 Jimmy K here, Metal Voice. Look at us. The Metal Voice shirts are now on sale. Just go to the video description to find out on how you can purchase one. Metal! I'm welcome to the Metal Voice today. He's the first time on the show, right Alan? Yes, yes this is a huge thrill for us. We've had Don, we've had Jeff Pilsen a few times, but George Lynch, he's the man. I mean we've been waiting for George. Yeah, it all kind of builds up to the point, you know, where you get to actually talk to me. George, George. As my good friend Cork says, this is what experience, yeah. You'll find out in the course of the interview how amazing it's going to be. The end machine, the end machine. I feel so lucky for you guys. I'm happy for you guys to be able to talk to me. I know it's such a privilege for you and sometimes I do these interviews and people, you know, because I like doing them because I get to talk about myself a lot. Over and over again, but then there's these guys sometimes that they want to talk about themselves or something and I can't even remember what they want to talk about because I usually just lose interest and go to sleep. We just lost your video. George, we lost your video. You were spouncing up, but there you go. Speaking of everything being my fault, yeah, that's my wife falling in. So George, let's talk about me and Alan for a while. So George's second best quality is his modesty, of course. Right. It's a false modesty. There you go. If you exercise false modesty, then people will... The muffins are ready. Oh dude, everything's my fault again. The muffins are ready in the oven. You might want to go check it. That's my wife texting me that just reminding me that it's... That is your fault. Friday and everything's going my fault. Enough about you, George. What about us? No, enough about me. What do you think of me? The end machine phase two. Let's get into it. Launch today. Phase one, I guess, made our top... It made our top five list back in 2019, albums in 2019. So we're very anxious to hear phase two. Yeah. We'll hear phase three. Okay. Well, there is going to be a phase three. Is that what we were saying? 50% better. What else are we going to do? I mean, if I don't keep making these records, I might have to get a real job. People will be on to me. They'll be like, this guy doing it. Let's see. George Lynch on guitars. Jeff Pilsen on bass. Robert Mason on, of course, on vocals. Pardon the pun without skipping a beat. Steve Brown on drums. The brother of Mick Brown. Yep. We've heard of his mild Steve Brown. Mild Steve Brown. It's kind of like Jason Bonham, the son of John Bonham. It's sort of like within the family, right? You're keeping it within the family. Yeah. Eventually, all our younger brothers will be in the band and there'll be any original guys left. They'll send us a check. Well, that's actually our five o'clock show today. The original members are part of a band. Is it still considered the real band? I don't know. Is the real band considered the real band? If every molecule in your body has changed numerous times since the 80s, then are you still the real band? Yeah. Real band had to find real band. Yeah. Exactly. But look, let's get back to phase two. Blood and money. What a way to open the album. And I mean, your soloing on that song says it all. It sets the tone for the rest of the album. What we set out to do with that solo was create the world's longest, most tedious guitar solo. It's got everything you want. It's right there. Yeah, I'm pretty sure I have to prove something. I don't know. I don't know. I'm sure what I was trying to prove. But I think it has, you know, I noticed people listening to it, looking at their watches a lot. I don't know. That means anything. I don't know about that. I think it's great, but that's just my opinion. And I'm always wrong. You're usually wrong and your wife will probably attest to that. One of them. All of them. Like when I put this on, I didn't think it was docking. That's the last thing I thought it was. Was it intentionally supposed to sound like docking? Or is it just another beast? Well, we set out to recreate the chemistry and the mentality of the writing process and the compositional chemistry that Jeff and I had and the things around us and the things that we thought about and the things that were, you know, had carried more weight in the writing process. So that's what we tried to recreate. Not necessarily plagiarizing docking songs or sounds, but just being in that frame of mind. And I think we did a good job of that. And in other words, when formulating the song structures, in more recent years, sometimes we've sort of defaulted to this position of, you know, well, we've done all these more basic kind of records in the past, you know, decades, and we've established we can do that. So we need to prove that we're geniuses are really smart or whatever the hell. And we can do other things and like play in different time signatures and go out of key and play to changes and whatever, you know, be interesting. And that's all wonderful. And we did more of that with the first machine record. I mean, that was kind of, you know, whatever was it was a mix. It was a lot of different elements on that record. It's very interesting. And I love it. But then we decided on this record to go back and place more importance on the fundamentals, like having as good a hook as big a hook as possible, memorable, sing along hooks, you know, and so people, you know, really easy to digest the name of the song, the title of the song, and the chorus is and, and then have easily accessible and digestible, you know, like tempos and structures, you know, ABC, ABC, bridge, AC, you know, whatever it is. I mean, it's a real tried and true simple Western music formula for Western pop music and rock music. And we just kind of went back to that with some, you know, some other things in there. Of course, you know, didn't make it completely dumb. But you know, really, I think what comes down to it is just giving the majority of people what they want. And in some sense, we are selling a product. And it become really challenging for us in later years to, you know, recreate that thing that people know and love about what we do or have done in the past, you know, because we constantly hearing these complaints is, okay, you're reinventing yourself and you do all these other things. But what about the core thing that you're known for? How can we don't do that anymore? We want that. So we had to address that. And it's been, it's hard to do. It's probably the hardest thing for me to do. And I think for Jeff, I can speak for Jeff as well, is to recreate something that we were 35 years ago. Yeah, very, very difficult to do that. And I've tried it before and not succeeded, where I've had better access to reinventing myself and doing other styles. For instance, I've got a project called The Banishment I've been working on for many years. And that's very industrial-esque. And I love it. It's dark and it's heavy. And it goes, you know, always density to it. And that's completely on the other side of the planet than, you know, you know, my legacy stuff. But I found it easier to fit into that than it is for me to go back and recreate Ebony's 80s style composition. Well, no, thanks for confirming that, because that's exactly what I took away from this album, what was so different on the first one is really gone back to what I call, you know, meat and potatoes on this phase two. So, but again, you know, some of the great tracks and talking about the 80s, I mean, I'm listening to the devil's playground and you got Robert Mason in the middle with this little rap there. And, you know, the whole party scene, the whole coked up party attitude of the 80s is kind of summarized in that song. Were you ever, you know, you're a healthy guy, you've always taken care of yourself. Were you ever part of that scene in the 80s? Oh, absolutely. I was the main guy. You're the guy. Let's make an album. Let's make an album. Yeah, right now. Well, you guys want some coke? Yeah, it's, I think it's illegal in Canada, right? Still. Weed is legal. Weed is legal. Coke will be legal soon. So, stand by. What's weed? Is it like coke? I don't know. It's like coke. I'm kidding. It's a scene from Steve Martin, Mark Shortman, the Three Amigos. The Three Amigos. Where they're in the bar and he wanted some milk and they wouldn't have milk. He goes, what do you have? He goes, well, I have a beer. We don't have beer. He goes, what do you have? He goes, I got tequila. He goes, what's that? He goes, it's like beer. It's like, it's like milk. All I remember is that long note. We are the Three Amigos and they sustain it for about, you know, two minutes. That's what I remember from that movie. Yeah. It's one of those movies when you're like kind of just had it up to here with kind of everything, you know, just for something light, you know, just go back and watch it for the 20th time. It's pretty funny. You know what, you know what I hear about in this album? George, I hear a white snake. I hear dual guitars like Maiden. I hear a little bit of Queen's Rite sometimes with the sound effects coming in and out. I don't hear Dockin. Maybe one song kind of sounds or reminds me of Dockin, like Shine Your Light. Am I right about this? Is there just infuse with different sort of influences? Sure. I mean, it always has. All the Dockin stuff was just wasn't, I mean Dockin wasn't a pure thing. Dockin was just a bunch of other influences. It was a whole lot of Judas Priest and Dockin. It was easy. And you name it. I mean, just about anything, you know, that you could pull from our respective influences in the late 60s and all through the 70s and even contemporary bands at the time that were influencing us. So we weren't immune from influence. I mean, that's all Dockin is an amalgamation of all our influences and continued and everything we create now is a continuation of that. And Dockin is one of our influences. Yeah, it's kind of like a hall of mirrors, you know, infinite mirrors. But I mean, you know, you got Lynch Mob, you did stuff with Michael Sweet. I mean, what's next for you? Like, how many times can you reinvent yourself? Like you said earlier? Well, I don't really reinvent myself. I mean, I'm really sitting here doing the same thing on that I do on every record. The only difference is the style will tend to change in my based on who I'm working with and what the idea of the music is. And that's usually just dictated by the people in the band. So when I work with like Project Infidelica or Ultra Phonics, you know, that's a whole funkier thing, right? So the guys are, you know, Pontchart Tomaselli from War is coming in and, you know, Angelo Moore from Fishbone is in the band, you know, so we're not going to play Iron Maiden stuff. Or we might take, I might bring something to table. It's kind of hard rock like that, you know, typical thing that I do. But in that context, it becomes something totally different. You know, because you got a different, you know, you got a drummer that's playing funky and you got a bass player that's, you know, playing Latin funk and soul and R&B stuff and a singer that's working doing ska. Same thing with KXM. I mean, you got, you know, I'm playing with Ray Lazir, who's a completely different kind of drummer than I've ever played with. You know, he's the opposite of like a Bonham kind of guy. He's just, I don't even know what you call it, but it's very syncopated and mathematical and very cerebral and a lot of different, you know, time changes and it's challenging for me. And I love that. And of course, Doug is this different kind of a bass player that has this very unique sound and style. And so you bring all that together and I just react to that and play a different way. I go, okay, I need to tailor my sound to that. This requires something a little different. So I'm going to use these amps and these guitars and stylistically, I push myself and I go, okay, well, a four four, you know, kind of typical rock riff isn't going to work here. What do I do to fuck that up and make it a little more interesting and challenging? And so, you know, being an unschooled player, theory wise, I just sort of make up stuff. George, you were the guitarist that influenced thousands upon thousands of guitarists. You know, it's sort of like Randy Rhodes and what was your connection? Did he actually, did you actually go to Musonia? Were you actually schooled there or did you take some lessons there or? No, I taught there. Oh, you taught there. So did you have any connection with the Randy Rhodes back in the day? Yeah. Yeah, I mean, we play shows together. Frequently, we rehearsed in the same rehearsal facility and shared the same room. So we got a lot of opportunities to hang out and, you know, share licks and talk occasionally. We weren't like friends or anything, but we were in the same business and we ran in the same circles and ran into each other all the time. And from, you know, I mean, I've known that he appreciated my playing and liked my playing and he would bring people to see me frequently and including his mom. And we were both up for Ozzie a number of times and I was up for three, three different occasions. And one of them was the time that Randy got it over me. And then the understanding was that between whichever one of us got it, the other one would teach at Musonia. Oh, I got the consolation prize. And yeah, so, but he told his mom that if anything ever, you know, happened with him and that he would want me to maybe fill in if possible if I'd be willing to. So I did. And also, you know, I mean, I had a complicated experience with Musonia. One of the things I noticed was that he had all these students and a lot of them were girls and they were just there to kind of look at him. And then when I showed up, they quit. Cute and have the bow tie and all the polka dots. Polka dots, yeah. I like to learn and, you know, girls get mad when you try to bend their fingers. And I got real patient with beginners. So we live and learn. Yeah, I got a little story. Yeah, no, I've been to Musonia. You know, I met Kelly Rhodes, Kathy interviewed them both. And, you know, and I look at you sort of like the Randy Rhodes of another generation, you know, it's completely like what I was growing up. There was so many guitars that were influenced by you is just it's unbelievable how many guitars were influenced by you. That's all I just want to tell you. If every one of those guys would send me a dollar. I see that would be great. Very cool. George Lynch care of. Just, you know, show a little appreciation. Hello. Hey, but it was it was on the internet today. They kind of saw there were people trying to get, you know, trying to get paid. And you guys still getting paid from everything. There was sort of the docking errors. Is that a problem for you? No, I mean, it's always a challenge, you know, because music industry is not really built to trickle down too much to the musicians. Yeah, it's kind of built to kind of reward everyone else, you know, the third party types and the, you know, the other parts of the machine. And we're usually sort of a footnote. And afterthought, even though we're the creators of everything that it's built on, it's very unfortunate, but it's just really an indicative of the larger economic system that, you know, the Western world is built on or most of the world I imagine at this point, you know, rewards capital and not labor, not necessarily ideas and people are actually doing the work, you know, when the guy takes a pick picks up a pick and goes down into the mine. I mean, you know, he's working for the, he's working for the main. Yeah, it's always a challenge, you know, that we're going, that's part of the business, the other side of the coin again, you know, you got all this stuff that we love, you know, creating music and playing and everything, just we love that. But then there's the practical side on the other side, which is, it's tough, you know, it's tough to make sure that you're getting treated fairly. It's a constant thing that you have to police and work on, because it's not something any of us really want to deal with, but you have to, you know, just being responsible and educating yourself as to how it all works. All right, Alan. Well, just know just to get back to the album here, you know, we're going to go off on different tangents here, George. Shine your light, you know, shine your light, take me out of the darkness. So we fight like this? Is this normal? Yeah, it is. We've been doing it for 10 years. It's kind of uncomfortable when you guys are bickering, you know, in the same room. It's like a married couple. 10 years. 10 years, yeah. I notice how you guys finish each other's sentences. I can tell that he completes you. Yes, well, let's not get carried away here. Oh, whoa, whoa. No, no, it's like complete him. What happens in Canada stays in Canada. You know, it's funny, George, we actually live 10 minutes away from each other, but here we are on Zoom. Wow. Yeah, I'm about the same way with Tilson. I mean, he lives just down the street, but with the pandemic, we had to work, couldn't work together. So it was Zoom. He finally, we're both, we're both inoculated, you know, fully and a couple of days ago, we was the first time we actually were in a room together. Two doses, two doses. Yeah. We haven't even started on one dose here. So, oh man, as much as you were saying, Canada, Canada, you know, we haven't even got dose one yet. The whole country? No, we're at 20% of the population, maybe. They're still at the 55 and over, maybe like 60 and over. One dose one, dose one. That's why God invented fake IDs. Here's this. That's the opposite. That's the opposite. Oh, yeah. So just for the album itself, I mean, like, look, you know, Destiny, take the song, Destiny, you know, can we change our destiny? What do you think about that? Is that something we can do or predetermine? I mean, I think the problem is that half the population of the planet can and half is reluctant. Maybe that's not exactly half. And I just think it's people are predisposed to, you know, being, their brains are wired in a certain way. Their prefrontal cortexes can, you know, empathize and feel compassion or it's driven by fear and greed. So I don't know. I don't have much hope for rewiring people's brains. You can't talk a brain into rewiring itself by using facts, unfortunately. What about Dark Divide? I guess that's the political climate of the US, I would think. Polarization, although it's an optimistic song, in reality, I think it's the same problem. If it's, you know, if the polarization is woven into the fabric of the human psyche, then how do you fix that? Yeah, it's not easy for sure. Scars, I mean, that's a great bluesy feel, I find that song as well. It's like a melodramatic, dark, kind of unrequited love song, I guess, or maybe not unrequited, I'm sorry. And again, these, you know, the lyrics were written by the three of us. Okay, this really, you know, we all sat together in Zoom and collaborated, but George is being asked to pick up the milk now. Yeah, don't forget the milk. I lost my train of thought. I'm sorry. The three of you were writing the lyrics. So you're finishing each other's sentences. Yeah, right. But that, you know, it really, I don't know if you guys talked to Robert Mason or Jeff Tilson, but, you know, they're a lot more invested in, you know, the thought process behind what the lyrics are all about. I was there, but I just kind of walked away from what was over and I don't really think about it, but in my two cents. So you, you know, I'm not, I'm not the authority on all things end machine lords. All right. Well, you know what? I think we're at time and the end machine April 9th. I'm not sure if it's going to come out today, this video, but it'll come out in a few days. So we'll just say it's released now. Phase two, pick it up. It's, it's nice to hear it's, and by the way, Jeff Pilson does an excellent job on the production. He's all right. I think I'm going to get back to talk to you about George. Yeah, I'm sorry, I fell asleep. What'd you say? We're talking about Jeff now. I lost you. Yeah, you kind of lost me at Jeff Pilson. I was just, I started, saw some little sparkly things in the horizon, caught my attention. One of the most distinguished sounds, guitar sounds ever. We got him with this today. George Lynch wanted to just thank you for tuning in and man, we should do this more often. It's just, there's a pleasure having you on the show here today. Hey, could you do me a favor while we're at before I hang up? Could you invade the United States? Snowballs, what do you want us to do that though? So we can get that good healthcare and then the happy Canadian thing, we'll kind of biosmosis. We'll bombard you with maple syrup. Oh my God, thank you. I think we have one submarine. I think we have a submarine. We could put our subs together and have like a peace navy. We'll go around, do good stuff, you know, instead of kill people and shit, like save the beluga whales or something. It's getting better there, George. It's getting better. So it's all good. We'll start with saving the gay whales. I don't know, dude. I'm just, I'm just calling right now. You know what? It'd be good if Canada invades the US. Yeah, that'd be not, it's not a bad plan or you could join us. Nobody's expecting it. Nobody's expecting it. Exactly. No, no, that was just watching this. Are we still recording? We're still recording, but it's not live. So we can cut that part out and be careful. And I'm going to be, oh, now we're going to get in trouble for something. I don't know, sedition. Well, yeah. Some good health care. Oh, once I mean that, maybe want me some of that good Canadian, 100% health care. That's right. That's right. Yeah. Well, if we either we'll get in trouble for trying to overthrow the United States via Canada, or if Canada wins, we'll probably be in charge because of our idea. Yeah. So I'll be like the king. You be the prime minister and I'll give you the gesture there. I just want to be treasure. You know what happens, George? You've been doing so many of these interviews that you're trying to change it up. You just don't want to stick to that same sort of format, right? I'm sure what I think you use is dawn and asphalt. How's it like doing in docking? We didn't ask any of those questions. So that we got, we got turned on, you know, George, and I'm meeting the USA. Thank you so much, George, for being on the show and the invasion. We'll talk about that later. We'll send you the plans. We've got to figure out, you know, we'll call you when we're ready. Us Canadians are very relaxed. It might take a while. Do you guys have any guns? So you have to like bring slingshots? I'm McDonald's. All right, my friend. Thank you so much. All right. Thank you guys.