Lynch Mob - The Brotherhood

Lynch Mob The Brotherhood cover
Lynch Mob
The Brotherhood
Rat Pak Records
I have to admit that I’ve started to have huge appreciation for George Lynch all over again in recent years for a multitude of reasons. One of them is that he’s not being conventional; he’s doing albums and projects that often are left field. That comes with the possibility of estranging some fans, or even failing to make a mark, but it gets the musical ideas out there, for better or worse.
He’s been on fire as of late, releasing great album after great album (KMX, solo material, albums with Sweet – not the band, the dude from Stryper), doing some reunion gigs with Dokken and much more…
Not the one to sit idle, George revisits the “mob” for a follow up to 2015’s “Rebel” and I’m happy to report that he stills to be on fire and on a roll, delivering yet another album of cool, kick ass, groove hard rock that doesn’t feel outdated but isn’t ephemeral either (like most of the shit posted on social chla-media).
“Main Offender” begins with a huge, glorious cascading riff, nuff groove to cause a major earthquake and vocals that sound authoritative. The chorus is just the icing on the cake.
“Mr. Jekyll and Hyde” begins with some cool drum n bass interplay and builds up after some nasty verses, with a bridge>chorus transition that feels almost like something that Armored Saint could have done at their most melodic (which I don’t mind at all, attitude, groove and melody)…
Dropping more bass and easily antagonizing RATM and them Peppers and whatnot, “I’ll Take Miami” is sweet, phat and funky as fuck. If you were looking for something smooth, ya got it!
“Last Call Lady” feels less contemporary and more like a melodic 80s throwback, but with some ultra-strong and pronounced percussion going on in the background – talking about some hard, hitting in a song that doesn’t exactly warrant it, but isn’t marred on its account either.
“Where We started” feels like a matured version of that band… it’s down-tuned and everything, well it’s not the early 90s anymore, but... still it’s not something that a rocker from those times would necessarily put down, unless you’re talking about some washed out, middle-aged fella that still goes around with spandex on, pretending it’s 198X?! I mean, it’s cool and everything, but you can’t keep reliving the same “New Jersey” days forever and ever…
“The Forgotten Maiden’s Pearl” is a largely different and acoustic song, with an eastern feel and a mystical ethnic vibe that doesn’t feel too foreign to those who appreciate to similar things that Plant has done with or without the Zeps.
“Until the Sky Comes Down” is again electric, but slower and more ponderous, it has a strong riff and some interesting vocal lines going on about it, including an interesting “spread out” sort of chorus, but it sort of disrupts the flow quite a bit. On the heels of a slow acoustic song, it either is meant to give the album a different slant, or is unfortunately sequenced. On its own it’s not so bad, it just feels a bit too different and disruptive to the album up to that point.
“Black Heart Days” is a little – let’s call it “grungier”, grittier, but not as bad as most of the 90s rock, it sort of builds and is compatible with what – its more “uniform” but rhythmical predecessor seems to be setting up.
Black Mountain” keeps on with this new “angle” of bent and twisted out of space, desert sort of southern, sun-drenched scorching riffs, embracing both the 70s source as well as the more contemporary takes on the style.
“Dog Town Mystics” slows the pace even more, but keeps on a remarkable sense of groove. No matter the tempo, the groove is always there and on these song in the latter half it tends to be increasingly viscous, like molasses under the sun…
“Miles Away” is another “acoustic number that does away with the sticky-ness of the songs than precede it, opting instead for some bluesy melody in the place of the thick groove. It does so in a slightly epic and very smart way, feeling like the perfect song in the right place to ease the tension without completely killing the atmosphere the previous songs had created, but rather, smoothing it out, so much it’s transformed into something completely different that actually concludes the album.
“Until I Get My Gold” is a bonus track, available in some versions of the album that’s a completely vocally overdriven bluesy southern curio that feels almost appropriate, but also a bit out of place with everything else on the album – so smartly it’s tacked at the tail end of the album.
All in all, an interesting album by Lynch and his trusty Mob with 2 different distinct flavors. The rough n ready hard rock and the more dusty slower poked hard rock that might appeal to a wider variety of people, from classic rockers, to bearded smokers and everyone in between. Well done!