In the late 1970s, George moved to Los Angeles, California where he formed two bands, The Boyz and Xciter. With Xciter, George’s technical abilities and unique style was a very important draw to the band’s fan base. Playing the L.A. club circuit, it was clear that he was already taking the necessary steps that would lead him to success in the 1980s and his partnership with legendary band Dokken.
When George Lynch joined Dokken in the early 1980’s, success came very quickly. As history proves, much of the band’s album sales and credibility is the result of George Lynch’s guitar abilities and songwriting. With Dokken, Lynch recorded five albums from 1983 to 1988, all of which did remarkably well in the United States, Europe and Asia. This worldwide success made George Lynch one of the most influential rock guitarists in modern music, even earning the band a Grammy nomination in 1989 for Best Rock Instrumental. 1989 was also the year the George parted ways with Dokken and began the new decade with a different approach…enter the Lynch Mob.
By the early 1990s George had become a marquee guitar hero throughout the world. As a result, working with the Lynch Mob was a highly scrutinized and anticipated project. In just three years, the Lynch Mob released two records and hit the road on two worldwide tours. After the second tour’s completion, Lynch took hiatus and retreated to the studio to craft his first solo recordings.
“Sacred Groove,” Lynch’s first solo endeavor was released in 1993. For the first time in his career, he was able to display a broader assortment of musical and guitar styles. The “Sacred Groove” album clearly established Lynch as an eclectic musician with a volume of eccentric work. Having satisfied this endeavor, George Lynch took several years off to spend time with his children and enjoy life in Arizona. That was until a call from an old friend came in 1994.
Following his departure, Dokken had reformed without the use of George Lynch, but when the record company refused to release a new Dokken record without Lynch, phone calls were made in late 1994. Lynch came in to fulfill the requests of the record company and round two with the band began. Soon to follow were two more Dokken records and three more years of touring the globe.
By 1998, Lynch finished his commitment with Dokken and set out to work with the Lynch Mob. This resulted in “Smoke This,” an album that featured a culmination of his playing styles, but with a new approach. The 1999 tour that followed brought George’s playing to a new audience and resulted in a renewed interest in the band and George Lynch’s influence. With new confidence, George began working with former Dokken band mate bassist Jeff Pilson and drummer Michael Frowein on what was to become a lengthy album titled “Wicked Underground.”
The Lynch/Pilson project grew out of song ideas that began with Michael Frowein at Lynch’s Stonehouse Studios the previous year. Jeff Pilson was always in mind to join in the completion of the songs. The collaboration proved to inspire Pilson and Lynch to completing the full-length record together. “Wicked Underground” was completed under the name LP (Lynch/Pilson) and delivered to stores in April 2003.
Also in 2003, Lynch began reworking the sound of earlier Lynch Mob and Dokken material. To comp
lete this task, George re-assembled Mob band members, Robert Mason and Anthony Esposito, along with Michael Frowein on drums. Together, they reinvented the spirit and fire of early Lynch compositions onto an album titled, “REVolution,” which was also released in 2003. The guitar work on both “Wicked Underground” and “REVolution” demonstrated Lynch’s consistency with his signature sound while balancing a more experimental side.
ROUND THREE: THE RESSURECTION
At present, George Lynch has been busy in the studio and on the road. His latest solo record titled “Furious George” features a collection of songs that influenced the musician throughout his career. He is also working on a retrospective compilation titled “Lost Lynch.” The collection exhibits his natural progression and growth as a musician, guitarist and songwriter. Spanning over thirty years, “Lost Lynch” showcases his earliest recordings at age 15 to his mu
lti-platinum successes later in his career. This collection explores some choice examples of missing links from Dokken and Lynch Mob, as well as Lynch’s later projects that have never been released to the public.
George Lynch is always evolving as a musician. And with the George Lynch guitar legacy comes remarkable business opportunities. Many musical instrument manufacturers consult with George creatively to produce equipment. As a result, many quality products bear his name.
The most notable is his endorsement with ESP Guitars. ESP has held George as their highest profiled endorser for close to 20 years. Electric guitar pickup guru Seymour Duncan has also honored George with his own signature series pickup called the “Screamin’ Demon.” Now a highly regarded standard in the guitar world, the “Screamin’ Demon” reigns as one of Seymour Duncan’s most popular items to date. Currently, Lynch and Seymour Duncan are developing the “Super V,” a new pickup initially available only in the new ESP George Lynch Super V guitar, which is slated to be unveiled at NAMM ’05. George also conceived the design for a triple amp selector switching system called the “Tripler” which is now being manufactured by Morley. American Recording Technology manufactures and distributes the George Lynch Signature guitar, patch and speaker cables. An endorsee of Dean Markley, George Lynch and the company are working on a signature string set debuting at the upcoming Winter NAMM show. In 2005, Randall Amplifiers will unveil a new George Lynch modular amp called the “Lynch Box.” Also of note, George Lynch and Robert Keeley have developed the Lynch Time Machine, a unique and powerful effect unit that is gaining a lot of interest and momentum within the guitar industry.