Vintage Guitar - January 2018 - open - 62

COLUMN Fretprints
Syzygy (1998) and Smoke This
(1999), which were Lynch
Mob/solo affairs.
Lynch has stayed active
in the new millennium. He
partnered with Pilson to produce Wicked Underground
(2003), continued to record
solo albums including Furious George ('04), an album
of cover tunes called Guitar
Slinger ('07), Scorpion Tales
('08), Orchestral Mayhem
('10), Kill All Control ('11),
and Shadow Train ('15). 2008
saw another band effort,
Souls of We and the album
Let the Truth be Known,
followed by a tour. In '09, he
recorded a Christmas album
with the Stahlwerksinfonie
Orchestra, then Lynch Mob
reemerged with Smoke & Mirrors ('09), Sound Mountain
Lynch is a master of hard-rock/metal riff writing.
interval (F# and C/third and seventh of D). The latter
Sessions ('12), Rebel ('15), The
This example from "It's Not Love" illustrates two
two are commonly found in jazz and blues comping
Brotherhood ('17) and several
favorite devices. The first four measures feature his
and colloquially called "shell chords." Note the entire
live albums. Other projects
trademark use of the tritone dyad in two characterisfour-chord pattern is the result of moving notes (chord
in Lynch's career include
tic forms. Both are the product of clever voiceleading.
voices) down by half steps (E to Eb and G to F#). The
collaborations with singers
The first occurs when the A5 (A and E/root-fifth)
main riff in measure 5 contains triads from different
Vince Neil, Stephen Pearcy,
power chord is altered to produce an A tritone interval
modes (F from the Aeolian and D from the Dorian)
John Corabi, Raven Quinn,
(A and Eb/root-flat fifth). The second continues the
posed over a steady A bass-note pedalpoint. It is
and Doug Pinnick. His most
pattern from a partial Am7 fourth dyad (G and C/
approached from below by a palm-muted bass line,
recent endeavor with Michael
seventh and third of Am) to a partial D7 tritone
another staple of George's rhythm guitar approach.
Sweet of Stryper resulted in
Only to Rise, which found
success on Billboard hard rock (#6), Christian numerous Dokken tracks like "Into the Fire," tion," where he employed legato slurring on
(#4), and indie charts (#17), and reached #120 "Tooth and Nail," and "Mr. Scary." He sought melody notes to create sliding quasi-vibrato
on Billboard Hot 200.
to capture the grungy blues-based feeling of decorations in "All I Want" and countless
post-Seattle rock in "Too High to Fly." By other solos. He frequently uses legato phrasing
contrast, "I Will Remember" evokes allusions a la Holdsworth in longer intricate lines, as
INFLUENCES
Lynch's influences include the Beatles, Jeff to Mark Knopfler in the theme mixed with in "I Will Remember." His solos are replete
with thematic melodies and convey a sense of
Beck, Eric Clapton, Jimi Hendrix, Michael Lynch's familiar shredding in the solo.
Lynch's lead playing is colorful and ex- structure, often building to a climax of note
Schenker, Jan Akkerman, Al Di Meola, Roy
Buchanan, Frank Marino, Gary Moore, pansive. He embodies the quirky rhythmic flurries, as in "Just Got Lucky." "Alone Again"
Edward Van Halen, Randy Rhoads, Yngwie phrasing of Jeff Beck, the bluesy shred of suggests a Eurometal influence with a mix
Malmsteen, Muddy Waters, Albert King, Al- Gary Moore, the passion of Van Halen and of singable melodies offset by furious bends,
lan Holdsworth, and Christopher Parkening. the florid passagework of Yngwie Malmsteen. blues phrasing, myriad pinch harmonics, and
He is adept at mixing modes, fashioning fast runs in the right moments.
melodies that freely blend common blues and
Mark Kendall, guitarist in the original Great
STYLE
In an age overrun by facile rock guitarists, pentatonic scales with evocative tones from White, contends Lynch was employing tap-ons
Lynch developed a sound and style within a Mixolydian, Aeolian, Lydian, Phrygian, and before Van Halen popularized the sound,
largely conformist mentality. Though he swam Dorian modes. He's fond of exploiting shapes perhaps gleaned from players like Harvey
with the school of '80s high-gain shredders in his solos, as heard in early improvisations Mandel, Billy Gibbons, and Larry Carlton.
and metal monsters, he was distinguishable such as the ascending sequences of "Into the He judiciously applies tap-ons, sometimes
by his touch, tone, manner of ornamenting Fire." In "Street Fightin' Man" and "Sweet rendered as specific themes and sometimes
melodies, rhythmic phrasing, vibrato, and Sister Mercy," he expounded on the shape as embellishments of pure improvisation, as
string bending. His approach can be described idea with unusually wide physical stretches within the ostinato licks of "Wicked Sensaas heavy-metal with blues-rock and melodic and intervallic melodies. His shape concep- tion." He pursued thematic tapping patterns in
elements. Metal virtuosity was evident early tion also applied to rhythm figures like song "Tooth and Nail"; used there not as a random
on in the intro to "Paris is Burning" and on riffs of "It's Not Love" and "Wicked Sensa- effect but compositionally in the same sense

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