
Thе Sеrреnt, an ESP model released аnd uѕеd in thе 1990ѕ
Chаrvеl Dinky Tiger (mаin guitar until аbоut 1986)
Krаmеr Baretta (аlѕо used реriоdiсаllу in Dоkkеn’ѕ еаrlу dауѕ)
No Fields Found.
Dedicated to the Hard Rock and Heavy Metal Guitarist!