All the singers I've worked with have aspects of maybe my "ideal singer," but I never played with one that had all the components of the ideal vocalist. George: No, I don't have a favorite, if that's what you're asking me - or anything closest to what I envision. Songfacts: Out of all the singers you've worked with over the years, is there one that is the easiest to work with, or whose voice is closest to the one you hear in your head when you're writing a song? Glenn Hughes (Lynch's 1993 solo album, Sacred Groove)Īdditionally, Lynch has appeared on a healthy amount of tribute albums over the years, lending his six-string skills to tunes alongside Tim "Ripper" Owens ( Immortal Randy Rhoads: The Ultimate Tribute) and Vince Neil ( Let the Madness Begin: The Ultimate Tribute to Ozzy Osbourne), as well as multitude of '80s era hard rock singers on an all-Scorpions disc that he put out a few years ago called Scorpion Tales. And the same with writing for the Sweet & Lynch record - it's really identical to the Dokken writing sessions, in that both singers are in the same camp, the same world, the same universe, and I write accordingly.Īlthough Don Dokken served as the singer for the band that George is best known for (Dokken), the guitarist with the intriguingly decorated instruments has also collaborated with other vocalists over the years: With the Dokken stuff, it's going to be a little more straight ahead, and a little bit "whiter," for lack of a better way to describe it. With Oni, I know it's going to be more soul and R&B flavored, and try to give it a little twist. When I'm playing with Dokken, I'm aware who is going to be singing this material, the parameters I'm working in, with how we're constructing songs, and stylistically what they're going to be. I subconsciously internalize who I'm playing with and who I'm surrounding myself with. George: The process isn't much different, but the results and the chemistry are different. Songfacts: How would you compare the songwriting process in Lynch Mob to Dokken?
I always like to challenge ourselves, without abandoning who we are. But I'm very proud of Oni and myself, because we were able to stretch out a little bit. I'm not saying that it's "genre busting" or anything like that - it's a hard rock record. I think Rebel is probably the most ambitious record we've done, in the sense that we pushed the limits. And we always work off that foundation when we're writing and push out the envelope a little bit - veer off into different areas. George Lynch: I think we retained the core aspects of the Lynch Mob formula, if there is such a thing: sort of a blues-based desert rock, with an exotic tinge to it. Greg Prato (Songfacts): Let's start by discussing the new Lynch Mob album, Rebel. Lynch called in to Songfacts shortly before the arrival of Rebel, and was up for chatting about some of the vocalists he has worked with over the years, songwriting, and the stories behind several Dokken rockers. After the band initially split in 1989, Lynch launched his own project, Lynch Mob (not to be confused with Ice Cube's group Da Lench Mob), and ever since, has been spotted in on-again/off-again Dokken reunions, as well as new Lynch Mob releases - as evidenced by the latter's eighth studio release in 2015, Rebel.Īnd Lynch doesn't set his sights solely on music, as he recently co-created a film titled Shadow Nation, which is described as "A hybrid way of life merging modern society with the ancient practices of people who have lived in harmony with the land for thousands of years native American Indians."
And one gentleman that seemed to balance shredding solos with songwriting was George Lynch - as evidenced by his work in Dokken, one of MTV's go-to rock bands of the era. The mid to late '80s featured countless "guitar heroes" within the realm of heavy metal.
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