Guitar Gods converge at Hartley’s House of Rock
By Timothy G. Beeman II


George Lynch
Guitar God. In a world that now swims in musical mediocrity, the title of Guitar God may not mean much. However, for fans of the “Age of Aqua-Net,” that title could be none more majestic.
In the mid-’80s to very early-’90s, to be a guitar god meant you were high above all else in the realm of rock and had few, if any equals — with a long, big, wavy mane of hair, silk shirts, eye liner and painted on spandex that drove the girls wild. Yet, it was the speed and agility on the golden axe that made the guys stand and profess their loyalty to ye, Ol’ King of Metal! They were the reason you wanted to play guitar.

There were plenty of excellent and outstanding guitarists that stood out in the “hair band” years, some more than others. Two names that were always synonymous with the guitar “wow” were Yngwie Malmsteen and George Lynch, each for different reasons. Yngwie for his speed and classical influence and Lynch for his unique use of chords, intervals and melodic solos. The duo will bring their respective talents on the Guitar Gods Tour to the stage at Hartley’s House of Rock on Thursday, April 8.

Yngwie Malmsteen

Yngwie Malmsteen
Lars Johann Yngwie Lannerback was born June 30, 1963 in Stockholm, Sweden; just about the time word of the Beatles was seeping into the world of rock and roll, as well as pop culture. His parents, sadly, divorced shortly after young Yngwie was born. Growing up in a very lenient household with his mother, Rigmor, along with an older sister and brother, Yngwie was the most rebellious and most unruly of his family. He was especially fond of violence and destruction and was often in trouble.

His mother was considered a broadminded and artistic free spirit and attempted to interest young Yngwie in music, with a piano, trumpet and an acoustic guitar. But those efforts were futile. He rejected the idea of being a musician, especially guitar, as he felt the role was way too sissy-like.

In 1970, at the very impressionable age of seven, he was captivated by the news of Jimi Hendrix’s death and the story of the guitar legend’s life. He suddenly became deeply obsessed with the guitar and immersed himself heavily in learning the instrument.

Using a cheap Stratocaster, he quickly started listening to, learning from and imitating the songs he heard from his favorite bands, especially Deep Purple. He spent countless hours unraveling the secrets of Ritchie Blackmore’s melodious guitar licks while also learning the instrument itself. It was unmistakable that many of Blackmore’s trademark scales were based on classical masterworks.

Yngwie’s sister, Ann Louise had extensive knowledge of classical music and basically tutored her younger brother in the ways of the masters, especially Mozart, Beethoven and the violinist supreme Antonio Vivaldi.

He opened his mind and his will to all that was classical music. He could often be found asleep with his guitar.

Somehow knowing that someday he would become a famous guitar player, he took his mother’s maiden name, Malmsteen and all but dropped out of school to study and hone his skills, as he became more and more enraptured with his music. When he did attend school, he was constantly being punished for fighting, but excelled in two subjects, art and English.

The final piece of young Yngwie’s puzzle soon fell into place. As he watched a Russian violinist perform Paganini’s “24 Caprices” on television, he knew he had found what he needed to meld his love of classical music with the flash and spunk displayed by Hendrix’s rock guitar modes and fiery stage presence.

He had come to realize that school really had nothing to offer him any longer, an epiphany that came to him after riding a motorcycle through the school lobby. He found work by doing guitar repair at a local luthier’s shop. It was here that he realized what would be yet another trademark of his. A 17th Century lute came into the luthier’s with a scalloped fret board. The actual fret board was filed down to the point that the frets themselves seemed like hills and the board like valleys.

He tried applying that to his guitar’s fret board. After an initial struggle with mastering the unusual configuration, he noticed he had more string control and it quickly became a main character in his arsenal.

Noticing that his native Sweden was more hip on musical acts such as ABBA, Yngwie decided to broaden his horizons and sent promos to America.

He was invited by Shrapnel Records to come and record with a new band called Steeler, led by frontman Ron Keel. The highlight of that band was Yngwie’s intro from “Hot on Your Heels.” He left the group before it had a chance to become anything more than an “honorable mention” band.

His next gig was a band called Alcatrazz, started by singer Graham Bonnett, who incidentally went on to play with Yngwie clone Chris Impellitteri. Alcatrazz, with Yngwie, bottomed out and he moved on.

Releasing his first solo album entitled Rising Force in 1984, he started gaining recognition in America. The follow-up, Trilogy, also did wonders for his plight. However, it was the album Odyssey that gave Yngwie his first taste of rotational airplay, thus perpetuating him into stardom with the song, “Heaven Tonight.”

He was obviously meant to have his own band, as being a member of someone else’s was just not an option. He’s gone through several lineup changes since 1984, but even through personal turmoil, physiological problems, death to those close to him and becoming a father, he hasn’t really slowed down and is still the speedmeister and neoclassical rocker he was always meant to be. He continues to release album after album and video after video.

George Lynch

George Lynch was born in Spokane, Washington in 1953. His family later moved to California, where he was reared.

Learning the guitar at the age of 10, Lynch studied hard to become more than mediocre. His perseverance was shown in the fact that even as a teenager, his presence was unmistakable in the club scene in and around Sacramento. A buzz started getting around and the bands that he played in, such as Sergeant Rocks, were being sought out and hunted just to catch a glimpse of “the hot young guitarist.”

After dominating the scene in Sacramento, he focused his sights on the big cheese of the club scene, Los Angeles. He fit in well and became a member of such bands as Xciter and The Boys. His reputation, as in Sacramento, was becoming more and more recognized as time went on.

In 1982, Lynch joined the ranks of Dokken, an LA band that would be a head of the hydra when it came to hair metal bands. Along with Juan Croucier on bass, Mick Brown on drums and band namesake Don Dokken on vocals, the band moved quickly from the clubs in LA to Elektra Records’ roster of artists.

Their first album, 1983’s Breaking the Chains showed the world what Lynch could do as both a songwriter and guitarist. Likewise, 1984’s Tooth and Nail pushed the band farther into public view. It also bowed in new bassist Jeff Pilson, as Croucier departed to form the band RATT.

It wasn’t until 1985’s Under Lock and Key, however, that got them the airplay that they deserved. The video for “In My Dreams” could be seen on MTV at least once per day and sometimes up to three times daily according to the day and time.

Back for the Attack was released in 1987, and although it fell shy of Lock and Key’s stature it was a strong seller. It also gave birth to the nickname that Lynch now carries and shall until his demise, “Mr. Scary.”

The instrumental track composed by Lynch and Pilson, primarily focuses on a scary sounding guitar riff and scorching solo from Lynch that duly notes and adds sidebar to any accolades already due the guitar great. Also, the album contains the song “Dream Warriors” that was featured in and was the title of an installment of the “Nightmare on Elm Street” franchise.

The band’s success in Japan on the Attack tour led to the live album, Beast from the East. On Beast an even longer and more studied version of “Mr. Scary” came into play and set in stone the credentials of Lynch.

It also got him the nomination for Best Rock Instrumental at the Grammy awards.

Lynch left Dokken in 1989 and formed Lynch Mob, whose first album Wicked Sensation sold well and showed the world that Lynch was much more than Dokken’s guitar player. Four other Lynch Mob albums were released as well as several albums with just George himself and a brief stint back with Dokken.

Outside of music, Lynch is an avid weight lifter and for a short time, left music to pursue that avenue of his life.

So come all ye true believers and behold the magic that only true Guitar Gods can possess. Someday this “Real World” generation will wake up and wonder who it was they listened to all these years. But for now, you, the avid watcher of “Headbanger’s Ball,” you know, yes, you know.

From: http://www.espmagazine.com/2004/1635/feature.html