By this point in his career, George Lynch was releasing material at a pace that would make most modern musicians look like they’re asleep at the wheel.

Between 2010 and 2014, George Lynch was cranking out solo albums, band projects, and collaborations like it was 1978 all over again.

Back then, rock bands were dropping albums every 9 to 12 months, and Lynch clearly never left that mindset.

No breaks, no fluff, just riffs, solos, and a work ethic carved from the old-school grind.

George Lynch – Orchestral Mayhem (2010)

George Lynch didn’t just nod to classical music, he lit a fuse under it. “Orchestral Mayhem” is what happens when you hand a flamethrower to a virtuoso and point him toward centuries-old symphonic works. This isn’t a polite crossover. It’s mayhem, as promised.

Imagine Beethoven, Orff, and Tchaikovsky slamming Jägerbombs backstage at a Slayer concert.

Standout Solo: “Bittersweet Symphony”

The iconic string motif kicks in… then Lynch detonates it, full of legato fire, staccato snarls, and skyscraper-scale drama. It’s swaggering, gritty, and cinematic as hell.

Standout Solo: “Carmina Burana”

The choir roars, the orchestra swells, and Lynch rides in like a jet screaming through stained glass. The solo crackles like lightning and bends wail through Orff’s apocalyptic beauty.

George Lynch – Kill All Control (2011)

After genre-hopping like a madman, Lynch throws down the gauntlet with “Kill All Control”, a lean, modern rock blitz that fuses industrial grit with his signature shred. It’s personal, aggressive, and utterly uncompromising.

Joining him are Nic Speck (bass), Adrian Ost (drums), and vocal tag-teams from Keith St. John, London LeGrand, Marq Torien, Will Martin, and Marc Torien.

Standout Solo: “Fly on the Wall”

Marq Torien and Keith St. John take the mic, but it’s Lynch’s solo that steals the spotlight. It bleeds sustain, with aching bends that dissolve into furious bursts, like Boston in 2011, if Boston wore combat boots.

Standout Solo: “Brand New Day”

Short solo, but laser-precise. Will Martin’s vocals are raw yet hopeful, and Lynch knows when to add just enough seasoning to make it soar.

Standout Solo: “Wicked Witch”

London LeGrand brings swampy attitude, while Lynch delivers a sticky, bluesy solo that slides through the track like a snake through molasses.

Standout Solo: “Resurrect Your Soul”

Lynch plays haunting palm-muted arpeggios over and over. Hypnotic. Classical. Creeping.

Standout Solo: “My Own Enemy”

A brooding monster. Will Martin delivers a knockout vocal, and Lynch gives you not one but two killer solos. The outro bends are pure sex.

Standout Solo: “Son of Scary”

Fred Coury (Cinderella) co-writes this Frankenstein jam. The name tells you everything: eerie, crunchy, and built to haunt.

Standout Solo: “Go It Alone”

A modern 80s vibe (yes, it’s possible). Think The Strokes meet Badlands. Will Martin nails the vocal, and Lynch keeps it subtle, solos woven under melodies, like hidden treasure.

Standout Solo: “Someone You Loved”

A bold cover reimagined with country twang, volume swells, and reverse guitar textures. Lynch doesn’t just interpret it—he claims it.

T&N – Slave to the Empire (2012)

George Lynch. Jeff Pilson. Mick Brown. If that doesn’t scream Dokken nostalgia with an edge, nothing will.

“Slave to the Empire” isn’t just a reunion, it’s a resurrection. Familiar, yet raw. Classic, yet modern. They know their past, but they’re not stuck in it.

Standout Solo: “Slave to the Empire”

It hits like a freight train. Lynch’s solo carves through the track like a diamond-tipped buzzsaw—feral, emotive, and surgically tight.

Standout Solo: “Alone Again”

It’s back, again. Lynch dances between the original phrasing and wild tangents, then pulls it back home. Jeff Pilson’s vocal is hauntingly perfect.

Standout Solo: “Access Denied”

Dokken DNA all over this one. Big riffs, bigger attitude, and a solo that rips the ceiling off.

This isn’t just a Dokken spin-off, its a clinic in how to evolve without forgetting your roots.

LYNCH MOB – Sound Mountain Sessions (2012)

No overdubs. No polish. Just four guys in a room and a red-light recording. Sound Mountain Sessions captures the sound of a band rediscovering their bite.

Oni Logan is back on vocals, and the chemistry crackles.

Standout Solo: “Slow Drag”

Sludgy groove turns venomous when Lynch steps in. The solo slinks and then strikes, dripping with bluesy venom and bite-sized shred.

Raw, real, and all fire.

George Lynch – Legacy EP (2012)

Only four tracks, but “Legacy” is pure distilled Lynch, zero filler, 100% ferocity. Think of it as a mixtape of his DNA: melodic, muscular, and packed with emotional firepower.

Standout Solo: “Círculo del Fuego”

Translation: Circle of Fire.

The riff’s a brawler.

The solo?

A chaotic symphony of wide-interval bends and Lynch’s signature chromatic swagger. It’s not flashy, it’s surgical.

Standout Solo: “Invoid”

This is “Tooth and Nail” meets “Til the Living End”. Anthemic build, double-kick fury, and solos that scream existential dread.

Standout Solo: “The Road Ahead”

Cinematic and introspective. Like if Coldplay wrote a movie theme, then handed it to Lynch to add solos that could melt your face off.

LYNCH MOB – Unplugged: Live from Sugarhill Studios (2013)

Plugged in or stripped down, Lynch brings the heat. This live acoustic session is intimate, gritty, and refreshingly honest.

Oni Logan (vocals), Robbie Crane (bass), and Brian Tichy (yes, the drummer) even picks up acoustic guitar.

Standout Solo: “River of Love” (Acoustic)

Staccato riffs become fingerstyle percussion. Lynch’s solo is all vocal phrasing, every bend is a slow exhale in a smoke-filled dive bar.

Standout Solo: “Where Do You Sleep At Night”

Not much to say except it’s just a damn good song. Catchy chorus, memorable backing vocals, and a vibe that sticks.

Standout Solo: “Wicked Sensation” (Acoustic)

No distortion?

No problem. Lynch turns the riff into folk voodoo, then lets loose with a flurry of acoustic hammer-ons that remind you he’s still got the devil in his fingertips.

KXM – KXM (2014)

With dUg Pinnick (King’s X) and Ray Luzier (Korn), Lynch goes darker and deeper. KXM is drop-tuned, progressive, and full of left turns and Lynch thrives in it.

Standout Solo: “Never Stop”

An arena rock anthem meets acoustic sophistication. The solo dances lightly before hitting you with the gut punch.

Standout Solo: “Burn”

The solo under the “burn” vocal line adds emotion with its silky legato and arpeggiated phrasing. Underrated, but undeniable.

SWEET & LYNCH – Only to Rise (2014)

Michael Sweet and George Lynch go full-melodic-metal-madness here. Big vocals. Bigger riffs. And solos that rip the heavens apart.

Standout Solo: “Me Without You”

Mid-tempo groove, Lynch channels “Sacred Groove” era soul, with a solo that tiptoes in like a hymn before unleashing shred lightning.

Standout Solo: “Recover”

Tapping, bends, legato, fire. Sweet’s vocals are flawless, but Lynch’s phrasing is next-level.

Standout Solo: “Only to Rise”

Sweet belts it sky-high, and Lynch answers with a solo that sounds like a stained-glass window shattering in slow motion.

LYNCH MOB – Sun Red Sun (2014)

Lynch Mob returns. “Sun Red Sun” is a punchy, modern rock record with low-end muscle and razor-sharp attitude.

Oni Logan brings the soul, and Lynch brings the scalpel.

Standout Solo: “Believers in the Day”

Dark, moody verses explode into a solo of surgical strikes and whip-crack runs. Lynch doesn’t waste a note, he weaponizes them.

Bottom line:

From classical detonation to acoustic intimacy to prog-metal experiments, 2010–2014 saw George Lynch refusing to be boxed in. This wasn’t reinvention for its own sake, it was expansion, proof that evolution doesn’t mean abandoning who you are.

Just ask your ears. They’re still ringing.

And……

If there’s one album from this blitz of releases that demands your ears, it’s “Kill All Control”.

This is the star of the lot, lean, mean, and packed with attitude. Lynch sounds completely unleashed, blending industrial punch with modern rock swagger and his trademark guitar chaos.

Plus having different singers for the cuts gives the whole album a lot of variation.

The songs hit hard, the solos cut deep, and the whole thing feels like Lynch ripping out decades of bottled-up ideas and spitting them back with precision and fury.

It’s not just a great Lynch record—it’s one of his most urgent and focused works, period.