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GEORGE LYNCH (Lynch Mob, Dokken)

By A. Lee Graham
Posted 8/02/04

(Pictured: George Lynch)

George Lynch and Limahl share more than the "L" section at corner music stores.

In a warped reinvention of The Six Degrees of Kevin Bacon, the former Dokken guitarist and Kajagoogoo front man are practically neighbors.

“I guess you could say that," laughs Lynch. "But it's true - I stole his hairstyle.”

The sound you hear is guitarists losing their lunch, breaking strings and snapping necks in disbelief.


“Hey, we were all guilty back then,” says Lynch, who donned skinny ties, dyed his hair – even watched Kajagoogoo videos in a nondescript California guitar store. That’s where the man who would reinvent ‘80s pop metal taught students and monitored music trends.

“Maybe we paid too much attention,” says the guitarist, still chuckling at the Kajagoogoo connection. Such self-deprecation contradicts a man better known for battling a certain vocalist.

“Don and I didn’t get along from day one,” says Lynch, referring to Dokken’s namesake founder. When the two joined forces in 1982, Lynch knew the score. The duo would trade melodies – and barbs – with alarming frequency. Disputes turned ugly, yet Lynch stuck to a band that broke the Hollywood bubble – broke the chains, as it were – with a string of hit singles and incendiary guitar licks.

“In My Dreams,” “Just Got Lucky” and other pop-metal staples pushed Dokken to prominence. Meanwhile, Lynch earned his stripes as axman extraordinaire even in the shred-heavy ‘80s. Anyone with teased hair and quick fingers scored record deals, spreading six-string mastery across radio waves.

While legions of Yngwie clones wielded technical know-how, most lacked style. That’s where Lynch killed. His sizzling vibrato and unorthodox picking technique forged a sound that remains among rock’s most recognizable.

Fans know their hero, staring intently at the fretboard, fingers fanned out in rigid intensity. Lynch’s hands move deliberately, his face chiseled with purpose.

“I’ve always loved guitar and had focus,” says Lynch, who honed his skills in The Boyz and Xciter, LA acts competing with the Van Halens and Quiet Riots of Southern California. The "xcitement" ended when Don Dokken called, and Lynch found success. But fame had its price – namely, ongoing tension between the guitarist and vocalist.

Yet Lynch soldiered on, crafting sizzling solos on signature, tiger-striped guitars. From Breaking The Chains through Back For The Attack, the guitarist blazed a trail often imitated but never duplicated.

Sadly, things imploded on the Monsters of Rock tour. Playing alongside Metallica, Van Halen and other heavyweights, Dokken found itself drained. Substance abuse and infighting took their toll, with Beast From The East a surprisingly tight – though thinly recorded – live document to the downfall.

Lynch soon bailed, leaving the band pondering an uncertain future. The guitarist struck back with Wicked Sensation, the 1990 release that pushed Lynch Mob to public acclaim. With Oni Logan handling vocals, the hard-rocking quartet delivered straight-up raunch ‘n’ roll. From “She’s Evil (But She’s Mine)” to “River Of Love”, the debut dripped sweat and swagger.

Lynch Mob followed in 1992, featuring Robert Mason on vocals and a cleaner sound. Retaining a modicum of Wicked Sensation’s raunch, the disc carried its own personality. The band’s namesake guitarist continued to improve, releasing Sacred Groove in 1993. The mostly instrumental solo debut saw Lynch explore myriad styles and stretch out like never before.

Yet the axman returned to Dokken for Dysfunctional. The title proved prophetic, as the 1995 reunion dissolved almost as quickly as it appeared. Lynch returned for Shadowlife, but the chemistry was never the same. So – as he always does – Lynch followed his muse.

That sense of musical adventure polarized fans with Smoke This. More Korn than classic rock, the 1999 effort reinvented the band as rap-rockers. Fans rebelled.

“Yeah, they wanted the George Lynch they knew,” says Lynch, who responded with REvolution, Dokken tracks re-recorded with a rawer edge. Still thirsting for a challenge, Lynch teamed with Saigon Kick founder Matt Kramer for Stonehouse and engineer Sean Fodor for Microdot, even more removed from Dokken than Smoke This.

“That’s what it’s all about, trying new things,” says Lynch, whose latest project comes full circle.

Furious George features Lynch covering his heroes. From Ronnie Montrose, Billy Gibbons and Robin Trower to Ritchie Blackmore, Jeff Beck and Jimmy Page, Lynch lays furious grooves over some timeless tunes. And in this ElectricBasement interview, he chats old school, new school and real school.

If one word describes the guitar tone of "Space Station #5," your take on the Montrose classic, it's raw. It sounds like you just plugged in and went for it. Is that the vibe you were going for?

That's exactly what I was shooting for – nothing premeditated. That's what was fun about it.

You mean a first-take approach instead of endless studio retakes?

I don't mind that, but this was something different – definitely different than Lost Lynch, another project I'm putting out. It's a retrospective of stuff I've done. Like this old 45 record I pulled out called A...

As in the letter?

Yeah. The cover is a hand-drawn pencil drawing of a spaceship in the shape of a giant A. My friend had me play on it in a hippie studio in Topanga Canyon. I remember being really nervous. I hadn't played on anything before. I played my ass off. I was 17. It was fun. I was only worrying about playing guitar.

With Furious George, why did you draw only from the late-'60s and early-'70s?

Because that's the era that most influenced me as a guitar player. It made me really try to develop my chops. I wanted to hone a style. Those players made a big impression on me – Hendrix, Clapton, Page, Leslie West. And definitely Michael Schenker, Uli Roth.

On the liner notes, you indicate that Furious George may inspire future compilations. Is that your plan?

Not a series so much, but at least one more in the next few years. If I had to do over again, I would have wanted to be more involved with the arrangements. We just blew over these songs (laughs). But it works great.

Sounds real spontaneous.

Yeah, but I wish I had a more interesting pool of songs in advance, pre-Hendrix stuff like Curtis Mayfield, Rufus ...

Influences of your influences?

Yes, but mine, too. R&B - the early stuff. I was a Beatles maniac when I was 10 years old. Johnny Winter later on.

Furious George is packed with great covers – not just performed well, but songs that were well-chosen. What influenced your song selection?

It wasn't a struggle. Mike (Varney, producer) liked to steer things into the realm of accessibility, bands people knew. So that's where he was coming from.

Sounds like Furious George was a collaborative process.

Yeah, in a way. Getting back to what songs we did, a couple we recorded but didn't release. Like "Evil Woman" by Spooky Tooth.

Might they end up on B-sides?

We never finished them, so no, I don't think so.

What songs came naturally? Which ones proved the most difficult?

Songs I thought would be easy were difficult. "You Shook Me" and "I Ain't Superstitious" were difficult.

Was it the rhythmic approach, the arranging? Something else?

The arranging, primarily. Mike decided to extend them to accommodate longer solos. I'm sure the way (Jeff) Beck recorded was with a live band. I didn't record my parts until afterward. The live thing is what I really missed.

Being in the same room?

For that song (“I Ain’t Superstitious”), yeah. But for "Stormbringer" and the Trower song ("Bridge of Sighs"), they worked that way. You don't know until you're there and start recording what the situation will be.

Many listeners would be surprised at your blues influence, even though Lynch Mob had a gritty, bluesey backbone. But what set you apart from other '80s virtuosos was your signature vibrato. Many players had impressive technique, but you had the whole package.

I was never that. Honestly, I don't know anything about music. I don't know any scales really.

Then you're an incredible faker.

(laughs) Thanks

What Furious George tracks are you most proud of?

"Bridge of Sighs" and "Stormbringer" are my favorites. Like I said, initially I was into The Beatles and, of course, Beck, Clapton, Page – the big guys. Then there was Trower.

To this day, your work on Tony MacAlpine's Maximum Security ranks among my favorite Lynch material. The way you guys traded off on "Tears of Sahara" was awesome.

That was my first experience with Mike.

Well, it's a relationship that's obviously lasted.

He's just an extremely intelligent, funny person. He's so wonderful to work with. Even without the business aspect, he's just a sweet, sweet guy.

Who's in your current band?

Kelly Keeling, Mark Anderson on bass, Jeff Martin on drums.

Please clarify something. Is your present band named Lynch Mob, the George Lynch Band or just George Lynch?

Lynch Mob is no more. Like you said, there were too many confusing entities out there.

Even Lynch Mob had multiple identities. Wicked Sensation was this balls-out, sweaty hard rock album, and Smoke This was rap-metal and even techno in places.

It's all me. You can take Sacred Groove, Lynch Mob - all these projects, and it's all George. I can go on tour this year or next year, and you know I can play anything from those past releases.

I may include some newer material. There's a record I did with Matt (Kramer) of Saigon Kick. I'll release a small sample on <i>Lost Lynch</i>. Stonehouse is the project. The other project is called Microdot with London, the lead singer of Brides of Destruction.

You and London? That's a unique pairing. What does it sound like?

It’s ultra-heavy at times, but almost has a ... Rufus (laughs) influence. Maybe a little NERD influence. Pharell (Williams, of Neptunes, NERD) produces a lot of pop stuff. I was always into Timberland, a hip-hop producer and programmer. He's an amazingly talented guy.

What's the Stonehouse stuff sound like?

Like elements of Alice In Chains, but Matt has a more Bowiesque voice.

Any confirmed release dates?

A sample will be on the Lost Lynch double CD, but as for a full release, I don't know.

From metal to rap-rock and other styles, you love challenging yourself. But do you ever get a sense that your fans want you to stick to hard rock? Do you feel restricted or pigeonholed as a player?

Absolutely restricted.

Is that frustrating?

Yeah, but it's enlightening because you need to stay grounded and maintain connections with what you've done. What fans don't understand is they're not seeing the missing links.

The missing links?

Yeah, there are connections there that they're just not hearing. Sometimes I do projects as a cathartic release. I spent years with Stonehouse in my Northern California studio. But if you look, you can see this line, this connection, between my early stuff and this later stuff.

Listeners only hear the finished product, not the months leading up to the complete discs. So you're saying a new style doesn't come in a second. It's a progressive evolution.

Exactly. Only about 20 percent of what I do they hear. I'm releasing Xciter on the Internet and live stuff, too. A lot of those songs ended up being Dokken songs. Where do these Dokken songs come from? Well, "Paris Is Burning," "In The Middle," "Seven Thunders..."

All Xciter?

A lot of them, yeah.

Sounds like Breaking The Chains could have been an Xciter album.

That's what it was really.

Dokken had an old song called "Going Under" or something similar that you performed live around the Breaking The Chains days. Lyrics were like "I like my women and I love my booze/fast cars and expensive shoes." Was that also originally Xciter?

(laughs) Wow, that's going back. It was very loungy, as were a lot of Dokken lyrics. Look at "Just Got Lucky” – all these cheesy lyrics.

Was it an Xciter track?

Yeah, that was for Xciter, as well. That's going to be on Lost Lynch.

Will the Xciter stuff be online, or can we expect a CD.

Just online at this point.

I always wondered what Xciter would have sounded like had you stuck it out.

We were a great live band. Ballsier than Dokken.

If things were so great with Xciter, why join Dokken?

We did shows with Van Halen, Quiet Riot. We packed houses all over Hollywood. Quiet Riot managed to get signed. Van Halen obviously got signed. So did Ratt and the rest. We got left by the wayside. We became frustrated, so we hopped onto this new-wave bandwagon.


(laughs) Yeah. Our vocalist, Greg - we got rid of him, which was a terrible idea. Then we got this girl singer, Lisa, who was great, but it was a bad idea. She put on some weight and we started wearing these skinny ties.

Trying to steal Knack fans?

(laughs) Oh man! We were this Orange County band from the same era. We weren't immune to what was happening around us. I think that's what killed us. We were floundering. We played some shows together with Don Dokken, and Don said he had an interest in recording one of my songs.

He had a publishing deal in Europe. I said, "I'm listening." So next think you know, he's asking to come by and hear my material and do a deal. He wanted to record it for some money. I said cool.

But he never called me back or showed up. He went to Europe and sold the song, but didn't put our names on it. He put his name on it, made money and spent it. He came back to America and asked for me to form a band with him. During this conversation, I brought up the song issue.

I bet you did!

I asked to see the paperwork on the publishing deal. He was very nervous about it. In the back pages (of the contract) was a signatory page with his signature on it. It said "Paris Is Burning" written by Don Dokken.

Why didn't you sue Don right off the bat?

When Don rips someone off, he covers his ass. He really does. That's exactly what happened.

So then why didn't you go after him?

It's difficult to sue anyone in Europe.

I suppose it's more an American pastime.

Yeah, but what was I going to do, pay in Deutsche marks?! I drove a liquor truck, so I didn't make enough money to hire a lawyer. On the one hand, you can sue; on the other, you can join his (Don's) band. It's always a dangling carrot. He's a very clever con artist.

Not exactly the best way to start a relationship – musically or otherwise. It sounds as if your partnership was doomed from day one.

Yeah, we had animosity from the start.

But musically, it worked.

The musical integrity and chemistry was more for myself and the way Jeff and I worked together – and Mick, to a lesser extent. To be fair to Don, he had his own thing going on. But Jeff, in the later years, they had a good relationship, as well. You've got to put a lot of that on Jeff. I have to give him a lot of credit.

It sounds like Jeff had more tolerance for Don than you.

He did.

To this day, fans discuss the possibility of your returning to Dokken. Is that even a consideration? I mean, is the door open?

If Don's man enough to where there's enough money there to make him overlook this stuff, it might be worthwhile. On one hand, I don't think there is. Second, Don being the selfish, self-centered person he is, he spent his whole life cutting others out of the pie.

It would have to be a democracy. Personally, I'm not anxious but, I’ll still keep my options open.

As a player, I'm curious about what you think of Genz Benz heads. My friend Bill just acquired one. What makes them unique compared to other brands?

I was working with Jeff Genzler and came up with different cabinets. Then I got involved with Peavey. I've been developing an amp which will be unveiled at the NAMM show in January.

What's the amp called?

The Brahma.

As in the bull?


Is it a George Lynch signature model?

Definitely. I've been all over it, working on it for years. That precluded me from working on the other amp. So I'm not working with Genz Benz because of that. Jeff's a wonderful guy.

What's your take on those who are performing your material? Reb Beach? John Norum? Alex de Rosso? Jon Levin?

I've heard them, and they're good. My son goes to GIT (Guitar Institute of Technology in Hollywood, Calif.) and I hear guys who blow me away every single day. The competency level of guitar playing is constantly being raised.

But what of the guitarists taking your place in Dokken. Is it weird hearing what you write played by other musicians?

It's not like it hasn't been done before. I mean, look at Deep Purple. It's all been done.

What guitarists impress you these days?

I plead ignorance. I'm listening to different stuff. Like last night, I listened to Sirius (satellite radio), this jam station playing Phish-type stuff. Trey (Anastasio) is great. I like everything.

I always wanted to ask what sparked your interest in weightlifting. Guilt over those partying years with Dokken?

It feels good for anyone to feel healthy. But I grew out of that. Like I do with most things, I took it to an extreme. Then again, I also had boys I was raising and trying to keep out of trouble. Then I did martial arts, bike racing ...

Meanwhile, your fans wanted you to lift weights less and play more.

Yeah, it was hurting my playing a little. It's hard for me to just sit there and live in my guitar. I go through my periods where I'll play until my fingers bleed. It happened on this last tour, around the time of Furious George.

Yeah, I caught you play the Dallas Guitar Show.


No. Unfortunately, I had to miss that one. I mean the Dallas Guitar Show in April. You played with Maylee Thomas.

Oh yeah. We went on after Satriani.

Yeah, you were smoking.


The crazy '80s are long since gone, and you're a family man now. How do you balance being a rock guitarist with the responsibilities that family entails?

Even when I'm deeply into playing, there's still 90 percent that is not guitar playing. It's being on the phone, on the computer. I have three kids from a previous relationship and an adopted son.

So you have all these other commitments.

Yeah, and I have grandkids.

Mr. Scary is a grandfather?!

(laughs) Yeah.

That reminds me. I always wanted to know where the nickname "Mr. Scary" came from.

From me, of course (laughs) We'd be on the road for three or six months at a time, and playing 40-minute sets as an opening band, not playing every night. We'd get into trouble.

So it was about your mischievous side.

My mischievous side, yes. My scary side.

Can we expect any more Lynch/Pilson projects.

Not now. I want to focus at this point. But what's interesting are Dokken songs with Jeff singing on them. That's also a part of Lost Lynch.

One last question. Did Limahl of Kajagoogoo steal your hairstyle from the Breaking the Chains days? I’ve got money riding on this.

He did it first, and I copied it.

Really? George Lynch copied his hair style from the guy who sang "Too Shy?"

Yeah, and being a liquor truck driver, it made life more difficult. The hair caused quite a stir.

I'm guessing you saw the video and said, "That's cool."

I jumped on it pretty quickly – before the video came out, actually. I gave guitar lessons at this Cerritos guitar store, and we heard about all the new music before anyone. So we knew about it (the "Too Shy" video) before anyone.

Any parting words for your fans?

Check out Furious George, and go the the website and check out Xciter. We also have the Lynch Mob DVD, a DVD of this year's live show. That DVD is more of me soloing right through the whole set.

Mon Aug 02, 2004 5:42 pm
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Good one...thanks for posting.

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Tue Aug 03, 2004 5:07 am
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good stuff

You are way too stupid to know what a zygote is, motherfucker.

Tue Aug 03, 2004 3:33 pm
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That's cool that Lynch is keeping it fresh. Good read!

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George Lynch
by Susie Salva on Thursday 29 July 2004

Guitar god, George Lynch, unleashes his latest solo record “Furious George”. The album is a collection of cover tunes with extensive guitar solos that are unbelievable. Lynch exhibits an awareness, sensitivity and mastery of a variety of styles on this disc as he traverses through musical territory originally recorded by such artists as Led Zeppelin, Deep Purple, Jeff Beck, Montrose and Mountain. In a recent phone conversation, Lynch discusses his new CD “Furious George” and how he’s remained relevant for over twenty years.

What made you decide to record cover tunes?

It was sort of a sigh of relief that I could do a record without having to having to reinvent the wheel. Taking the songwriting element out of doing an album, and all the other issues of recording, and the other components of doing a record, just made it fun. It’s always fun, but it’s just a monumental task recording new music that it is not something I was ready for. I really wanted to do a recording. I just come off three 1/2 years of intense recording and half of it never made it to the market. Basically, I’ve been entrenched in recording. But I do want to play guitar so this CD (Furious George) is the perfect vehicle for me.

You mentioned an array of musicians that inspire you on “Furious George” What people have inspired you to create the music that you are creating? Why?

That’s kind of the point of the record. These people I’m covering on these bands and guitar players I am respecting by covering their material and interpreting it. Obviously, they are not the only ones that have inspired me, but they would have to include Beck, Page, and Clapton.

What inspires you to craft a song?

I try to create an atmosphere. The atmosphere is somewhat demented, sinister, sounding thing in my head. Or commercially, a hook that pops into my head. Or
a particular groove that pops into my head. I’ve got this groove locked into my brain to express it in a song. I try to get that idea across with my drummer or drum machine. But either way it’s some sort of inspiration that comes along. Usually, it’s a groove. I’m not a songwriter that has a particular message to express.

Why did you choose this type of music to express yourself?

The music that I’m trying to express is a different than the ideas that I’m trying to express. For some reason, I’ve not been very successful at expressing ideas as far as something I feel strongly about or a concept intellectually. Musically, I express myself. On my last solo record in ’92 I think it was I did get more heavily involved in trying to express my views, but I don’t think I did a great job at it. It’s embarrassing, but it’s a fact that the ideas I believe in I just couldn’t eloquently verbalize them in a song. I’m just not a great lyricist. I had some help on that record.

It appears as though you are writing the songs or performing songs that resonate with you regardless of what you think other people are thinking about you?

Well, that’s probably come to hurt me. I think to myself that people are like me. They want to hear you do something outside of your expectations. To show that your limitations are not as inclined as you thought. I think people like that, but I found that people don’t generally like it. They want their chocolate to be chocolate, and their vanilla to be vanilla. They want their AC/DC to be AC/DC and they if they want a different form of music and they buy that type of music. They don’t want their artists to be everything for everyone at all times. Not that I have intension to do of trying to do that either, but people do change. Some people don’t and I’m one of those people that do. I have a concrete thing that I’m about that I always retreat to the same kind of riff that I play. Same style that I have on the guitar.

But my musical aspirations have changed. It’s sort of frustrating in a lot of recording I’m doing in the past five years is a lot of it has not found it’s way into the market. I thought it was the best work I’ve ever done.

What do you attribute the main reason for your longevity and subsistence all these years while other ‘80s musicians fell to the wayside?

Persistence. But, also I have something to say. Absolutely, I know in my heart and I’m very feverous about that fact that I really want to get what I do across to people. It’s really not my mainstream stuff. It’s like this band the Flakes. The project never really got completed cause they were a bunch of flakes. It was so much fun. It was all heavy. Kind of post Alice in Chains, Lynch Mob. Really good stuff. You’ll never hear it. You know, stuff like that is a shame. It was very frustrating to me. I have to look back four of five things that I have done. I can write songs and I can record songs, but the problem is I have trouble following them through. So many musicians have that problem You’re hot on day. You’re cold the next. If you don’t have a publicist or you don’t have a huge label or have super powerful management you won’t get anywhere.

You have them all?

I do, and I don’t depending on what year it is. I mean, it is a very volatile business. If you don’t have all your ducks in a row and you don’t have all the links in the chain, you’re in trouble. The wonderful thing about the first Lynch Mob record we had everything aligned. We did have everything in place. It’s a little more challenging these days.

How do you remain relevant?

I used to think that keeping up with whatever I was currently hearing on the radio, or whatever my daughter was listening to. But, I think staying true to yourself. My music is never really ever going to be uncool unless I try to follow trends. I try to do the opposite of what is going on. This is what is interesting with the “Furious George” record I can really focus on the guitar. The songs focus on the 70’s, but I really could have gone back farther. They are actually are more relevant, because that stuff is still cool despite thirty-five years of change of music that is generational. It’s still great. I would even go back further.

What is your ultimate goal with this CD?

I think the CD “Furious George” is another piece in the puzzle. It’s not a hug piece, but it’s a piece. It is a very important one.

If you had to pick one track you liked most on” Furious George” what would it be and why?

I’d have to say two tracks. I put most of my favorite tracks on the front of the record and my least favorite tracks on the back of the record. My two favorite songs are “Stormbringer” and “Bridge of Sighs.”

Tell me a little about Stormbringer?

Obviously, a Deep Purple song, Glen Hughes and David Coverdale. Not quite as well known as other material, but a great songs nonetheless. It’s classic Deep Purple. I was in a band called the Boyz, and I sang lead. I was a very bad singer, but that was one of the songs I sang and I played lead guitar, too. I thought it was fun to go back and record the songs I had played in my youth. We did “Space Station #5” and “Bridge of Sighs”.

Talk about “I Ain’t Superstitious” I think you were very true to the tune.

Well, I struggled with that tune. This song is not a natural fit for me, but in the end I think we did it justice.

How is your touring going? The band that is backing you now is the same band that appears on “Furious George”?

Yes, it is the same band. Kelly Keeling on all vocals, Jeff Martin on drums, Gunter Nezhoda on bass, Kevin Curry on rhythm guitar and Mark Robertson on organ. We did quite a few dates with Yngwie (Malmsteen) Forty-seven nights, some nights we did two shows.

If you weren’t a rock star what would you be doing?

Probably, the same thing I’m doing right now. I don’t really classify as a rock star. I’m just a guy with four kids and three grand kids being at home, mowing the lawn, and fixing shit. I work hard just like everybody else. Most of what I do is on the computer and I have a website. ( At lot of people help me I have a large tight knit band of friends.

George Lynch, an insane guitar player, retains his individual sound and character. Lynch is articulate and very focused. As is probably obvious, Lynch is regarded by the guitar playing community as one of the best guitarist of all time. Lynch is very humble, but a powerhouse on guitar. The CD “Furious George” documents an example of some of the greatest music ever recorded. The songs Lynch has recorded on “Furious George” are true in form and retain relevance now in ’04.

Tue Aug 03, 2004 6:59 pm
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Mr Scary wrote:
If you weren’t a rock star what would you be doing?

Probably, the same thing I’m doing right now. I don’t really classify as a rock star. I’m just a guy with four kids and three grand kids being at home, mowing the lawn, and fixing shit. I work hard just like everybody else. Most of what I do is on the computer and I have a website. ( At lot of people help me I have a large tight knit band of friends.

Keeping it real as always.

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Tue Aug 03, 2004 8:23 pm
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Shredfestival wrote:
Mr Scary wrote:
If you weren’t a rock star what would you be doing?

Probably, the same thing I’m doing right now. I don’t really classify as a rock star. I’m just a guy with four kids and three grand kids being at home, mowing the lawn, and fixing shit. I work hard just like everybody else. Most of what I do is on the computer and I have a website. ( At lot of people help me I have a large tight knit band of friends.

Keeping it real as always.

That's a funny quote. George was SUPER cool on the tour...under...some serious duress from the YJM clan. I saw 2 shows....and he was totally different without YJM around. The YJM show....he showed more restraint than I could have....Personally, I would have wrapped my guitar around someone's head a few times....

I personally would love to hear Jeff/Kelly and George do an album with originals. Vocally, Jeff and Kelly match up great....I think Jeff's mastery of time, would add creatively to the songs....and Jeff, as we know has been known to write a song or two. ;)

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Wed Aug 04, 2004 2:07 am
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