LIVE! | Sin City Sinners with George Lynch

by Deb Rao
Staff Writer

July 4, 2011 at Crown Theater in Las Vegas, NV.

Las Vegas proved it’s a city that can live up to its high expectations of bringing in the best performers in the business. The 4th of July never seemed brighter in Sin City. As previously reported with my exclusive interview with Todd Kerns and Michael “Doc” Ellis, the Sin City Sinners began their six-week residency over at the Crown Theater at the Rio Hotel on July 4 featuring guitar virtuoso George Lynch as their special guest tonight.

The long line around the Crown entrance streamed early, as doors open at 10 P.M. The Sin City Sinners tonight also feature dynamic front man Lou Merlino and former Aerosmith guitarist Jimmy Crespo. The band hit the stage a little after 11 P.M. kicking the night off with an Alice Cooper cover “Schools Out.” This was the perfect opening song let the party begin shall we?

The set rolled on with “Still Of The Night” and a very cool rendition of the song “Bad Company.” Singer Lou Merlino kind of reminds me of a young Robert Plant. His delivery of the cover songs were very well executed but most importantly the band sounded so tight and made the cover songs sound like their own. Highlight of the opening set from Sin City Sinners was their first hit single “Going To Vegas” sung by Michael “Doc” Ellis.”

Anticipation filled the air, as George Lynch took the stage with the Sin City Sinners at the bewitching midnight hour. Opening with “Into The Fire,” George and the Sin City Sinners performed a vast array of Dokken hits including “Tooth And Nail”, and “It’s Not Love.” The band also performed a Lynch Mob song, “Wicked Sensation.” George seemed excited, as his carefully executed guitar solos soared. It was great hearing the Dokken songs on the 4th of July.

Highlight of the Dokken set were the guitar solos on “Mr. Scary” featuring George Lynch and Brent Muscat. Not only did George and the band perform Dokken songs but some classic hits too including, The Doors, Bob Dylan’s “Knocking On Heaven’s Door,” “Ace Of Spades”, and the night would not be complete without the dueling guitar solos between Jimmy Crespo and George Lynch on “Train Kept A Rollin.” The guitar chemistry between the two was magical and very impressive. It was definitely a 4th of July to remember.

I had the opportunity to talk with George after the show he tells us,” It was fun playing on the 4th tonight in Vegas. I was disappointed though I didn’t get to see any fireworks.” When asked about upcoming George Lynch release Kill All Control, he informed us that the album will have four singers on it including London Legrand.

Photos appear courtesy of Deb Rao

George Lynch : Kill All Control

by John Kindred
Staff Writer

Guitarist George Lynch returns with his latest solo album Kill All Control. You know him from the ‘80s with Dokken, and later he formed the infamous Lynch Mob. Over the years, Lynch has maintained a steady release of solo records, while keeping Lynch Mob alive and kicking in various incarnations. Chances are that a complete Dokken reunion never will happen; however, Lynch doesn’t live in the past. He continues to expand on his fret board wizardry and add to his catalog of music.

Following up on his latest solo project, Souls of We, Lynch, along with vocalist London Legrand (Brides of Destruction) and drummer Adrian Ost (Powerman 5000), put together a majority of the music for Kill All Control within 10 days. Lynch’s guitar playing always has included his flair for exotic explorations, which he has expounded and expanded on during his 30-plus years as a musician. With Kill All Control, he falls back to the foundational premise of his 1993 solo album, Sacred Groove, which featured a who’s who of hard rock’s premier vocal talent.

Kill All Control features Keith St. John (Montrose, Burning Rain), Will Martin (Earshot), Marq Torien (Bulletboys) and Fred Coury (Cinderella). Each guest makes an appearance on the 13-track release. Burning Rain fans will recognize Keith St. John’s voice on “Resurrect Your Soul,” “Rattlesnake,” “Man on Fire” and as backing vocals on many other songs on the CD. Fred Coury lends his skills to the instrumental song, “Son of Scary,” which tips it hat to the Grammy-nominated “Mr. Scary” from Dokken’s Back for the Attack album release in 1988.

Kill All Control lives and breathes with Lynch coaxing harmonic screams, melodic phrasing, smooth legato runs and unique chord arrangements from his guitar. The vocalists take their opportunities to lay down stellar vocal performances throughout the album. The eclectic group brings varied genres of rock into the mix and creates nuances that include traditional hard rock, alternative and modern rock. They also work together to create full, thick melodic choruses that are quite memorable. Keith St. John really shines here. If you like his voice, check out his work with Doug Aldrich in the band Burning Rain.

People would really like to hear Lynch shred, but he is truly at home in the vocal-guitar-bass-drums band format. His guitar style allows the music to breathe as his rhythm playing doesn’t dominate or over power the vocals. In fact, his snake-like slithering approach intertwines within the confines of the music in such a way that he really is shredding throughout the album. He never stays in positions in which he is just hammering out rooted 5th power chords. His use of all six strings in the rhythmic passages gives the guitar a big, dynamic sound.

Lynch fans will love Kill All Control and will be glad to add the album to their collection. Even with a variety of vocalists, the album feels more cohesive than his last project with Souls of We. Honestly, we don’t need Lynch back in Dokken. Dokken (yes, that’s you Don) lives in the past and has become a cover band with many well-known names brought in to re-create Lynch’s guitar style for the band. George Lynch is his own man, who was borne from the mettle of ‘70s classic rock players, fused with the inspiration of Van Halen and Malmsteen, and is someone who continues to strive to discover new music within his soul. Oh yeah, “Wicked Witch” absolutely is one if the best songs of 2011.

Genre: Hard Rock

Label: Rocket Science, Inc.

Track Listing:
1. Kill All Control
2. Done
3. Fly on the Wall
4. Brand New Day
5. Wicked Witch
6. Man on Fire
7. Voices in My Head
8. Resurrect Your Soul
9. Rattlesnake
10. Man on Fire
11. My Own Enemy
12. Son of Scary
13. Go It Alone

Web: http://www.georgelynch.com

Hardrock Haven rating: 9.5/10

Todd Kerns & Michael “The Doc” Ellis of Sin City Sinners

by Deb Rao
Staff Writer

When you think of Vegas, you think of glitz and gambling. But one popular Vegas band the Sin City Sinners is helping to ignite the Vegas music scene with their energized re-vamped version of popular covers that they have branded with their own unique sound and the band also performs catchy original tunes. The debut release of “Exile On Fremont Street” has unveiled such popular original tunes as “Going To Vegas” and by popular demand prompted the release of an acoustic CD entitled Broken Record.

Fronted by Slash bassist Todd Kerns, Sin City Sinners is comprised of guitarist Brent Muscat, bassist Michael “The Doctor” Ellis and drummer Rob Cournoyer. The band performs every Friday at Sunset Station in Henderson and every Saturday at Sante Fe Station in Las Vegas. Just announced the Sin City Sinners will be taking over a 6-week residency at The Rio beginning on June 27. If you have ever seen the Sin City Sinners perform live you know that singer Todd Kerns is an amazing front man and guitarist. In 2010, Todd had the opportunity of a lifetime transpire when Slash asked him to join his band as a bass player. Todd will be heading to Europe in July to perform with Slash on his European Tour.

Hardrock Haven is proud to present an exclusive interview with Sin City Sinners featuring Todd Kern of Slash / Sin City Sinners and bassist Michael “The Doctor” Ellis of Sin City Sinners. Sit back and enjoy as Todd and Michael reveal how the Sin City Sinners have taken over the music scene of Viva’ Las Vegas.

HRH: I want to Thank you Todd and Michael for checking in with HRH. The band is notorious for bringing in special guest stars and tonight at The Rio was no exception.

Todd: We had Carolyn, a friend of ours, Paul Shortino, Jizzy Pearl, Lou Merlino who is part of the team anyways, and Jeff Tortoro. He is a drummer for Blue Man Group. When Jeff gets up and holds the microphone it is a whole another story!

HRH: The band has a new album out Exile on Fremont Street.

Todd: It is not really new. It has been out a year. We also have an acoustic EP out.

Michael: The acoustic EP is a lot of stuff from the Fremont album and two new tracks.

HRH: The band does a lot of great cover tunes like “Ah! Leah” by Donnie Iris. It is great how all the bands influences sort of mesh together.

Michael: Donnie Iris is all Todd’s doing.

Todd; It is a song I have been listening to as a kid. I saw him play it on Solid Gold. I love that song. Every band I have ever had I play that song.

HRH: You mentioned that the Sin City Sinners would be playing at the Rio on June 27 again.

Michael: Yes, we are doing a six-week run. We got guests line up. We want to do something different from our Friday and Saturday night show. We used to do guests all the time. Now we are going to do special guests at Rio starting June 27th for a six week run.

Todd: We started the guest thing at The Dive Bar on Tropicana. We would have guests like George Lynch and Vinnie Paul. Then we moved over to Green Valley Ranch. We did a year and a half over there including Kip Winger. Then we started doing our own thing with the record and everything. Now we are back doing this. It is going to be fun.

HRH: Did Vinnie Paul produce your album Exile On Fremont Street?

Todd: He sat in a little bit on it.

Michael: He came over one day, at the request of us. Todd was doing some sort of interview. I couldn’t be there. So I asked Vinnie to come over because the drums sound weird on our record. He is pretty hands on. He is a good player and happy to work on one of his favorite songs “Arianna.” That is one of his favorite songs. He came in and sort of just started pushing dials.

Todd: He was really sort of a consultant.

HRH: How did the Sin City Sinners get started?

Todd: We started out doing some fuckin’ little silly thing on Tuesday night at The Dive Bar. Now one of the bands when you talk about Vegas you talk about us!

Michael. I can sum it up real quick; we have a dynamic front man and great manager. He is the best front man since David Lee Roth. I have always felt that.

Todd: Yes, Todd is very charismatic and a great showman. Now does the myth that everyone who lives in Vegas is not from here hold true for the band?

Todd: I am from Canada.

Michael: I am (from) Redondo, Calif. I claim all of Southern California. Hollywood down is all mine. Brent is from LA and Rob is from New Orleans. Vegas is one of those towns where everyone is from somewhere. You will meet locals.

Michael: I have been here 15 years. I have only met 2 people born here.

Todd: I have been here 5 years.

HRH: I have been here 2 months. The Boston scene was really great back in the day. I am impressed with your band for re-energizing the local music scene here in Vegas.

Michael: Oddly enough, I thought there was an original scene here for a while, but I haven’t seen it much as of late.

Todd: Vegas is really not sort of structured for original bands. There is only like two clubs to play in this town. Vamp’d is there. Ron Keel does that thing on Monday night. The Dive Bar is here and Double Down. Playing live is a blessing to be able to do it for a living.

HRH: Now Todd, you will be going out on tour with Slash in July. Slash will be doing the European tour. Tell us about that. Are you excited?

Todd: Yes, it is always great to get out and to different parts of the world and see new things. It is getting so familiar to me now. I have been to England several times.

HRH: How is the European music scene? It is different playing in Europe versus the U.S.?

Todd: For me you get there you see when you are playing. It is always good to go out and see music everywhere and take in the whole thing. It is always good to come home too.

HRH: Are you going to be playing The States with Slash too?

Todd: We don’t have any plans for the year. He will be working on the new record.

HRH: Yes, I have heard that Slash will be working on the new record soon.

Todd: I am going out to LA on Monday. We are going to spend a few days putting songs together. Then we go out to Europe. Then we are going to try and start that together. Myles is on the road with his band. So when we get back. We probably won’t record the record till the Winter. Through the fall, we will chip away at it.

HRH: What have you learned as a musician from working with Slash?

Todd: He is a really kind and wonderful guy. He is also into playing guitar and music. All day long he sits there playing the guitar. It is kind of inspiring. It is in his hands all day long. It is his everything.

HRH: How did you get the gig-playing bass with Slash?

Todd: Fitz is the drummer and friend from way back. The guy that they had just wasn’t working out. I didn’t know what to expect. It was super overwhelming. Next I was sucked into this black hole. In a lot of ways, I think he speaks the same language as me. Slash is a musician. I know that most musicians like Michael and I, he sort of resonated a certain frequency. When you find people on the same frequency as you, you kind of like make good music together. There are plenty of musicians that I have played with and I am pretty outgoing. I play with anybody. But there are certain musicians, you have a connection with and that is when it is special. But that is when, you are not working. The people you don’t jive with is kind of work. But luckily in this situation, Michael and I vibe very well. It is funny me and Brent Muscat started it years ago and we had a different drummer briefly and a different bass player. Two different bass players until Michael came along. This is by far the best version. It really kind of became something special. And here we are.

HRH: Any East Coast tours planned for the world to see the band?

Todd: We always threaten to go out of town. But we end up being so busy in Vegas, we can’t go anywhere. It is a good problem to have.

Michael: We used to blame it on Todd. Whenever he gets back we will go on tour! Truth is there is enough work here in town to keep us here. It is hard to get out of town!

HRH: Anything else you want to say to the HRH readers?

Todd: If you are in Vegas look for us. Friday is Sunset Station, Saturday at Santa Fe and starting June 27 every Monday at The Rio.

NAMM 2011: Anaheim

January 13 – 16, 2011 at Anaheim Convention Center in Anaheim, CA.

by Trevor Portz
Staff Writer

Every year, thousands of musicians, manufacturers, retailers, and well-connected fans coalesce in Anaheim, Calif., home of Disneyland, to terrify the families that have traveled from across the globe to meet Mickey. While in the area, however, it’s also popular to attend NAMM, one of, if not the largest, gathering of music-industry insiders in the world. While at its heart NAMM is purely a marketing tool, it has also become the place to go to mingle with rock stars, fondle $10,000 guitars, and catch some of the most amazing known and unknown players showing off their skills and wares.

The first reaction for any first-time visitor can be summed up in three words: total sensory overload. Every instrument company, large and small, can be found represented at NAMM. From the over-the-top, sometimes multi-storied booths of Dean, Fender, Paul Reed Smith, and Marshall to the boutique displays for APC Instruments (featuring Denver’s infamous Maris the Great), Lamb Drum Co., and Melodyn (makers of what are surely the finest key-tars on the market), it’s unlikely any musician or musician wannabe will walk out without an urge for bank robbery or lotto luck in order to purchase even one of the many items they’ll lust for in the coming months.

Though guitars, drums, and related equipment seemed to be most predominate, all styles and genres are represented, with large sections devoted to classical instruments, recording gear, and DJ equipment. Band kids reveled at the stick basses and Flying-V-inspired electric violins, and would-be engineers studied studio gear than spanned the most advanced digital to the never-quite-dead analog.

Metal and rock certainly seem to take center stage (no pun intended) despite the all-styles-represented nature of NAMM. Walking away from the show leaves one with the impression that the music industry is largely fueled by the rock side of things, despite what record sales may say. It would seem that even in an industry seemingly dominated by synthetic instruments and synthetic singers, good old-fashioned instruments still have a place to play (or be played).

While signings and meet-and-greets were plentiful and featured many of the most prominent rock and metal royalty, the lines were often painfully long. Luckily for those with a keen eye, most of the high-profile guests could be found wandering the maze-like halls, giving those lacking patience the chance to grab an autograph, photo, or just quick word with their musical heroes. Only the most elite seemed untouchable, with Steve Vai leading the pack of unapproachables (he was surrounded by security and wasn’t allowed to stop moving.) Luckily this was the exception rather than the rule, with the majority of celebs canoodling with anyone willing to call them out.

Spanning four days and what felt like millions of things to see, there’s certainly no way to sum up every detail of NAMM in any reader-friendly format. With that in mind, though, here are some metallic highlights from the show:

• Def Leppard’s Phil Collen demoed Agile Partners’ AmpKit app for iPad, iPod, and iTouch, showing off his still rapid soloing skills, and looking the perfect example of the rocker that does not age. Though the app he was hucking seems fun for the traveling rocker, it doesn’t seem overly useful in the live music world. Phil unfortunately laughed off a request for “Wasted,” but powered through the main riff of “Pour Some Sugar on Me” as it was the Guitar World “Lick of the Day.” He confirmed that a live Def Leppard CD is on its way in May, and will include 3 new tracks, hopefully tiding fans over until next year’s full length.

• The reclusive Vinnie Vincent made an appearance, though not so much physically as in the form of a new line of handcrafted “double v” guitar. While the price tag ($9000-$17,000) may be more than even the most die-hard fans would be able—or even willing—to pay, the quality craftsmanship could not be denied, most notably on the gold-leaf plated version. Fans can only hope that Vinnie himself will resurface at some point in the near future (though even his wife, there to promote the line, seemed unsure if and when this would ever happen).

• Frank Bello revealed that even he’s unsure when the new Anthrax record will be released, but did confirm that vocals are to be recorded in several weeks. This gives hope that Worship Music, on hold for several years, will follow soon thereafter.

Other fun sightings included George Lynch, Evan Stanley (Paul Stanley’s son), Bruce Kulick, Tracii Guns, Gene Hoglan, Tim Yeung, Kerry King, Alex Kane, Buckethead and Bootsy Collins (a perhaps the hardest-to-miss pair), Orianthi, Dave Shankle (the ultimate tour guide), and, of course, the Energizer Bunny (apparently he keeps going, even when nobody cares anymore).

What is somewhat funny about NAMM is that while almost every aspect of music creation is displayed — instruments, recording gear, sheet music, and everything necessary to use and abuse them, there is virtually no music available. Recorded music is practically nonexistent outside of unknowns passing demos to well-known. Perhaps this is good, though, and helped to inspire those in attendance to take what they have learned and acquired and apply it to creating something new rather than simply basking in that which has already been done.

So to sum up, NAMM is basically a musician’s wet dream. While exclusively for those in the industry, anyone with the desire to see what it’s all about should lie, cheat, or blow their way into getting a pass to the 2012 show. If the world is officially ending later in the year, you can bet that NAMM will be well worth the journey.

NAMM Photo Gallery

Photos provided by Trevor Portz

KMAG Custom Bengal Tiger Guitar

by John Kindred
Staff Writer

The second evaluation of KMAG guitars comes in the form of a George Lynch-inspired Bengal Tiger custom paint scheme. Under the hood, the guitar is exactly the same as the previous “flat black custom finish” strat guitar previously reviewed (sans a neck pickup). It features an Alder body, double-locking licensed Floyd Rose tremolo, maple neck and Bengal Tiger finish on the body and headstock. The guitar also sports a custom Sounds of SIN bridge pickup.

After playing the “flat black custom finish” strat guitar during a live performance and in the studio, switching over to the custom Bengal Tiger guitar is a smooth transition. It has a similar feel, which maintains a level of comfort, while also offering a different sounding shred machine. The alder body produces a broader spectrum of tones, giving more definition to the highs and lows produced when striking the strings.

This guitar also features a licensed Floyd Rose double-locking tremolo. Obviously, it’s not the real deal, but this keeps the overall cost of the guitar down. On this guitar model, KMAG has replaced the stock block with a brass block. This addition on a Floyd Rose guitar tremolo (real or licensed) generates increased sustain and resonant tones. Overall, this helps the sound of your guitar. Read more

KMAG Custom Strat Electric Guitar

by John Kindred
Staff Writer

If you are looking for an axe in the stylings of the great guitarists that ruled the late ’70s and ’80s, then KMAG guitars offers several affordably price choice of instruments. Their latest offering is a Strat-style guitar that features an Alder body, double-locking licensed Floyd Rose tremolo, screaming “hot” pickups, maple neck and a slick, flat black finish on the body.

Out of the box, the guitar appears very stylish and slick. The flat black finish has a dark, menacing appearance and screams “metal.” The black hardware adds to the unity of the overall look. And the maple neck is a reminder of Van Halen and Lynch tearing up the fret-board live. The humbuckers and mounting rings also are black, and the volume pot has a classic Fender Strat-style knob. A three-way selector switch gives you straight-ahead selections to altering your sound.

The neck profile is similar to a Squier Strat. The profile is thin, not Ibanez Wizard thin, but not overly chunky or bulky. The finish allows for smooth traversing up and down the fret board. The frets on this model are leveled and polished, which definitely is an added bonus. Finger tapping is a breeze, and low action helps with those fast riffs. The headstock appearance seems to fall between the classic Fender CBS and traditional Fender headstock.

Overall, the sound of the stock pickups is a shock. They have enough meaty crunch for hard rock and metal. Ultimately, the weak link of this guitar is the hardware. But what first catches your attention is not the tremolo (it’s a licensed Floyd Rose) or nut, but the tuners. They look great, but the feel of them is nothing to write home about. Read more

Dokken Greatest Hits 2

by Deb Rao
Staff Writer

’80s rock band Dokken will release their Greatest Hits 2 album via Cleopatra Records on May 4. Dokken first burst onto the Hollywood scene in the early ’80s with their catchy pop songs featuring the melodic vocals of Don Dokken and guitar virtuoso George Lynch. In 1997, George Lynch left the band and Dokken went though many guitarists including Reb Beach, John Norum, and Alex DeRosso before finally finding the perfect replacement Jon Levin.

The Greatest Hits 2 features a re-mastered version of the Dokken hits that launched the band into the heyday of metal mania. Although Don is singing in a lower key than the early Sunset Strip days, the songs that we grew up with stand the test of time. The Dokken front man has always been a wiz in the studio as this album, as this release is well balanced and illustrates a modern day twist to the ’80′s hits.

Opening track “Just Got Lucky” has the Dokken signature guitar sound as the band slams into their first hit “Breaking The Chains.” In comparison to “Beast From The East Live”, Dokken’s Greatest Hits 2 features a mix that is crisp and clear with no overdubs or singer or guitarist battling over the control levels.

Highlights of the CD include “ The Hunter”, “Alone Again” which features a great guitar intro that is angelic and “Unchain The Night.” One of re-masters that is really impressive is the hit song that was featured in Nightmare On Elm Street entitled, “Dream Warriors.” This version is a total remake of the original version that was heavier. The new version has more of an acoustic feel that gives the song a new ambiance. The only remake that really doesn’t work is “Tooth And Nail.” There is something about the timing that pushes the song into overdrive and the vocals are pushed to hard.

There are two hidden gems for the die-hard Dokken fans which includes the new single, “Almost Over”, and “Magic Man.” The song “Almost Over” picks up where Lightning Strikes Again left off. Don Dokken and Jon Levin are a great writing team and the two new songs leaves you wanting more original music. One thing that is quite noticeable on this album is that Don Dokken sings these Dokken hits with much conviction and passion. Also the cover of the Hollies tune, “Bus Stop” was a fun twist for the band showcasing their diversity.

Overall the true Dokken fans won’t be disappointed with the updated versions of the songs. It would have been exciting if the CD also had a new live DVD to accompany it.

Genre: Hard Rock

Band:
Don Dokken – Vocals
Jon Levin – Guitar
Mick Brown – Drums
Sean McNabb – Bass

Track Listing:
1. Just Got Lucky
2. Breaking The Chains
3. Into The Fire
4. The Hunter
5. In My Dreams
6. It’s Not Love
7. Alone Again
8. Dream Warriors
9. Unchain The Night
10. Tooth And Nail
11. Almost Over
12. Magic Man
13.Bus Stop (The Hollies Cover)

Label: Cleopatra Records

www.myspace.com/dokken  

Hardrock Haven Rating: 7/10

George Lynch

by John Kindred
Staff Writer

LYNCH MOB is back with a new studio album entitled Smoke And Mirrors released on September 18th in Europe and October 13th in the USA.

After seventeen long years singer Oni Logan and guitar wizard George Lynch found their way back together and again show their amazing abilities in some killer new Hard Rock songs.” I would say this new record Smoke and Mirrors, is the record we should have put out as a follow up to “Wicked Sensation”…better late then never I guess…”, says Lynch presenting the new record.

Joining the new line-up are bassist Marco Mendoza (Whitesnake, Thin Lizzy) and drummer Scott Coogan (Brides of Destruction, Ace Frehley).

Lynch Mob are ready to embark on a World Tour in the fall 2009 to follow up on the successful performance at the ROCKLAHOMA 2008 and to promote Smoke and Mirrors.

Hardrock Haven took a bit of George Lynch’s time to talk about the new studio record, new bandmates, guitars and possible tour plans. Maybe a co-headline run with a Lynch Mob / Dokken tour? Check out this exclusive audio interview.

Weblinks: www.frontiers.it / www.myspace.com/frontiersrecords / www.georgelynch.com / www.myspace.com/lynchmobrocks

(If the embedded player doesn’t populate, click here to stream in a stand alone player.)

Lynch Mob Smoke and Mirrors

by John Kindred
Staff Writer

Lynch Mob fans have been waiting for years for the return of Oni Logan and a new full-length album to go along with it. Although a brief reunion in ’98 produced the three-song EP SYZYGY, nothing materialized from those efforts. Various incarnations of Lynch Mob came after, but nothing of real substance developed. Now, 19 years after the release of the first Lynch Mob album Wicked Sensation, fans finally get what they have wanted.

With Oni Logan behind the microphone and Lynch on guitars, the only major change is the rhythm section. Enter new Mob recruits; bassist Marco Mendoza (Whitesnake, Thin Lizzy) and drummer Scot Coogan (Brides of Destruction, Ace Frehley).

Logan’s bluesy, gritty voice unleashes infectious melodies on top of Lynch’s hook-laden guitar riffs. Lynch’s use of legato phrasing and exotic scales are all over Smoke and Mirrors. The groove put down by Mendoza and Coogan give the canvas the foundation for which Logan and Lynch add color and depth to the music. The album is rich with arena-anthem choruses, slithering guitar rhythms and searing solos, melodic bass progressions and tight percussion.

Opening the CD with “21st Century Man,” the band formally declares their return. Built along a traditional Lynch rhythmic progression, Logan promptly enters the foray right where he left off from Wicked Sensation in the ‘90s. The song is ripe with melody and features a catchy vocal hook. Lynch proves that he can lie back within a song and let it breath as the band build it into a melodramatic production. That is evident on the title track “Smoke and Mirrors.” Guitar layers, whether semi-acoustic electric or full-on distorted overtones, play an integral role in making the song move and slither to and fro. “Lucky Man” latches on to another big chorus, melodic solo. It’s definitely an all L & L (Lynch and Logan)-style of song.

The majority of the album combines the same attributes. On “Where Do You Sleep At Night,” Logan’s voice has a different vocal timbre. It’s hard to say what the change is, but he sounds more like Doug Pinnick of King’s X with less grit and more polish. The song has a Hendrix- inspired guitar driven groove. “Madly Backwards” features a cool vocal melody. Here, Logan’s vocals appear to be doubled-track, which puts his voice up front in the mix. He moves from a softer mid-timbre to his edgy, grittier delivery. “Before I Close My Eyes” is the more apparent love song on the album. It’s a song of reminiscing and declaration of love’s binding promises and features a memorable chorus.

Dubbed as a “world-bonus” track, the final song “Mansions in the Sky” closes the album. Again, it has what can be called the L & L signature songwriting style. This, again, is another number that breathes within the verses, with the guitar playing a soft melody and building to a powerful hook-laden chorus.

Smoke and Mirrors purposely was written with the same style and fluidity as Lynch Mob’s debut CD. Obviously, Logan and Lynch have matured and experimented over the years. Each has been involved in various music projects. So fans can expect subtle changes in the musicians’ performances, but, for the most, part Lynch Mob are able to harness the bluesy, hard rock vibe of Wicked Sensation.

Label: Frontiers Records
Web: www.georgelynch.com

Band:
George Lynch (g)
Oni Logan (v)
Marco Mendoza (b)
Scot Coogan (d)

Track listing:
1. 21st Century Man
2. Smoke and Mirrors
3. Lucky Man
4. My Kind Of Healer
5. Time Keepers
6. Revolution Hero
8. Let The Music Be Your Master
9. The Fascist
10. Where Do You Sleep at Night?
11. Madly Backwards
12. We Will Remain
13. Before I Close My Eyes
14. Mansions In The Sky (Bonus Track)

HRH Rating: 9/10

George Lynch of Souls of We

by Deb Rao
Staff Writer

Guitar virtuoso George Lynch has checked in with Hardrock Haven to discuss his new project Souls of We featuring George Lynch (Dokken, Lynch Mob) on guitar, London Legrand (Brides of Destruction) on vocals, Johny Crow on bass, and Yael on drums.

Souls of We has released their debut album, Let The Truth be Known on Shrapnel Records. Fueled by the powerful guitar shredding of George Lynch, vocalist London LeGrand weaves his powerful vocals and daunting lyrics around the compelling yet mystical brutal destructive manner. Let The Truth Be Known was mixed by Mudrock and recorded at various studios in Los Angeles.

At a chance meeting on Melrose Ave a few years ago, Lynch and Legrand would soon be destined to combine their rock and roll roots to unveil a unique project that can be described as Black Label meets Buckcherry meets Tool. Samples of Let The Truth Be Known can be heard at on MySpace.

George Lynch unveils Souls Of We, discusses the music industry today, and his legacy with Dokken.

HRH: George, Thank you so much for taking time out to unveil your new project Souls of We. How did Souls Of We come into fruition? How did you end up meeting London Legrand?

LYNCH: Well. London had submitted an audition tape for Lynch Mob back in the early ’90s, when he was just a young whippersnapper coming out of North Carolina on his way to Hollywood. He hitchhiked out to Hollywood and wanted to become a rock star. That is when we ran into each other the first time. The second time around was when he was cutting hair in Hollywood. I was walking down Melrose and looked into the salon and saw this incredible looking guy and I knew he just had to be a musician. So I went up to him and asked him, “Are you a musician?” London said he was a singer. Usually, when guys look like that in Hollywood, they usually don’t have a lot to back it up and not a lot of substance. But I was probably thinking that at the time. I was doing a project called Microdot and I invited him down. It was just kind of on a trial basis. We got together for a few days and he was incredible. It was kind of had a real garage sound meets R and B. That got interrupted because he went to Brides of Destruction for two records. In the meantime, I got the Souls of We; once Brides broke up I called him and brought him in. It was unbelievable.

HRH: How would you describe the sound of Souls of We? It reminds me a lot of Black Label meets Buckcherry meets Tool kind of vibe. Do you agree?

LYNCH: I love it. I have to say that it did succeed in being unique. It doesn’t sound like an older legacy guy trying to adapt to new music. I think it is a strange mix of different influences and the great chemistry between London and myself. It is really hard to categorize. Also, that is a great analogy; in fact I am going to use that one from now on. (Laugher) I keep telling London, he sounds like the guy in Buckcherry. We had an Al Green DVD running the whole time we were doing vocal tracks, and some old gospel bands and R and B. I think you can hear a little bit of that in the songs. We were trying to go for the gospel preacher kind of thing. We took the rapper part and made it more gospel.

HRH: What does the name Souls of We denote to you? Does it have a religious meaning to you?

LYNCH: I think it is a terrible name but it is a great band. I think the Souls thing has been used too often but I don’t think it matters. Souls of We, I am not saying there is any deep meaning of the name. As musicians, we are not tending to be responsible for this creative spark. We don’t want to shove it down people’s throats with this record. We feel that it is something that came through us for a reason. In that sense, it is kind of spiritual. So when you are talking about religious or spiritual things, I feel that about music. I think it is very spiritual. I do agree with that. Because it is mysterious. You don’t really know fundamentally what it is. Souls of We could be kind of a collective audience collective body and the listener, the appreciator, and the great area between the musicians and the listener. It is kind of a statement. Let The Truth be Known, the album title kind of says it all. London and I both have misgivings about the business aspect of what we do. I think we speak to that and particularly on that song.

HRH: Do you see a trend for guitar solos becoming popular once again in the music industry today? Back in the ’80s, music seemed to evolve around the guitar solo.

LYNCH: As in anything in life, the pendulum works both ways. The guitar players never went away. The commercializing of guitar in music did. But the music itself wasn’t really selling very well. Now you see a whole new generation of kids coming up and they are learning from the ’60′s guys and the British Invasion, guys from my era the ’80s and so forth. Kids are experiencing the golden age of guitar. They are learning this stuff at a very young age and becoming familiar with it and taking it to a another level and this is what they are suppose to do. So it is very gratifying. But for myself, when I am embedded in a band record, which I love to do. I love to be in a band of brothers. I don’t really look at these vehicles for solos. The guitar has a certain function, and I try to do my best to do.

HRH: Do you feel that you and London have the same kind of musical style that blends together so well in Souls of We?

LYNCH: Souls of We is a match made in purgatory. The friction that we experience is not like the friction that I have experienced in some of my former bands. Where the guys just don’t like each other. London and I are spooning musically. We fit together like an end to a glove. It is wonderful. It was so fun. We just had so much fun in the studio. Just creating all of that stuff and watching it come together is really the gratifying moment in this kind of work. When you finally see all of this stuff finally start to come together in the studio is just amazing. To think that a year ago, whenever we came out with some little part and what it has taken to get us to this point. When you have a finished end to a product, and all the pieces fit together is like making a movie. It is very gratifying.

HRH: Any touring plans in the works for Souls of We?

LYNCH: When we mixed it with Mudrock, we really wanted it to conjure up the image of the band live. With all the perfection live having the band up there with stands and the live show and vibe and being mean as fuck. This band is meant to be played live. We have done some rehearsals. It still needs to be worked out. It is a difficult concept to get out there live. With Lynch Mob not a problem.

HRH: Could Souls of We open for Lynch Mob? That would be a great tour?

LYNCH: Being a new band is very tough to get out there. But Lynch Mob couldn’t pay us enough money to go out there that is the problem. Dokken would be a big headliner for the three bands. It is politically tricky. What I could do is do Dokken with Lynch Mob special guest featuring Souls Of We. I could just stay onstage and change my outfits. (Laugher)

HRH: George, since you mentioned Dokken, do you think there is any chance of a Dokken re-union in the future?

LYNCH: Well, it is all speculative. I have no information concerning whether it would or would not happen. I know we have tried a few times in the past. We had great offers and opportunities to put the band back together. VH1 came up to us, and wanted us to have our own show, they were going to sponsor the tour. Warner Brother released the old masters and the old catalog. It would have created a wonderful closure for the fans and the band and end on a good note. But for various reasons it never happened. Jeff is out with Foreigner; it would be difficult to juggle the two. Don has his obligations. Mick is out with Ted Nugent. So it is going to be tricky. I don’t know? I am holding out hopes for maybe 2010 or 2011 things could happen. But after that I think it would be sort of too late. It would be see them before they croak tour. I think we would want to be out here while we are still viable and have youthful energy. I think the band could be better than it ever was. I think the egos would be changed. I think all the drugs and all the bad shit has gone away. We are much more focused and mature. I think we would service a tour a lot better than we have in the past. We were inconsistent in the past. At this point, I don’t think we would have that problem. Dokken never really got to be the headliners that that deserved to be and the place that they earned in the rock anarchy. We were just about ready to extend the tour when it got swiped out from under us. We worked a better part of the decade working our way up to get where we thought we needed to be and that is what we were working for. We had that snatched away from us. I hope we can grasp that final pay-off.

Guitarist George Lynch took time out of his busy schedule to break down some of his favorite tracks on Let The Truth Be Known by Souls Of We.

Let The Truth Be Known – That is the show opener, if we do a show? It is meant to be right in your face. Mike Wengren is on drums from Disturbed. It is all tuned down in your face heavy. I think the song speaks to the frustration with the business and industry and how it is changing. How we have high hopes for a democracy in music. It is about how overlooked the writers and the performers really are in machine that is the music industry. The co- modification of the industry really destroys the heart and soul of why and how and what reason it is created. It is very unfortunate. It is like a prisoner where you can’t take away their dignity and their innermost thoughts. There is a lot of angst on this record and I think this songs displays it more than any other song. Nobody I work with on this record are millionaires and living in beach houses in Malibu. We are all still very, very hungry and still have a vision. This record and the performance we are still trying to visualize it is in our heads while we are trying to materialize it.

January – That is actually an older song that I did with lack of a better project title West Hollywood Starfish. It is a song that has been worked from one project to another. It is sort of an addiction song. But done in a much more colorful, poetic way. Even a humorous way. It is playful, but definitely speaks to a darker period in our lives.

Skeleton Key – Skeleton Key is a horror movie on vinyl. We really talk a lot about this song and slashing it out in a video. A horror video director like Rob Zombie could do something with this. If you have a lyric or write about vampires, a frightening thing that we can’t tame. The thing that we don’t know and that is why we fear it so desperately. It is the fear that we carry within ourselves.

Everything I Want – I actually had a hand in the writing in the lyrics on this tune. If I remember correctly, I think the lyrics allude to materialism to a certain extent. People tend to be but shouldn’t be defined by not by who there are contrary to character but what they have. This is how society defines you by what you have.

Sorry To Say – I think that was written mostly by Andrew Friedman, who was the singer I was working with before London. He contributed to some of the lyrics on the record.

Gandhi’s Got A Gun – This is a song that I kicked around for a while. What this song is about is that it is painting a psychotic picture of two conflicting interests of human nature. We are conflicted creatures. It is a constant struggle.

Push It – “Push It” is definitely sexy. It is stripper music. Back in Lynch Mob we used to test our songs at strip clubs. We put out ‘Wicked Sensation’ and if they liked it, then we would put it on the record. We’re a sexy band. It is part of rock and roll. It is unfortunate that we did have to change some of the lyrics on this record to conform to Wal-Mart. That was one of the songs that we really had to scale back a bit.

Psycho Circus – That is a big band kind of vibe. Big band drums, kind of that era and sound in a circus environment. I did find out from our copyright that Kiss had a song with that title, which I didn’t know.

Nork 13 – It is one of the songs that London and I in a band that we had before Brides of Destruction called Microdot. We added a little bit more drums to it, and I added a little bit more guitar work.

Adeline – On this song, I can speak to what we did on the recording process, and it is kind of a Ben Harper kind of song. There is a lot of slide guitar in there. It is kind of has a Lynch Mob sound. Near the end, we did a thing with chains and it has this kind of chain gang vibe. So that was pretty cool.

Under The Dead Tree – Actually, this was a vocal song. Now it is an instrumental. London had written some very dark lyrics to that song and personal stuff. That was a very tough song to get right. We had to re-work that song many times to get it right. I am still not completely happy with it. The vocal version of that song, when I would listen to it would leave me feeling kind of strange.