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  1. #301
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    Quote Originally Posted by CaboChris View Post
    The problem I remember from ULAK was that I only listened to two songs from it. The Hunter and It's Not Love whereas every song on T&N was a banger imo.
    DUDE!

    Unchain the night, Lightnin strikes again, In my dreams, Till the livin' end, Sun rise, Hunter...

    The entire album is peak Dokken, imo.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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  3. #302
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    Quote Originally Posted by japeape View Post
    DUDE!

    Unchain the night, Lightnin strikes again, In my dreams, Till the livin' end, Sun rise, Hunter...

    The entire album is peak Dokken, imo.
    I may have to listen again. I've buried that album deep in the recess of my mind. I go by memory and my memory is shot.

    A lot of music from that time I haven't heard since I was 13.

  4. #303
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    I know Lynch stated that Neil Kernon forced him to play more "restrained & melodic,"
    on Lock & Key, and Lynch got his revenge with BFTA.

    But i believe the Producer was right in reigning him in.

    Listen to the outro solo in "Unchain the night."
    It's beautiful phrasing and bends.

    The guy has such great tone in his hands, he doesn't need to blaze on every tune.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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  6. #304
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    It was actually the amp that GL toured with after Lock & Key that was the Slash AFD amp. I believe it was in SIR's inventory as Marshall amp #36. George wanted to buy it, but was rebuffed, as the modded Marshall was SIR's most in-demand amp. It was then rented to G'N"R's management to use for the recording of Appetite. Slash also loved it, and tried to claim the amp was stolen so that he could keep it after recording ended, but one of the roadies accidentally returned it. George had a few Marshalls modded by the same guy who did the original SIR amp, as did Slash.
    "People ask me how far I've come. And I tell them twelve feet: from the audience to the stage." - David Lee Roth

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    Past the 80s... I think Dysfunctional is surprisingly good. I think Shadowlife is surprisingly awful


  8. #306
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    Quote Originally Posted by japeape View Post
    I know Lynch stated that Neil Kernon forced him to play more "restrained & melodic,"
    on Lock & Key, and Lynch got his revenge with BFTA.

    But i believe the Producer was right in reigning him in.

    Listen to the outro solo in "Unchain the night."
    It's beautiful phrasing and bends.

    The guy has such great tone in his hands, he doesn't need to blaze on every tune.
    I think it was the right call, too. It paid off. Bends that never end and well written, well placed, furious licks. Showed another dimension of him as a player and songwriter.

    I've learned a few tunes from the record. The way he combines licks on some of those solos, instead of just scale patterns everywhere...really creative stuff. Several songs have licks in them that really blow you away. Nasty blues parts, too.

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  10. #307
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    Under Lock and Key was definitely the Elektra's "go for broke" moment to make Dokken as a big a success as MC, Ratt, and the like. It didn't exactly pan out but we as fans got a great album. As good of songs as your '80's hard rock/glam metal could get with some great, memorable guitar licks & riffs. I still think the intro riff to "In My Dreams" (after the A Capella part) is awesome. It doesn't sound very heavy on the record (they were obviously going for a commercial approach) but if you learn that little excerpt and crank it up, you could get pretty heavy with it.

    I was an avid subscriber to Guitar for the Practicing Musician and I always loved the George Lynch articles. When BFTA came out, George was really trying to earn the respect of his peers in the guitar world. He said he fought like hell to keep a ballad off the new record, "Mr. Scary" was going to be his swan song. He had also traded solos with Tony MacAlpine on a song or two off MacAlpine's 3rd album Maximum Security. He really wanted to be put in the conversation of the guitarists that were getting all the accolades.

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  12. #308
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    Yes I agree that ULAK was supposed to be their breakthrough album. They even went a little glam with the band wearing makeup and wearing a bit more designer leather. That said they never were going to be a band like Ratt or Motley Crue with sales. Not that Stephan Pearcy is all that and a bag of chips but for some reason chicks dug him. I really can't remember any girls fawning of Don. I also think George wasn't content on sacrificing guitar to make the band as big as they could be. I think seeing the idolatry given to two of his club peers like Eddie and Randy kind of made him concentrate on being noticed a bit more. More than Warren, Mick, guys in Def Leppard, etc He didn't want to be Carlos Cavaso. He wanted to be known like Eddie or Randy. Then Yngwie happened so he knew that guy was going to take the limelight.

    I kind of think ever since then George has been chasing ghosts to a degree. No proof. Love his guitar playing but since the 1st or 2nd Lynch Mob album its been about guitar. Not songs.

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  14. #309
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    I always felt like George, Warren & Viv, along with Jake, were part of that
    "Hot" guitar scene, that was more band orientated & commercial.

    Racer X, Macalpine, Vinnie Moore, Yngwie...

    All those guys had the classical element, the post Yngwie element, so it seemed
    to be a different school of playing.

    I was bummed when Lynch adopted that stuff, because i liked what he was on
    T&N and L&K.

    He had chops, but also a unique style & attack.

    But i remember him complaining how hard it was to keep up with Paul Gilbert
    and Yngwie.

    Demartini was a guy who went the opposite way.

    He got more bluesy & focused on phrasing.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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    yes. George, Jake, & Warren kind of had their own little movement going, but they all wound up giving up on it.

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    Quote Originally Posted by ziggysmalls View Post
    Yes I agree that ULAK was supposed to be their breakthrough album. They even went a little glam with the band wearing makeup and wearing a bit more designer leather. That said they never were going to be a band like Ratt or Motley Crue with sales. Not that Stephan Pearcy is all that and a bag of chips but for some reason chicks dug him. I really can't remember any girls fawning of Don. I also think George wasn't content on sacrificing guitar to make the band as big as they could be. I think seeing the idolatry given to two of his club peers like Eddie and Randy kind of made him concentrate on being noticed a bit more. More than Warren, Mick, guys in Def Leppard, etc He didn't want to be Carlos Cavaso. He wanted to be known like Eddie or Randy. Then Yngwie happened so he knew that guy was going to take the limelight.

    I kind of think ever since then George has been chasing ghosts to a degree. No proof. Love his guitar playing but since the 1st or 2nd Lynch Mob album its been about guitar. Not songs.
    the funny thing is, most of us fans of guitar driven music DO put George in that category of great/influential guitarists. Maybe he just doesn't realize it.

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  19. #312
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    Quote Originally Posted by Naked Wake View Post
    the funny thing is, most of us fans of guitar driven music DO put George in that category of great/influential guitarists. Maybe he just doesn't realize it.
    No doubt! He's on that level for sure. I would hope he knows that. Plus the fact people are more familiar with his songs than they are with Gilbert, Yngwie or any of the others.

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    Quote Originally Posted by Naked Wake View Post
    yes. George, Jake, & Warren kind of had their own little movement going, but they all wound up giving up on it.
    The LA school of shred, which was basically the EVH school of chops.

    The two solo's in Ratt's "Back for more," illustrate the movement:
    Wide bends and insanely fluid, left hand pull offs.
    Lots of Dorian, Aeloian & pentatonic scales.

    They weren't sweep picking or string skipping arpeggios.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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    Quote Originally Posted by PrideofPasadena View Post
    No doubt! He's on that level for sure. I would hope he knows that. Plus the fact people are more familiar with his songs than they are with Gilbert, Yngwie or any of the others.
    I remember Lynch complaining in GFTPM, that Warren was regressing as a player, after being
    so "hot" on Out of the cellar.

    And Jake E. Lee fired back: He is maturing, not regressing. Warren found his true style.

    But, to Lynch, not keeping up with the competition was falling behind.
    Graver, Walking Ed, refugee from CVH & proud tone chaser...

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    Quote Originally Posted by PrideofPasadena View Post
    No doubt! He's on that level for sure. I would hope he knows that. Plus the fact people are more familiar with his songs than they are with Gilbert, Yngwie or any of the others.
    indeed. You really have/had to be a guitar player to appreciate the work of Yngwie/Gilbert/MacAlpine/Vinnie Moore, etc. That whole Shrapnel school of shred. I mean, I love those guys. I really loved David T. Chastain (though he was a bit more elusive) but Lynch/Jake/De Martini had the appeal of a wider audience.

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