#Sweet & Lynch

[dawcast]

Music Industry News for April 11, 2023

I hope you had a wonderful Easter weekend. It’s time once again to get caught up with industry news! Here’s what caught my attention this week. ▶️ Winger Releases New Single, “It All Comes Back Around” The slated release of Winger’s new album, Seven, is now less than a month away (May 5, 2023). In a recent conversation with Eddie Trunk, Kip Winger revealed that the band filmed six music videos in…

[metalshockfinland]

SWEET & LYNCH to Release "Heart & Sacrifice" in May, First Single + Video 'You'll Never Be Alone' Revealed

SWEET & LYNCH, the musical union of vocalist/guitarist Michael Sweet (Stryper, Iconic) and guitarist George Lynch (Lynch Mob, The End Machine, ex-Dokken), have announced the long-awaited release of their third album, “Heart & Sacrifice” on May 19th. The combination of Sweet’s powerful, high-octane vocals and Lynch’s immediately recognizable guitar heroics once again prove to be an unbeatable…

[damnhotmsimmons]

So I watched the first two episodes of Criminal Minds Evolution, here are my thoughts:

Since this will be very long, I made a separate post with this one centering on the first episode. Will share my thoughts on the second episode in another post

*spoilers below* do not click if you haven’t seen the episodes

Update: I meant to work on this when I first watched the two episodes but didn’t get a chance to finish it. So the thoughts I had then are different from my thoughts on the episodes now after completing the season

cm 16x01/cme 1x01 Just Getting Started

  You can already tell what a difference it makes to have a show being developed on a streaming platform. The cinematography looks impressive, betting lighting and no more of that disgusting yellow filter in the later seasons

 The show feels more similar to Mindhunter than other CBS procedurals like NCIS, CSI and their spinoffs.

With the show on a streaming platform, they could have easily tried to amp up any violence and nudity but they didn’t. There’s little exploitation

For some reason JJ looked much better here than in the last three seasons. 

Ditto for Emily looking stunning with the silver hair, way better than the wigs she wore in s14-15

I also love Tara’s natural hair look. Hell, the ladies all look great in season 16

You know that the show has gone for so long that Henry is now a teenager. 

Deputy Director Bailey is getting on my nerves. Another obstructive bureaucrat trying to undermine the team. Barnes 2.0 but worse. It wouldn’t surprise me if he has an ulterior motive behind it

So Emily is now Section Chief, which means Cruz is gone (not helped that he basically vanished after 10x19) 

Elias Volt (The guy at the beginning and end of the episode) seems more interesting as an unsub than Lynch

While it isn’t the first time we’ve seen a pissed off Garcia, it’s interesting to see her go off on Rossi, and it’s nice to see her stand up for herself

I was kinda bummed that after one date, Garcia and Luke didn’t attempt to pursue the relationship further. Either that or covid or something else. Still, their interactions were everything and I love the kiss on the cheek he gave her

You know that Rossi is at a low point when he eats microwave mac & cheese

Honestly, I’m not a huge fan of them fridging Krystal. The man has already been through enough, he’s lost like two wives, Strauss and a few of his friends like damn. Even if the actress is unavailable, was her death really necessary? Along with a rehash of Carolyn’s death

Tara got a girlfriend, I’m so happy, she and Rebecca deserve all the love and appreciation

JJ looks so good in 16x02, and I love the intimate scene she has with Will near the end

Or course Emily would tease Tara about her relationship with Rebecca as well as JJ getting it on with Will in the morning. She is a mood though

I love Garcia and her coming back is bittersweet as I love seeing her work with the rest of the gang but at the cost of her new happy life

I miss Matt Simmons so much and wished he was acknowledged as much as Reid. At least Daniel is doing better in The Wheel of Time and CA2

Elias has a wife and two daughters, quite a dark parallel to JJ with her two sons or even Matt

Only two episodes in and Elias is a more interesting unsub than Lynch, it helps that Zach has a good performance. They better not mess that up

The network of serial killers is an interesting storyline and considering how underwhelming past storylines can be in cm, I fear the storyline will have an underwhelming ending

The end scene with the roundtable is so sweet, the gang is back together

[stubaby777]

Friday's Love Song: Sweet & Lynch | The Wish

Friday’s Love Song: Sweet & Lynch | The Wish

What happens when you mix an world renowned Atheist guitarist and a world renowned Christian vocalist/ guitarist? You come up with Sweet & Lynch! This is one of Michael Sweet’s side projects. This is what I love about Michael. He has earned respect in the rock world not only as a man who stands by his faith but as an awesome guitarist and vocalist. He has no problem playing with anyone. George…

[xsrock-blog]

SWEET & LYNCH Release New Video For "Walk" From New Album Unified

SWEET & LYNCH Release New Video For “Walk” From New Album Unified

SWEET & LYNCH will release their second album “Unified” November 10th via Frontiers Music Srl.  This past Friday the band debuted the first music video from the album, “Walk”. Watch it HERE. Sweet describes ‘Walk’ as “A song that stretched the boundaries of the band and it’s also a song that may surprise some people in a great way.…

[hotmetalmag]

Hot Metal's Albums Of The Year 2017

Hot Metal’s Albums Of The Year 2017

10. Sweet And Lynch – Unified

What’s not to like about the second collaboration from one of the eighties’ greatest axe-slingers, George Lynch of Dokken, and most ball-bleeding singers, Michael Sweet of Stryper?

While some of these “projects” seem intent on reaching the individual fans of the conspirators by highlighting their chops, Sweet and Lynch is about the songs and there is an air of…

[earpeeler]

Noize In The Attic Podcast – 2017 #43

Noize In The Attic Podcast – 2017 #43

Sweet & Lynch, Operation Mindcrime and Adrian Vandenberg’s Moonkings!

[yngwiemalmsteenfan]

Sweet & Lynch Are Back With “Unified” George Lynch and Michael Sweet are back with Sweet & Lynch's sophomore effort, 'Unified' due out November 10th, 2017 via Frontiers Records.  Here's the first single titled "Promised Land"

[plungermusic]

“Well, Cliff, I’d like to travel and incur large debts...”

Seaside towns are no stranger to beauty contests, so Worthing was a good choice to host the Fifth UK Blues Challenge, although perhaps not helping to calm fears that British blues is heavily South-focused (so far south it was actually some way offshore in the English channel!)

Although first inaugurated to settle a posturing pissing-competition between rival blues publications, the event has since passed under the aegis of the UK Blues Federation so fraternal solidarity was the prevailing mood, and The Great and Good of the blues community (and Plunger) gathered in the Art Deco pavilion ready for the show at the end of the pier (the irony of which apparently escapes some!)

Despite a selection process that is already a mini-beauty contest, the four acts so chosen covered quite a broad palette: the stylish two-prong showmanship of guitarist/keysman Greg Coulson; Kyla Brox’s soulful old school blues; the heavy rocking of Catfish; and Tom C Walker’s slick soul-funk. (It would be interesting to know how much this quartet represents what is perceived as the cream of the current scene, given the various EBC rules and exclusion criteria and acts who may have ruled themselves out/turned down an invitation…) A fifth artist Carl North & The Lonely Hearts was added courtesy of the Jessica Foxley Unsigned project (more irony when ‘signed’ bands are few and far between!)

Greg drew the short straw and opened proceedings on the night: sadly a little hampered from delivering his best by the late-advised absence of his regular second guitarist and an amp failure he still proved energetically, flamboyantly entertaining.

Carl North followed with a boisterous folky americana-tinged set that wouldn’t have been out of place at Maverick. As a young act their performance was understandably perhaps a little ragged round the edges, but their last number (when they dispensed with the strangely underpowered sax and went for twin bvs) was really rather good.

Kyla Brox’s set was enlivened by some lovely trenchant Ford/Schofield tone-and-phrasing guitar from Paul Farr; Kyla’s voice has bags of oomph, soul, and incredible sustain (although for me didn’t suit the gentler passages in their cover of Hallelujah). She also deployed her secret weapon, a splash of mellifluous flute playing, to good effect.

Following Kyla were local favourites Catfish (with a surprisingly partial introduction!) To quote a former Blues in Britain editor they were probably “too loud for the room” although it meant Paul Long’s keys were more audible than is often the case. Their big crowd favourite Make It Rain was omitted (possibly since sets were restricted to 30 minutes) but the Bonamassaesque bombast of Broken Man was greeted with whoops and cheers by a partisan crowd.

The final act of the evening Tom C Walker impressed with smooth soul and feisty funk flavours in originals like Human Nature and Sweet Angel, and had the crowd joining in on their Stones cover Miss You.

After a bit of a Peter-Kay-comedy-routine raffle the winner was announced, and it’s Kyla Brox who was presented with the poison chalice of having to raise enough cash to travel to both Memphis and to the Azores: for Plunger’s money probably the best choice to make for the task, as it does seem the EBC in particular don’t share Britain’s taste for guitar-led blues rock!

Fair do’s to the organisers, the event was well-run and raffle aside ran pretty much like clockwork; the venue was pleasant (even if beer was twice the price of surrounding pubs); and no one lynched us. Not a bad result all round really.

[metalheadtv-blog]

SWEET & LYNCH Featuring MICHAEL SWEET, GEORGE LYNCH: Fifth EPK For 'Unified' Album

SWEET & LYNCH Featuring MICHAEL SWEET, GEORGE LYNCH: Fifth EPK For ‘Unified’ Album

The fifth EPK (Electronic Press Kit) for "Unified", the sophomore album from SWEET & LYNCH — the band featuring guitarist/vocalist Michael Sweet of STRYPER, legendary guitarist George Lynch (DOKKEN, LYNCH MOB), bassist James LoMenzo (MEGADETH, WHITE LION, BLACK LABEL SOCIETY) and drummer Brian Tichy (THE DEAD DAISIES, WHITESNAKE) — is available below. The disc will be released on November 10 via…

[mushametal]

(Sweet & Lynch - "Afterlife" (Official Video)から)

[avanneman]

Baby Driver: Jon Hamm doesn’t know Shakespeare

Actually, that should read “Edgar Wright, writer/director of Baby Driver, doesn’t know Shakespeare”, but Big Jon said it in the picture, and who knows Edgar Wright, amirite? But it’s all Edgar’s fault that poor Jon (aka "Buddy") is stuck with the line “Romeo, Romeo, wherefore art thou, Romeo?” when it should be “Romeo! Romeo! Wherefore art thou Romeo?” And, therefore, entirely inappropriate for the scene, in which Hamm is seeking to find, and murder, “Romeo”, aka “Baby Driver”, in a parking garage.

It’s inappropriate because, of course, Juliet is not asking “Where are you, Romeo?” No, she’s asking “Why is your name Romeo?” though what she really means is “Why did you have to be a Montague, instead of the scion of some noble family that my family (the Capulets) is not feuding with? Then I could marry you! For what’s in a name?”

Okay, that does require a little unpacking, not to mention some actual knowledge of the play, which, clearly, exceeds Eddie’s grasp.1

So, if you hadn’t already guessed, I’m not a fan of Baby Driver, despite its 98% “Smash” (“Smash” as in “good”) rating from Rotten Tomatoes, which, I guess, is not infallible. Baby Driver is itself a mannered, misbegotten smash of Bonnie & Clyde, about which I’ve raved, Pulp Fiction, and Blue Velvet, neither of which I thought were worth a pixel.

I went to Baby Driver expecting/hoping for some shallow, bad-ass, R-rated summer entertainment, and the film started off well, with “Baby Driver” (Ansel Elgort) as this sweet, silent bad-ass “driver”, a pretty boy version of Michael J. Pollard’s semi-autistic yet good-natured and ever efficient C. W. Moss. A whole film dedicated to a modern-day C. W! Sounds like fun!2

And so it was for the first fifteen or twenty minutes, Baby rockin’ out on his iPod to some golden oldies while waiting for the grown-ups to finish with their bank-robbin’. Grown-ups, well, they don’t always do things right, so that sirens are wailing even before Baby can pop the clutch3, but that ain’t no matter. We’re in for some serious, serious rubber burnin', without the sense of moral and aesthetic shame that inevitably comes from watching a Vin Diesel movie.4

But after that great beginning, the film starts going sideways. Seems Baby only does his driving because he’s in hock to suavely evil crime lord Kevin Spacey, who may as well be sleep walking for all the nuance he brings to the part. Even worse, Baby takes his hard-earned cash home to his deaf black foster dad Joseph (CJ Jones), who, fortunately, is not Morgan Freeman, though he’s so nobly suffering he may as well be. Baby signs with Joe, and anybody who watches movies knows that anyone who can sign and speak is part angel.

Yeah, this is kitsch on top of kitsch—as a matter of fact, it’s superkitsch—but why stop now? Only sissies quit when they’re ahead. Baby’s creative too! He records what people say, adds some percussion and riffs and turns it all into a sort of “found art”, kind of like an aural Joseph Cornell!

Of course, this idyll has to be busted, though it’s hardly Baby’s fault. He meets this really sweet chick (Lily James as “Deborah”), a chick as sweet as he is, and if you guessed she’d be a waitress, well, you guessed right. Yeah, it’s young love, true love, like a fifties Chevrolet ad come to life, if you know what one of those was.

Oh, and I forgot to tell you, Baby still owes Kev “one more job.” Yes, one more job! You have to hit those clichés on the head, boy! Otherwise, they’ll get away from you!

The gang for the last job includes the seriously bad ass “Bats” (Jamie Foxx), an obviously slumming Jon Hamm,5 and his crazy bitch wife “Darling” (Eiza González), a hundred and seven pounds of implausible, gum-poppin’ malevolence. So what could go wrong?

Well, everything, of course. But the twists, the double crosses, and the blow outs just don’t have the bang of the first fifteen minutes. We’re deep in Quentin Tarantino land, with repetitive outbursts of unlikely, mannered violence—though, to be fair, Wright entirely lacks Tarantino’s compulsive sadism, and I mean that entirely as a compliment.

But the real killer for me is not Wright’s stylized violence (Elza blazing away with an Uzi in either hand, for example, which would pretty much guarantee that she couldn’t hit anything),6 but his pathetic sentimentality. Very much unlike Tarantino or David Lynch, Wright lacks the nerve to kill off a single sympathetic character. The Baby/Debbie lovey-dovey dialogue is so syrupy that you half wonder if Debbie is setting him up—if the film is setting you up. Is Debbie going to take Baby’s cash and blow his head off as a final twist? Nope. She waits five years for him to get sprung from the federal pen so they can ride off into the sunset together. What a letdown!

Afterwords Like Tarantino, Wright is seriously into retro cultural references—music, films, etc. That’s because a director’s “world” is limited to old movies. They can’t make contemporary cultural references because no one’s made a movie about that yet. The most egregious occurs when crime boss Spacey tells the gang to pick up some “Michael Myers Halloween masks” for the heist, leading to some confusion. Did he mean “masks of the character Michael Myers in the 1978 Jamie Lee Curtis classic Halloween” or “masks of Michael “Austin Powers” Myers for Halloween”? If you thought that was funny, you probably call Mom’s basement “home”.

It's "arguable", I guess, that it's supposed to be Buddy's error—that he's a Philistine as well as a murderer—but that strikes me as a stretch. The "correct" reading of Juliet's line was the subject of a Peanuts cartoon sometime near the close of the last millennium. ↩︎

Michael J. Pollard—“the homuncular, elfin, inexplicably popular” Michael J. Pollard, in Leonard Maltin’s bizarrely uncharitable characterization—worked that CW thang to the hilt, “playing virtually the same offbeat, imbecilic character” throughout his career, to Maltin’s further dismay. Jesus, Leo! Did you never get laid? ↩︎

Baby’s almost surely not working a stick, but idioms can’t always keep up with the technology. ↩︎

Still, one has to feel sorry for Vin, having to share “his” franchise with “the Rock”—because it was so successful! ↩︎

It seems very likely that Hamm will simply never get past Don Draper. When you hear that voice, you know the guy is suite smart, not street smart. You’re elegant, Jon, you’re elegant. Just accept it, and get on with your life. ↩︎

The mêlée gets so intense that one of the lenses of Baby's shades pops out, in ridiculous homage to the bit in Godard's über classic À bout de souffle, already too cutely reprised in Bonnie & Clyde. Once was too much! Twice is ridiculous! ↩︎

[xsrock-blog]

SWEET & LYNCH Release Behind The Scenes Video From The Making of "Unified"

SWEET & LYNCH Release Behind The Scenes Video From The Making of “Unified”

Frontiers Music Srl is set to release the second album from SWEET & LYNCH, “Unified”.  The highly anticipated follow up to the band’sBillboard charting debut, “Only to Rise” will be available on November 10th. Today the band has released an exclusive behind the scenes video, documenting the process of recording “Unified”.  Watch it HERE.…

[rockrevoltmagazine]

INTERVIEW: George Lynch

KXM, the band featuring drummer Ray Luzier (KoRn), guitarist George Lynch (Lynch Mob, Dokken), and vocalist/bassist dUg Pinnick (King’s X) just released their sophomore effort Scatterbrain on March 17th to rave reviews.  The follow up to their 2014 self-titled release, which landed at #31 on the Billboard Top 200, features 13 tracks behind the engineering of Chris “The Wizard” Collier (Flotsam & Jetsam/Prong/Last In Line).  Drawing inspiration from prog, punk, metal, and ska, Scatterbrain is sure to take the listener on a musical journey.  We had the opportunity to talk with guitarist George Lynch about their journey to KXM’s second record, how this band of three diverse rockers came to be, and yes we did ask the infamous question, what’s next for Dokken?

You just released your sophomore record, Scatterbrain; can you take us through the writing process and how it might differ from some of the other projects you’re involved in?

The philosophy behind KXM, anyone that follows the band pretty much knows it, we do not pre-write anything. We are not a band that sits around, lives together, rehearses and goes on the road.  We just kind of meet up every couple of years in a recording studio and see what happens.  We improvise, and that improvisational effort turns into a record after ten to twelve days.

I’m sure it must be a bit different from some of your other projects. If so, do you like it better this way?

Well it’s not entirely different from my other projects. Lynch Mob did something similar to that when we did the Sound Mountain Sessions.  A lot of the Shadowtrain record was written that way as well.  Quite honestly, my writing style is pretty much a jam session.  The only difference with some of the recent records, when I say recent I mean recent decades, that differentiate those records from KXM would be that after the initial idea, we’ll spend more time arranging.  But generally it’s kind of how I write.  Basically the seat of my pants, spur of the moment, improvisational writing.

With Scatterbrain, are there one or two songs that you would say have the George Lynch stamp on it?

Ah, I think I’m all over everything. I think the whole point with a KXM record is that it’s not Lynch Mob;  it’s not Dokken or anything else.  It is its own unique thing.  It’s a product of the chemistry between the three of us who are very equal in our contribution to the end result.  Whereas most of my projects I’m taking on a bulk of the work on myself because of the fact that I have a guitar in my hands.  The guitar player is writing the riffs.  But in the case of KXM, that’s not the dynamic.  The dynamic is that I’m a third of the creative force.  Ray and dUg are equally contributing, and it’s a really interesting dynamic.  A different dynamic than what I’m used to.  I had to learn to take a little bit of a backseat.  So, we have this record that is just not all me, which is wonderful.  I was able to learn by getting outside my box a little bit.  Reacting to Ray’s crazy tribal syncopated drum patterns and off times is something I normally don’t do.  Normally I come up with something that’s a little more pedestrian; then the drummer comes in and matches my riff.  Just adventurous as far as the drummer is concerned.  KXM, a lot of times that song started with Ray, with some crazy tribal beat (laughing) that I had to adapt to.  It was really fun, interesting.  So, it was a whole different way of doing a record for me.  And the results are quite different from anything I’ve done other than the first KXM record.

In terms of equipment, do you change up what you use with KXM. Are there stylistic differences?

I don’t really change my gear; although, I’ve got to say that my gear selection is pretty wide. In other words, I bring in a lot of options. I’ll bring in a truckload of different speaker cabinets, amplifiers, guitars, and pedal boards.  Then I’ll do a lot of mixing and matching, changing up mid-stream with this amp and that amp, different configurations.  But it’s nothing out of the ordinary; I just got a big mess of stuff up there (laughing). Whatever is best for that particular song or that day is what I do with most projects.

Obviously those that are familiar with KXM know the story of how you got together. You were attending Ray’s son’s birthday party, and late night the three of you started jamming. KXM came together from that, is that right?

 Yeah but that’s a pretty boring story; we need to come up with a better one.  Let me think of something here.  Sometimes I lie about it and make up this crazy intricate tale about how we heard about this wizard on Mahollow Mountain in Tomacapeek.  We had this secret map and made this quest, followed all these clues, and we were able to find this wizard.  He doesn’t really accept anybody to get his direction, so we had to pass a series of tests.  It’s kind of like the musical Karate Kid (laughing), you know wax on wax off.  You know he’s a real wizard, he’s got a white beard, pointy hat, and a wand with special powers.  He lives in a cave in a mountain.  And we did the record there.  So, that’s a better story then I was hanging out at a little kid’s birthday party (laughing).

Where did the name KXM come from?

Oh that’s another boring story; it’s just an amalgamation of our other band titles which is Korn, Lynch Mob, and King’s X. It’s kind of crazy all these different projects I’m involved in and so much creativity involved in them as far as the songwriting and the arrangements.  Then at the end of the day, we could never come up with a decent band name; we fell flat on our faces.  I have such a block about that; I don’t know why.  All these younger bands – alternative bands and metal bands -have these cool creative names, and the only thing we can come up with is our initials.

Video for BREAKOUT

  That seems to follow you around from Dokken to Lynch Mob and Sweet/Lynch.

I know T&N, Lynch, Lynch Mob, Lynch this Lynch that, and I’m like wtf? Here’s the problem with that quite honestly for us to do records and to monetize that we have to have record deals. The labels want to call the project something that is identifiable and that is my name or the others on project names to be able to sell it.  They don’t want the Invisible Pumpkins; they want the George Lynch and Pilson or Sweet and Lynch or whatever.  Something that is identifiable.  That’s the problem I’ve had in recent years in coming up with a creative band name.  For instance, I did a record in 1999 or 2000 called Smoke This, and actually the band was called “Lynch Mob.” It shouldn’t have never been called “Lynch Mob” as it wasn’t Lynch Mob really; it was a whole different band I got together in Phoenix, AZ, and these guys were more into the rap/metal kind of vibe. That’s kind of what the record was to an extent.  The thing is the record company insisted that if they bought the record they would be able to call it “Lynch Mob.”  So that’s between a rock and a hard place that I get caught in sometimes.  I can stick to my guns and say I’m not calling it that, but guess what? Then we get no record deal.  It’s a tough position to be in sometimes.

Your name has built a brand, right?

Yeah, but if a product is really cool, people will find it. If you build something that is valid, they will come.  You know the label is important.  You want something that really identifies in a cool way.  Music is not like a widget; music is a creative endeavor, so we want to have kind of a creative cool label on it.  A name on there that is imaginative, trippy and cool and describes it in a creative way rather than just a stale way.  It’s one of my biggest frustrations in music actually is this little problem with having the naming thing.

Any tour dates being kicked around?

For KXM, no. Our philosophy on that, we debated this endlessly, is that if we sell enough records, we will be forced to tour.  Make us tour basically.  If we get to 40,000, which is a big number these days, then we will absolutely find a way to do some meaningful touring.  Actually get across the country and hit most markets, which would take about two and a half months out of the year.  A couple weeks to prep for it then to get out and hit 15 or 20 cities.

That 40,000 mark should happen as it is an amazing record. RockRevolt gave it our top rating.

Well that’s a big number these days. There’s a lot of internal reasons why that’s difficult.  It’s not the 80’s anymore; we’re not on a major label.  Major labels own the radio stations, well not actually own them but own access to them.  If you’re on an independent record label, you have no access to radio, any kind of mainstream radio.  You have college and internet and specialty shows.  That’s a big deal because without that access people aren’t aware that you exist.  There’s a lot of music coming out every month, thousands of releases, it’s hard to get through.  Everybody is struggling to climb over everybody else to get noticed and heard.  It’s a tricky tricky business.  We do everything we can; I do dozens and dozens of interviews. I never deny an interview.  I’ll sit here all afternoon and talk to people about the record.  We’ll do anything in our power to make people aware that this record is out there.  It’s definitely an uphill battle for all of us out here, new bands, older legacy bands.  Name a band from the 80’s. Ratt puts out a new record it gets noticed but not by the same amount of people that bought Out of the Cellar.  It’s a tough game.

Did you ever think of what you would be doing if you didn’t make it as a guitar player?

Oh yeah. I never thought in my wildest imagination that I would play guitar for a living.  I’ve had every job on the planet, and the concept of doing this, making money at it, seemed ludicrous and never even occurred to me.  It was just kind of a thing I fell into almost accidentally.  I was playing music obviously but just to enjoy it because I loved being in a band and playing with my friends, writing songs, and playing guitar.  I wasn’t trying to be a Rockstar or anything.  I still had a job.  I was managing fast food restaurants (laughing), worked in warehouses, a factory, I was a teamster truck driver, a plumber’s assistant.  Then I was into construction.  I’ve done just about everything you can think of.  What else did I do? I worked in a furniture factory where I built furniture for a while.  I worked in a factory that built toilets for airplanes and boats.  I had a lot of weird jobs.

You’ve held down quite a few jobs. Do you recall the moment when you realized playing guitar would be your living?

Yeah, well it wasn’t really a clean transition; it was a couple year transition. In my late twenties, I was a teamster driving a liquor truck, and I actually continued to drive after Dokken signed our first record contract.  Even our second record contract I was still driving a truck.  In fact, I remember the day I signed the contract. I had to drive my work truck to Hollywood to the record company, go in sign the contract, and then go back to work.  I kept working for maybe another year or so.  In our experience, it wasn’t we went from one thing to the other immediately.  It was a very slow transition.  We ramped up. Our first bunch of shows and tours that we did we didn’t make any money.  Our records really didn’t make any money.  It took a while for that to kick in.

Not to get too much into it, but everyone is always curious about Dokken. It’s well documented the volatility of the relationship between Don (Dokken) and yourself.  Do you think with Don being the founder of Dokken and the focal point then when you came in, maybe you took some of the spotlight away from him? Did that create some tension between the two of you? Or was it creative differences?

(long pause) Ah I don’t really want to re-litigate the whole Dokken thing. You know we did the little reunion thing last year.  We’re working on a live DVD, a live record with some new studio tracks.  Talking about doing an acoustic record.  Maybe thinking about doing some more dates in 2018.  For us we’re just putting all that garbage in the past and not holding on to old shit.  The only reason I ever talk about it is because I do interviews with people, and they bring it up. I’ve got to stop being the unfiltered, open-book guy.  I’ve got to learn to start filtering that.

Well I along with many others would love to see the four of you onstage together, so I won’t push the issue any further.

For that to happen, we’ve definitely got to let go of the old bullshit. It’s like the exes getting back together and arguing over why the broke up in the first place.

What about some of the other projects you have going on; is Lynch Mob working on anything at the moment?

That record has been in the can for a while and will be released in June. It’s called The Brotherhood. It’s a great record.  Lynch Mob is a solid band; that’s my tour band.  Oni (Logan-vocals) and I are the core of the band.  Jimmy D’Anda (drums) and Sean McNabb (bass), they were in the band in the early 2000’s.  We’re like brothers; this feels like the real band.  It’s gelled, and it’s tight – a machine.  Our records are consistent; our performances are consistent.  That’s really my foundation at this point.  So we’ve got a record coming out in June.

What about Sweet & Lynch?

Sweet & Lynch, I just finished writing that. We are in the studio right now on the East Coast tracking the drums with Brian Tichy and bass with James LoMenzo.  That will be done probably in the next few weeks.  Michael’s got almost all the lyrics and melodies written.  That will go to mix soon.

Are you going to tour on it?

That’s always the million dollar question, a tricky one. When you’ve got four guys from four different bands, they are all busy and working.  That’s a tough one.

What about your documentary, Shadowtrain: Under A Crooked Sky.

Yeah that’s Shadownation; we changed the name. Shadowtrain is the band; we put a record out a couple/few years ago.  Until There’s Justice There Will Be No Peace is that name of the album.  It’s an amazing album; it’s a two record, double CD with twenty songs.  A very personal record for me.  I wrote most of the lyrics and melodies.  I’m not saying that to brag; I’m saying that because I’m proud.  The subject matter is something very close to my heart. I’m passionate about and spent decades working on.  I just felt compelled to express myself.  In a less one-dimensional way than I normally do with just the guitar.  That’s really a jewel of a personal record, something that might have gone under the radar a little bit.  I would like to see the movie come out, but it’s just been a struggle as I’m not really an experienced movie person.  I’m learning via the school of Hard Knocks what not to do the hard way.  We’re hopefully getting close.  The film has been done, but making a film without a plan and without any money is a difficult process.  We’re getting there; hopefully this film will be out later this year.  We’ve got Tom Morello and Ted Nugent; Serj from System of A Down is in it.  I interviewed Noam Chomsky from MIT, a personal hero of mine.  John Trudell and I wrote a song on the soundtrack.  He passed away recently; we dedicated the film to John.  He was a major force in the American-Indian movement.  Hopefully Shadownation will be out before the end of the year.  I have a few other projects, and I hesitate listing off all my projects because I think it gives people fatigue.  They’re like, oh my god we can’t keep track of all this.  But I’m just going to throw it out there.  I’ve got a project called The Banishment that I’ve been working on for about five years.  The singer is Tommy Victor from Prong, and it has an industrial vibe to it.  Not pure industrial, but it is industrial like.  I’ve always been a big fan of that kind of music.  I always thought how awesome that would be to hear a band like that but with what I imagine a guitar doing.  Or with Eddie Van Halen in it or something, that kind of feel.  And I thought I would love to create that someday because I never heard anything like that before.  That’s what we tried to do.  Lastly I have this project called Ultrafonics with Corey Glover from Living Colour and the rhythm section from Tower of Power and War.  That is basically an extension of Project Nfidelikah, which is a record I put out about two years ago that has a lot of funk elements and trippier elements with the singer from Fishbone, Angelo Moore.  On this record we decided to change the name of the band because we got a new singer.  It’s an incredibly fun record with all the funk elements but also some of the 70’s hard rock, trippy elements.  The way I like to describe it: it sounds like early Chili Peppers meets old Judas Priest meets King Crimson.  It’s even got some prog elements to it.  A very interesting piece of work.  So we’ve got all the music written for that and just finishing up on arrangements.  We’ve finished three songs with Corey and another eight songs to finish up vocally.  Then we’ll mix it.  That will be coming out later in the year.

What do you think of the current political state in the U.S. and the building of the wall on the Mexican border?

Well without alienating any of my fans or potential fans on the right, we’re living in a very scary time potentially. I think people in some sense have lost track; I think really when you get down to it foundationally you have to agree on is the fact that when we take care of each other we are at our best.  That form of altruism is why we’ve succeeded as an organism long term.  And when we start taking the view that we want to be selfish, fearful, and greedy and pick up the philosophy of “I’ve got mine, fuck you” that’s when things start falling apart.  That was the fall of the Roman Empire and the decline of Western civilization.  We really need to treat ourselves and the planet that sustains us compassionately and with intelligence and new science based logic to manage ourselves.  We need to be an educated society and a compassionate society and work for the greater good.

Well stated, I couldn’t agree more. Any final words for the fans?

I would just like to express my appreciation to you and to the people that read your magazine for tuning in and giving a shit. Keeping rock n roll alive.  Music is such an important thing in these trying times.  Music is really a sort of medicine for all of us.  It’s kind of the wilderness of the mind I like to describe it as.  It has that thing that we really can’t completely understand, but it’s so absolutely essential to all of us for our mental health and well being.  We’re all creative beings and we share that whether you’re a guitar player or you appreciate music or whatever.  We are all on the same wavelength here.

Well I’ve been a fan of yours since the early 80’s, and it’s been an absolute privilege to speak with you today. I look forward to all your projects and of course your new KXM record, out now, which is fantastic.  I wish you the best of luck going forward and hopefully will see you on the road with one of your projects in the near future.

We’ll definitely be out there with Lynch Mob. And thank you.

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INTERVIEW: George Lynch was originally published on RockRevolt Mag

[earpeeler]

Joel Gausten – Unified and Alive: Michael Sweet on George Lynch, Healthy Choices and Life After Tim Gaines

Joel Gausten – Unified and Alive: Michael Sweet on George Lynch, Healthy Choices and Life After Tim Gaines

Here is a sample of the interview conducted by Joel with the Stryper and Sweet & Lynch leadsinger: I get a lot of albums by “side projects” or “supergroups” that do one album and one round of interviews, and then they’re out of there. Obviously, that’s not the case with what you’re doing with George. What makes Sweet & Lynch something that you’re all obviously committed to moving forward with at…

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Kane & Lynch: Dead Men cheats & more for PC (PC)

Cheats

Unlockables

Hints

Easter Eggs

Glitches

Guides

Achievements

Get the updated and latest Kane & Lynch: Dead Men cheats, unlockables, codes, hints, Easter eggs, glitches, tricks, tips, hacks, downloads, achievements, guides, FAQs, walkthroughs, and more for PC (PC). AllCheatsCodes.com has all the codes you need to win every game you play!

Use the links above or scroll down to see all the PC cheats we have available for Kane & Lynch: Dead Men.

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Check PlayStation 3 cheats for this game

Genre: Action, Adventure Developer: Eidos Publisher: Eidos Interactive ESRB Rating: Mature Release Date: November 20, 2007

Hints

Currently we have no tips for Kane & Lynch: Dead Men yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Cheats

Currently we have no cheats or codes for Kane & Lynch: Dead Men yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Unlockables

Unlock Playable Kane And Lynch

Kane – Playable in Fragile Alliance : Achieve Rank 35 Lynch – Playable in Fragile Alliance : Achieve Rank 30

Easter eggs

Currently we have no easter eggs for Kane & Lynch: Dead Men yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Glitches

Currently we have no glitches for Kane & Lynch: Dead Men yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Guides

Currently we have no guides or FAQs for Kane & Lynch: Dead Men yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Achievements

Achievement List

50 to Won (25) – Win 50 rounds of Fragile Alliance.

A Lot (15) – Escape with $1,500,000 from a Fragile Alliance heist.

Behemoth (10) – Stop the roaring beast.

Berserkopath (30) – Make the most of Lynch’s condition.

Boomstick (20) – Shotgun messiah.

Bulletproof (10) – Avoid using adrenaline on a level.

Bullseye (20) – Lynch reacts fast at the Exchange.

By the Grace of. (10) – Lynch puts them out of their misery.

Cash Addict (25) – Help to get all the money out in a Fragile Alliance round.

Celebrity (0) – Play as Lynch in Fragile Alliance.

Crime Buster (10) – Kill 10 traitors in Fragile Alliance.

Crowd Control (30) – Surgical precision in the nightclub.

Damned if you do (20) – Let them burn.

Damned if you don’t (30) – No rest for the wicked.

Double Trouble (25) – Kill 2 traitors in a Fragile Alliance round.

End of the Road (50) – Complete the game in co-op.

Family Member (5) – Complete a Fragile Alliance session.

Frag Out (20) – 5 with one fragmentation grenade.

Fragile Alliance (10) – Complete the first level in co-op.

Have Gun, Will Travel Part I (20) – Travel into the Rising Sun.

Have Gun, Will Travel Part II (20) – Counter-revolution.

Have Gun, Will Travel Part III (20) – The Beginning of the End.

Headmaster (10) – 47 headshots.

Hindsight (10) – Get that bird out of the sky.

Impact (20) – Escape from death row.

Iron Flower (50) – Complete the game on hard.

Mercenary (15) – Complete one session in each Fragile Alliance scenario.

Most Wanted (50) – Escape with $150,000,000 from Fragile Alliance heists.

Mr. Play-It-Straight (50) – Win 50 rounds of Fragile Alliance as a merc.

Mr. Popularity (35) – Kill 100 traitors in Fragile Alliance.

Never Give Up (30) – Get 3 personal revenge kills in a Fragile Alliance session.

No Going Back Now (30) – Go to the point of no return in co-op.

Perfect Split (25) – All players split the money equally from a Fragile Alliance heist.

Pushblade Symphony (20) – Points for getting up close and personal.

Return to Sender (10) – Throw back enemy grenades.

Revenge Part I (20) – Silencing the silent one.

Revenge Part II & III (20) – Who’s the old timer now?

Revenge Part IV (20) – Shouldn’t have gotten personal.

Revenge Part V (30) – Glad it got personal.

Rush Hour (15) – Escape in all rounds of a Fragile Alliance session.

Some (5) – Escape with $50,000 from a Fragile Alliance heist.

Sun Tzu (20) – Let your crew do the dirty work.

Sweet Revenge (5) – Get personal revenge in Fragile Alliance.

Teflon (20) – Avoid damage on a level.

The Cleaner (30) – Get 30 personal revenge kills in Fragile Alliance.

True Elite (0) – Play as Kane in Fragile Alliance.

Veteran (35) – Complete 200 Fragile Alliance sessions.