George Lynch came blazing onto the music scene in the late ’70s with the band Dokken. Songs like “Mr. Scary” inspired young people around the world to play guitar instead of taking a traditional job. Throughout the ’80s he was a lead guitarist for Dokken with a fret-burning and unique style of playing. In 1989 he formed Lynch Mob and went on to create more than a half dozen albums. Never one to slow down, George continues to work on projects and albums including Lynch Mob “Unplugged” (Live From Sugar Hill Studios), which was just released. So how did George start playing guitar and come to be a guitar hero? And what advice does he have for guitarists starting to play? Here is George in his own words.
How did you first get into playing guitar?
My dad was a bit of an amateur audiophile and we had all this great music around the house we’d be forced to listen to; Coltrane, flamenco, classical, folk, blues,etc. When Beatlemania came along that was the catalyst that pushed me over the edge and into rock music. After that I was fortunate enough to be growing up and playing guitar at what I consider to be the golden age of rock guitar. I remember buying the first Zepellin, Beck, Cream, and Hendrix records with my paper route and lawn mowing money and I wore those records out!
What was the LA scene was like back in the early 80s when everyone was trying to copy Eddie and Randy? Was it competitive, or did players share techniques?
It was very competitive but up until Eddie came along everybody had their own distinct style. Then everybody started copying Eddie and everything changed. The rules were being written and it wasn’t the Wild West anymore, which in my opinion was sad because the window of ideas began to contract
The Screamin’ Demon was the first artist signature production Seymour Duncan pickup. What tonal characteristics were most important to you in working with the Custom Shop to get the right pickup?
Well, contrary to what the name implies, the Demon is not a “hot” pickup. It has P.A.F qualities that really allow the tone of the guitar and amp itself to shine. Too many pickups at that time tended to mask the dynamics and subtleties of the guitarists phrasing by having too much output.
How did the Super V pickup come about?
The Super V was a continuation of that philosophy in the sense that a simpler pickup would allow you to achieve the best tone, providing your head, hands, guitar and amp were in order. I didn’t want the pickup to get in the way of that, just compliment it.
You’ve recently been working on a documentary called “Shadowtrain.” What can you tell us about that?
Initially Vinny Nicastro (drummer, sculptor and filmmaker) and myself were discussing the idea of working together with the idea of creating some sort of vehicle for creative activism. The issues we were both passionate about and know we’re important we’re environmentalism and social and economic justice. We took some road trips, created some music and did a little filming.
Around this time I was on a flight to Dallas and sat next to a guy named mark McLaughlin who, in the course of our conversation, I came to find out was a filmmaker, cameraman, audio technician and editor of documentary films. That was a game changer and we became friends and have worked shoulder to shoulder creating this film for the last 2 1/2 years. You can find more info and help us fund the project here.
What gear are you currently using?
My main go to rig is my Randall Lynch Box head and cabinets loaded with Lynch back speakers. When I record, I add other flavors into the mix, primarily vintage stuff; old Plexis, some boutique amps and I have a nice assortment of vintage combos: Magnatones, tweeds, and a lot of weird sleeper stuff I’ve picked up over the years. My main default guitar is my ESP Tiger and I again use other ESPs while recording to achieve the affect I’m looking for for that particular track. I’ll usually bring in my Super V or my ESP LP and Tele as well as the ESP Vintage Plus Strat.
On the effects side of things I usually keep it very simple both live and in the studio. A bit of delay, a vintage script logo MXR Phase 90, a Déjà Vibe, an old wah and my Cusack screamer if I need overdrive.
For more information on George Lynch, please visit: http://georgelynch.com/