INTERVIEW BY MARKO SYRJÄLÄ
George Lynch is one of the most popular and influential guitarists to emerge from the ’80s-era heavy metal/hard rock scene. Lynch is best known for his work with platinum sellers Dokken whose albums UNDER LOCK AND KEY and BACK FOR THE ATTACK went to platinum in the mid-’80s. In 1988 Don Dokken and Lynch found it impossible to continue in the same band together, and as a result, the band broke up. Don Dokken decided to start his solo career, whereas Lynch agreed to form a new band called Lynch Mob. Joining Lynch in the new outfit were singer Oni Logan, bassist Anthony Esposito, and former Dokken colleague Mick Brown. The band issued their debut album, WICKED SENSATION, in 1990. The album became another milestone in Lynch’s career. It went gold in the States with over 500 000 copies sold. The sophomore album LYNCH MOB (1992) introduced the new lead singer Robert Mason.
The second album failed to reach its predecessor’s success, and soon, the band disbanded. Lynch released a solo album called SACRED GROOVE in 1993 with various famous guests, including Glenn Hughes, Ray Gillen, and Mandy Lion, before rejoining Dokken in 1994. The reunited band released two studio albums: DYSFUNCTIONAL and SHADOWLIFE before Lynch decided to leave again. The late ‘ the 90s/early 21st century saw Lynch alternate between issuing albums with Lynch Mob (with varying members) and as a solo artist resulting in such further titles as 1999’s SMOKE THIS, 2003’s WICKED UNDERGROUND, and FURIOUS GEORGE in 2004. In 2010, Oni Logan and Lynch would rejoin their forces and released the album SMOKE AND MIRRORS. In late 2010, the band started touring with their new line-up, including bassist Robbie Crane (ex-Ratt, Vince Neil band) and drummer Brian Tichy (Foreigner, Pride & Glory). The tour also arrived in Scandinavia and Sweden at the end of the year, and in Gothenburg, I had the opportunity to interview Mr. Lynch.
EUROPEAN TOUR AND NEW LINEUP
First of all, you guys have been on tour in Europe for a while already. How are things going with this new lineup?
Well, there are two sides to this particular European experience with Lynch Mob. The positive side is the band. I love this band; I love the guys in it, the music we can make, and the potential music we could make. It’s that touring, in all practical sense, very difficult. It’s probably the most difficult tour I’ve ever done, including when we first started, you know, when things were very rough n the 70s and 80s. We were younger then and could bounce back. It’s a lot of mismanagement on this tour. It’s been very, very rough. But despite that, you know, I think we’ve only had one show that was a disappointment, and that was because we had a 17-hour drive that day and got hassled at the border and then got lost in the city. The drivers only knew Bulgarian and didn’t know how to speak any other language. We couldn’t communicate, they had no GPS, you know, things like that, no soundcheck, drive up and drive up 10 minutes before we’re supposed to play and played on a boat in the Danube, and where was that… hmmm in Hungary, Budapest. It was not a great show.
You have a tight schedule, I just checked the dates, and you guys have been doing something like 25 shows in 30 days?
Yeah, it’s pretty ridiculous, but it’s the travel part. That’s why I always say; people don’t pay us to play. People pay us to get there.
Like you just mentioned, the positive thing here is the new lineup. Do you think that it’s going to be more stable than some previous ones?
That’s impossible for me to tell. Brian Tichy on drums, Robbie Crane on bass, Oni Logan and I, and Tichy is already leaving in April, between April and November, I believe, for Whitesnake. So, but I hope to get him back after that. This means we will have to replace him this year, or next year, unfortunately for most of the year, unfortunately? And it breaks my heart because I love playing with him. But it is what it is, so, and you can’t blame him, you know. Whitesnake is a great opportunity for him, so I’m happy for him. So, but yeah, I’m trying like crazy with all my abilities, the best of my abilities, to keep this version of Lynch Mob intact. So, Robbie is dedicated to staying in the band. Of course, Oni and myself. We’ll take a break from Brian for a while this year, but hopefully, he’ll come back. We’ll see, but it’s kind of disappointing. We are trying to engineer things so this band can sort of elevate itself in status. Unfortunately, we haven’t been out touring and making records as we should have for many, many years, so we have to sort of…
Rebuild Lynch Mob name and career?
George, Oni Logan, Brian Tichy, and Robbie Crane
THE STATE OF ONI LOGAN
What about Oni Logan? Lately, you’ve been using several different singers on Lynch Mob tours, but now Oni has been doing all European dates with the band. So what is his position in the band?
I know that he’s going through some personal stuff, and he had to come back to Switzerland to deal with those things. We had to work, so we had dates that we couldn’t cancel, so we went to Canada, and then we did a tour in Canada and then some dates in the States that we used a couple of different singers for, one being Marq Torien from the Bulletboys, the other Keith St. John from Montrose. Which are, they’re both great, but they’re not Oni, so?
Oni is the official lead singer of Lynch Mob from now?
Yeah, Oni is back.
Okay, that’s good to know because many rumors are flying around, as always.
Truth, yes, truth is always a good thing to know.
You and Oni have a long history together, starting from the late ’80s. After the first split, you worked together again in the late ’90s, but it didn’t work out then. What went wrong then, and what makes the difference this time?
Yeah, the mistake we made in the ’90s is that we went right out instead of doing a new record. The agent convinced us to go right out and tour. And it was not an easy tour, so you know, tours can be band busters, you know, and band killers, and it was a tough tour. We had Jimmy D’Anda from Bulletboys on drums and Chuck Carrick on bass. It was a good band, but we ended up disbanding after the tour because Oni got back together with Rowan Robertson as he did in Dio’s demise originally. They started working together again, so there went Lynch Mob. So I don’t know. I guess it was kind of a false start. But this one has more staying power this time because he’s really decided in his mind. He’s committed to it. And we’ve gone through a lot of obstacles in the last three or four years we’ve been back together, so if he’s endured all this, then he’s around for the long haul, I feel, and so I’m pretty, if he’s dedicated, I’m dedicated.
SMOKE AND MIRRORS
Let’s talk a little bit about your latest album, SMOKE, AND MIRRORS. First of all, you have done so many different things in between, but I would say that SMOKE AND MIRRORS kind of bring you back to your hard rock roots in a way?
Well, playing with Oni, I mean, I play a certain way with Oni, we write a certain way, and you know it just sort of happens. We don’t really think about it because I know what works for him and what he expects and, you know, where he lives. I mean, I have the same roots as him in the ’70s, and we both love that music, so we don’t even have to; sort of unspoken reality of our chemistry is that’s what it is, it’s blues-based hard rock with a little evil twist sometimes, and that’s about it, that’s how I write for that.
Right, another thing that’s easy to hear on the new album is that some influences and elements are familiar from the Southern stuff, something like Skynyrd type of stuff. Do you agree with that?
Yeah, a little bit like the “Smoke and Mirrors” title track. Originally we were… I’d been on this kick to do kind of a Southern rock thing, so when I first started writing, that’s what we were writing. But then, once we started writing more, we decided, you know what, that’s not what we are. It was a little too mellow. So we stepped it up a little bit in intensity and not so Southern, but it has that, there’s some of that flavor, yeah absolutely.
George and Oni live at Gothemburg 2010
THE EARLY LYNCH MOB
Let’s go back to the early days of Lynch Mob next. When Dokken broke up in 1988, was it an obvious choice that you wanted to form a new band, or did you think option where you would be more a solo artist, like Yngwie Malmsteen or Steve Vai?
No, I never wanted to be like that. I assumed and always talked to Jeff and Mick about starting our band after Dokken, and that’s what we’d always talked about, so that’s what I thought would happen. And then Jeff went off and started his band, which I thought was very curious. I didn’t understand that.
That was the War and Peace thing?
Yeah, it was that. And so I was like, well, I guess he just, he never called me, and I asked him, and said, well I want to do this so. Okay, so then I go, okay. Well, I’ll start another band then. And then, I put all my energies into finding what I thought would be my ideal band. I had the luxury of taking my time and picking what I thought were the, handpicking the right members, and it was a great time, it was a great record, and a great experience, those couples or few years, first few years of Lynch Mob, because we knocked it out of the park, you know, did a great record.
The first album, WICKED SENSATION, went Gold (sales-wise) in the States, right?
It went Gold in the States, and then the second record only sold half of that.
Yeah, but the early 90s was a terrible time for hard rock music overall.
It was bad timing for us to do that kind of record on the second record. We should have done a record similar to WICKED SENSATION, and we should have done it with Oni. So whatever, hindsight is 20/20 (laughs).
If I had understood correctly, when you started working on the second Lynch Mob album, Glenn Hughes also had some kind of a role on that album?
Yeah. He was supposed to be the vocal coach, or whatever. Robert doesn’t need a vocal coach, but we didn’t know Robert, so we thought we should have Glenn Hughes. But Glenn Hughes wasn’t doing anything. We were paying him, but he was just kind of not doing a lot, so I said, “well, dude, if you’re sitting here doing nothing, why don’t you sing on some songs?” so he did. It was amazing. And I immediately said Okay, I want, if you want to do this, I would rather have you in the band and said goodbye to Robert and told the record company that it sounded unbelievable, so I went to the producer and told him that. The producer said, no, no way. And I think he was lying to me, but he said that he destroyed the tapes. Because what he didn’t want to do was rock the boat for him because he wanted to get paid and didn’t want any complications. But, it’s not his, well, it ended up being his decision, and I shouldn’t have allowed that.
It could have been an exciting lineup for Lynch Mob. But what I’ve learned, Glenn always wants to play the bass when he is in the band, and it would have been a problem in this case?
I could have fired Anthony. That would have worked out pretty well. Three-piece, split the money three ways instead of four.
Some sources mention that some of Glenn’s vocal parts have been used on the album but without credit. Do you think that’s true?
His voice is probably on there somewhere, some little stuff, but not anything that is probably hugely noticeable.
A few years later, you made the album SACRED GROOVE, where Glenn was involved?
Glenn sang on two songs and co-wrote those as well.
The original Lynch Mob in 1989: Mick Brown, Oni Logan, George, and Anthony Esposito
SACRED GROOVE AND SMOKE THIS
There are a couple of other exciting vocalists on that album, like Ray Gillen? That album must have been one of the very last recording sessions he ever did?
He sang after that with a band in New York, some guy that was paying him. When I last saw him, he was working in Electric Ladyland Studios, and it wasn’t so good, but I really wanted Ray. Ray was my first choice for Lynch Mob. But he wouldn’t leave Badlands, which I respect. I was totally honored that he loved his band and was committed to his band, and so, and then when I saw him again at Electric Ladyland Studios, he said that he regretted that decision and wished he hadn’t done the record and so on… You know, Oni was always a huge Glenn Hughes fan and so modeled himself after Glenn Hughes and Ray Gillen when he was younger. His voice range, his range was higher.
When did you ask Ray to join Lynch Mob?
It was when we were, yeah, there were a couple of times that I asked him before even forming the group. And when we were recording, and then again when he was in the studio with me making SACRED GROOVE, I asked him.
How was his health when you recorded SACRED GROOVE stuff together?
He looked fine, and I think he was okay then, I don’t know if he was sick or not, but he didn’t look sick, didn’t act sick. That was ’90.
How did the Nelson Brothers end up on the album?
Oh, when I did that record, I had my A list, my shortlist of guys that I wanted to use, who I talked to all of them, Phil Anselmo, the singer from Alice in Chains, you know all these great guys. Halford had agreed to do it. And in the 11th hour, at the last minute, they’re all like, “Oh, I’m too busy, and on tour, I can’t,” and so I had to get… Don Dokken was also supposed to do it, and I went down to his studio, we wrote a song, then he just, we waited in the studio for two days, he never showed up. That was kind of fucked up so, and I had to find other people that were…
Yeah, at the last minute, so, Mandy Lion was last minute, Nelson Brothers, I got the Nelson Brothers because I thought, well, that’s the closest thing I can think to Don because they’re kind of melodic and that kind of thing. But now that I listen back to the record, it’s Ray Gillen. It was great. Glenn Hughes was great, my favorites. Jeff Pilson originally sang “Flesh and Blood,” which Ray later re-sang. And Jeff wanted to be on that song, but when he put his vocal back to back with Ray’s, I mean Jeff is great, he was great, but how many people can compete with Ray Gillen? I mean, he’s the best. I should have had Ray sing the whole damn record.
Why didn’t you call SACRED GROOVE a Lynch Mob album?
The Lynch Mob had a different drummer, different bass player, different style, you know?
But then, several years later, you released the album SMOKE THIS, which was a completely new band, and you were the only remaining member of the original band?
That was because I had no intentions of calling the Lynch Mob, but again, in the 11th hour, at the last minute, the record company Koch, said oh, by the way, you have to call it Lynch Mob. I said, “Why it’s not Lynch Mob,” and they go because you have to. It’s the only way we’re going to sell any records. If you don’t call it Lynch Mob, nobody will know what it is, and we won’t sell any records, so what am I supposed to say?
Was SMOKE THIS originally meant to be your solo album?
Not solo, no, just a band name like it would have been something else, but not Lynch Mob.
How do you like that album now afterward?
Actually, I would have called it Lynch Bizkit “laughs.” That would have been inappropriate, but I love the record. I loved doing it. I mean, I have a lot of great memories from doing that record. It was not well received, obviously, but I thought it was. I mean, there were parts of it that were, I wanted to be strange sometimes, but some of it was maybe too strange. Not strange in a progressive sense, but just like what kind of music is this. But, you know, so what, it’s just music, it’s not like we’re hurting anybody, and they got so pissed off like I did something bad, you know, it was just playing music, you know.
THE LATE 90’S STUFF
How much did you listen to the new bands of that time then?
Which bands? … Well, I like Papa Roach, I like Limp Bizkit. I think the guitar player is interesting.
How well did you managed to reach new fans who were also fans of those bands you mentioned with that album. But how did your old fans react when they heard SMOKE THIS?
No, I mean, nobody comes to see me play that kind of music. So, everybody that was there was there to see me play what I’m known for, you know we started the tour playing just the new SMOKE THIS record, and couldn’t get away, people were just demanding, and everything, so we were like, we better throw in some other stuff. We liked some Dokken material and some other stuff, but we would rework it to fit our style. So the “Kiss of Death” was a totally different beast, you know, or half time, a little funkier; I loved that band, and the singer was great. The bass player, Gabe Rosales, was fantastic. He was 19 at the time, and he now plays with all kinds of famous people like Jennifer Lopez and just Vegas.
So he’s making some real money now?
He’s done phenomenal, but he’s a synced in person, just a beautiful guy, wonderful, the whole band was so much fun. Later on, we added the guitar player from Flotsam & Jetsam; we had two guitar players just for the touring.
In 2003 you decided to re-record some of your older stuff, and…
Are you talking about REVOLUTION?
Yeah. Why did you decide to do that album? When it came out, it was quite a shock to your old fans.
You wouldn’t play just exactly the same. I mean, I was all into my baritone guitar at that time, and my LTD baritone, so trying to just, I thought well, just re-invent the songs, do this best of Dokken or whatever, I think we did Lynch Mob songs too, I’m pretty sure. It was all tuned down, and it was a different sound, and we went to tape, which was interesting. I like going to tape. I thought it was cool, so I mean, it was done at Henson Recording Studios, the old A&M Studios in Hollywood, where I had a production room for two years. So it was kind of my home, you know, for many years, and surrounded by great producers like Bob Ezrin and John Shanks and all of these just super famous producers in rooms around me, so I was surrounded by amazing talent. The bands that were coming there, the Rolling Stones, Paul McCartney, and Kiss, and Ozzy, and Aerosmith, and everybody was in there all the time. It was just a phenomenal place to be. So I had a home there for a while, and we did that record there, which was, we also did the LYNCNH /PILSON album there. And what else did I do there? I did a record that I produced for this Australian girl named Michelle Joan Smith. It was great, kind of punky, but commercial and no guitar solos, very commercial.
Was it some kind of pop stuff?
Yeah, but not pop, it wasn’t happy, it was kind of slightly melancholy, but pop, not pop, but commercial, I mean, it had big hooks. But it was beautiful music, but the business side didn’t go so well, but the music came out great but never got released. I spent a lot of time on that. Then I had another band called Band of Flakes, BOF, with Jason Slater from Snake River Conspiracy, and Scott Coogan, and it’s a cool band, but everybody was on drugs fucked up and just crazy, nobody would ever show up. So we wrote some great songs, it was like six or seven songs, sort of, a little bit Alice in Chains, but it was really cool and dirty, and everybody just kind of floated away.
Scott played drums on SMOKE ON MIRRORS album. Why he’s not in the band anymore?
Well, Scott is kind of crazy. I love Scott, but… he was in Lynch Mob, and he played in this SMOKE AND MIRRORS record. He actually played a show with us recently in L.A. just because Brian couldn’t make the show. I like him, but I don’t think I could work with him anymore; it’s just too much. But, see, I played with London LeGrand before London was in Brides of Destruction; we had another band that was kind of like garage Korn, like Korn, kind of really nasty, but with R&B elements. It was cool. It was fucking great, and it was just, I don’t know? You know what, there is one song that made it on a record called Lynch Anthology or something, and it was called “Bulldog Tyranny.” That’s one song, it’s not the best song, but it’s one of the songs from that group.
I have never heard that song or even seen the album either.
It’s a compilation with Deadline records. I think it’s called LOST LYNCH ANTHOLOGY or something like that? There is a lot of material that was leftover from those previous projects kind of got reworked and, Souls of We was a five-year process because, after Bank of Flakes, there was another project I had which had just a funny name called West Hollywood Starfish, just to call it something. Still, it was more like friends in the writing songs. We put all this material together, and we used that as the basis for the new Souls of We record. And that whole process took five years, off and on, so then the Souls of We record, really we didn’t have a name, I didn’t have a singer, it was just writing songs with an engineer, so then through the process we finally had many drummers, we got Mike Wengren from Disturbed, Morgan from Sevendust, the drummer, I can’t remember his name from Halford’s band who played with Skid Row.
Are you talking about Bobby Jarzombek?
Yeah, and then there were two other drummers. There was Yngwie’s drummer…
Yeah, Johansson, he’s great. I love him. He played on it. There were a couple of others, I think. Two more, the girl, I forget her name, she only has one name, not the last name, what’s her name? No, she’s on the album cover. Was she on the album cover? Yeah, she was on the album cover. I can’t remember her name. I have a bad memory. And Johnny Chow on bass, and we had the bass player from Dragonforce also on five songs. Jeff Pilson played on it. Somebody else, I can’t remember. We had a lot of people there. And then I was looking for the singer, and I talked to a couple of known guys, nothing panned out, and we ended up with London. And then, now we are almost finished with the new Souls of We record, but without London.
SOULS OF WE AND MORE
Is London DeGrand still a member of Souls of We?
The new Souls of We record, just to make things confusing. It’s such a mess. I got three singers. And the reason that happened is that we tried London, London didn’t work out. Then we got Will Martin from Earshot, isn’t Earshot kind of like Tool? It was great, and we thought, okay, this is it, and then he left. And then we got Marq Torien from Bulletboys. And that guy’s the craziest fucker with the worst case of lead singer disease I’ve ever seen, so we got rid of his ass. And then we got Keith St. John to come in and write in a couple of songs, so I just ended up with all these singers on the record.
Didn’t Keith play with Doug Aldrich before in Burning Rain?
Yeah, he’s great. Keith is great.
So on the album, there are three singers?
Keith, Mark, and Will.
By the way, who’s your favorite singer of three?
My favorite is Will. Will is my favorite.
When it’s time to tour, who is going to sing on tour?
I don’t know?
No, London can’t sing this shit. Any one of those singers could sing any of those songs.
I remember when London was singing for Brides of Destruction. Everybody said, this is a great band, they have great songs, but London is not the best vocalist on earth?
Live was horrible. It was one of the reasons we got rid of him. He’s just horrible.
Souls of We promo shot
THE BUSINESS SIDE
You’ve also released many albums dedicated to certain artists, musical periods, or other themes. Would you tell something more about, for example, the SCORPION TALE –the album which is your tribute to the Scorpions?
Well, I am a fan of the Scorpions, but now that just works, that’s just the work side. People call me up to work like I do a good amount of stuff in Japan that’s very well-paying gigs and very professional, and Marty Fredrikson and I just did some record with him. He was Aerosmith’s producer, and he had a great studio, and he paid me really well, and that part just worked. It’s my job as a plumber. They call me up, I go to your house, I charge you, and I fix your shit, you know. It was funny, this record I did though, Brian Tichy is also on it with Marty Fredrikson, this Japanese band, boy band. Not that they’re a boy band, but I didn’t even listen to the track, and I just went in the studio and played. I had to do all the rhythms, do all the leads, and it was like eight minutes long. It’s basically like a Joe Satriani song off SURFING WITH THE ALIEN. It’s a pretty touch song. I was like, holy shit, all this tapping, and everything, I’m like, “Oh fuck, I don’t know how to do any of this stuff?” But it ended up coming out really good. And then I did this other song called Orchestral Mayhems, this other record, have you heard it?
It came out about six months ago. It’s all instrumental.
What is it called?
It’s called ORCHESTRAL MAYHEM, but it’s funny because they called me up from the record company and said, we’ll pay you x amount of money just to do a whole instrumental record. Still, we already have the music, all you have to do is play over it, and I’m like, it’s like classical sort of classical music, I’m like okay. But I think it’s royalty-free classical music. It’s all public domain classical music. I figured out that later. But, yeah, so I went in and did that. And then I also did a cover of “Bittersweet Symphony” by The Verve, I think it was, and that came out pretty cool. I did that with Frank Curri in his studio. But the whole record took me 8 hours.
Yeah, it sounds like a good business.
I was like, “I’m going to knock this out as fast as I can,” but it ended up being very cool.
That’s a great way to make some extra…
Yeah, hopefully, fat chance of that.
… because the actual albums don’t sell too much anymore. Many bands have said that it’s almost not worth making new albums anymore because nobody’s buying them.
Do you have any ideas about what kind of numbers SMOKE AND MIRRORS have sold?
20,000 in the States?
20,000 worldwide. Last time I looked, which was a few months ago. But yeah, I’m embarrassed to say that.
TO DOKKEN OR NOT TO BE?
We’ve now talked about Lynch Mob and many of your other projects, but not a word about Dokken. Once again, there are a lot of rumors about the Dokken reunion. Is there any truth behind those rumors?
You know what, some people never change their spots. And what I got a feeling is happening is, Don has been making noises, and we’ve been having meetings. We’ve been doing shows together with Lynch Mob and Souls of We, we did Loud Park in Japan together and all this stuff, and it’s like. He said, okay, I’m committing to it, but we never put it on paper, and so my last few conversations with him are that he sounds like he’s trying to get me to be a hired gun. And I told him, dude, I told you from the first moment I’ll never do that, I’m not a hired gun guy. SO I think it’s maybe not going to happen. But we, the whole original band, got together before we came on tour in Europe, and we agreed to do a world tour in 2012.
Some sources have said in public that the original Dokken would play selected festivals next summer.
I think he’s just using that to get the rumor going to increase his audience attendance and get some excitement going. And I really resent that because I’m an honorable person, 99.9 percent of the time, I try to be, and fallible like all human beings, but I mean I really, that was always my problem with him, is that he was not an honest, trustful person. I, he never said what he meant and never did what he said. And that, to me, is a lack of character. And I don’t like playing with people with no character. So, you know, it wasn’t even his vocal abilities, it wasn’t just hanging out talking like you and me right now, it’s all fine, everything is good, it was that, and that was all related to money. So, it’s all a bad way to conduct yourself. Jeff and I got together, we wrote three new Dokken songs, and they were great. Then Don just started playing his games, so; we just said fuck that, and I’ve been hanging in there, but after these last few conversations, I think he feels like I need to do that, so he’s going to grind me down, and I don’t need to do that. I do okay. I don’t need to be.
But like you said, you do have plans with Dokken for the year 2012. Does that include some recordings as well or just a bunch of tour dates?
We’re talking about doing an album and like a two-month world tour in the summer of 2012. But who knows, that’s a long way away.
Nobody knows what’s going to happen for sure—that’s understandable.
Well, the ball is in his court, but if he doesn’t play fair and doesn’t tell the truth, then no.
One last question about Dokken. How do you like the current Dokken guitarist Jon Levin?
He has very much the same playing style you have.
I think that was by design. In terms of…I mean, I can’t play my stuff note for note, I mean, because when I do records, I’m just kind of making shit up in the studio. I don’t ever plan solos, except for TOOTH AND NAIL I planned it. All the other solos are improvised, so when I get done with the record, it’s mixed, we go away, months later we practice, and I forget what I played. So I’ve never sat down and tried to learn my solos, you know, note for note.
That keeps things fresh.
It keeps things fresh for me, but the audience didn’t like that. But fuck them. No, I’m just kidding, “laughs.”
The classic Dokken: Jeff Pilson, Don Dokken, George, and Mick Brown
BITS AND PIECES
Do your other plans to cut a new, to work another LYNCH/PILSON album with Jeff at some point?
No, I can’t do any more records with Jeff because right now, I’m working on the new Lynch Mob record. The Souls of We record, as I’m here, is being mixed, and I have to finish it next week. I’ve got to finish the mix and then go right back in and work in Jeff Pilson’s studio with Jeff and Robbie and Brian and Oni, and we’re writing a new Lynch Mob record. We have five songs already written. So we’re going to have that done by the beginning of 2011, hopefully. And so then, I mean, I can’t put out too many records because it doesn’t make sense, and people will get it confused.
We don’t want to do that.
It doesn’t make good for the sales either.
Right, but I will do an instrumental record at some point. I don’t know when. It’s going to be purely instrumental, no singers.
I remember, I bought your album called FURIOUS GEORGE and…
On the album’s liner notes, you say that you want to put out a blues-based album in the future. Is that going to happen still?
Yeah, I want to do a blues record too, but you know, that will be the last record I do. When I’m living in New Mexico in my tepee, “laughs.”
Thanks for your time George and see you soon at the show!
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LIVE PICTURES FROM LYNCH MOB’S GOTHENBURG SHOW