Still not sick of George Lynch?
Good. Neither am I.

We’re deep into the catalog now. Still plenty of highlights. This isn’t about nostalgia, it’s about a guy still pushing, still playing, still building strange temples out of tone.

DIRTY SHIRLEY – Dirty Shirley (2020)

Lynch. Dino Jelusick. Heavy rhythm section (Trevor Roxx on bass, Will Hunt on drums). It’s got the swagger of a supergroup but with more bite.

The Press focused on “Here Comes the King” and “Dirty Blues.” But the deep cuts, “The Dying” and “Siren Song”, are the real statement pieces. “Siren Song” especially: a Scorpions/Rainbow throwback with a solo that screams Burn-era Blackmore. Could’ve been a killer series. But life happened. (More on that in Casandra’s Crossing.)

LYNCH MOB – Wicked Sensation Reimagined (2020)

Play the same songs for 30 years, and something shifts. Little tweaks. Groovier fills. A need to surprise yourself.

This isn’t just a remix—it’s a reframe. Rearranged by someone who’s still curious.

Some like it, others don’t.

LYNCH/PILSON – Heavy Hitters (2020)

Cover album? Maybe.
Safe? Hell no.

Lynch and Pilson drag pop classics through a distortion-heavy funhouse.

“It’s the End of the World as We Know It”: Not jangly apocalypse, riffed-out Armageddon.

“Apologize”: Gilmour-level restraint. Ghostly phrasing. Pure vibe.

THE END MACHINE – Phase 2 (2021)

Lynch, Pilson, Robert Mason, Steve Brown. More refined than their debut, with better pacing and chemistry.

“Blood and Money”: Solo hits like “Tooth and Nail” in a suit, arpeggios, legato, classical licks.

“Dark Divide”: Feels like “The Hunter” got a modern refresh.

GEORGE LYNCH – Seamless (2021)

Pure instrumental. No vocals. No filler. Just Lynch, unfiltered.

It’s “Sacred Groove” for grown-ups, fluid, fierce, introspective.

“Cola”: Funk rock done right.

“Death by a Thousand Licks”: Six minutes of Lynch showing you every trick he’s learned without breaking a sweat.

“Falling Apart”: Minor key meditation.

SWEET & LYNCH – Heart and Sacrifice (2023)

Lynch opens with speed. Immediately, you’re thinking “Tooth and Nail”

“Miracle”: Dokken meets Stryper.

“Leave It All Behind”: Lynch Mob echoes, especially “For A Million Years.”

“Give Up The Night”: MSG energy, with one of Lynch’s tightest solos of the decade.

GEORGE LYNCH – Guitars at the End of the World (2023)

A boundary-pushing instrumental that channels DiMeola, McLaughlin, Uli Roth, and even Holdsworth. But still 100% Lynch.

“The Knowing”: Astral road trip with an outro solo that sticks in your ribs.

“The Crucible”: Tool-ish build, then gets aggressive.

“Contraflow”: If you only play one track—make it this. Every era of Lynch in one cut.

“Shadow of the Needle”: Metal tones and massive riffs.

“The Wolf”: Blues, Lynch-style. Hypnotic and haunted.

This doesn’t sound like anything he’s done before and that, 45 years in, is a damn miracle.

THE BANISHMENT – Machine and Bone (2023)

Industrial. Dystopian. Nine Inch Nails meets Rob Zombie, but with a Lynch mind-meld.

“Right”: Features Tommy Victor on vocals. Glitchy, distorted, still unmistakably Lynch.

LYNCH MOB – Babylon (2023)

Eighth studio album and still evolving.

Gabriel Colon is the wildcard, a vocal chameleon. Halford one track, sleazy Sunset Strip the next.

“I’m Ready”: Major key menace. Solo slinks and screams.

“How I Fall”: Stomps like a war machine. Solo escapes the groove and then flies.

“Babylon”: Gothic drama. Every note feels carved from obsidian.

LYNCH/PILSON – Heavy Hitters II (2023)

Same formula as the first, classics through a Lynchian kaleidoscope.

Familiar, but bent, twisted, and reimagined with tastefully wild abandon.

THE END MACHINE – The Quantum Phase (2024)

The biggest shakeup yet. Gone: Robert Mason. Enter: Girish Pradhan on vocals.

“Black Hole Extinction”: Spoken word intro, then mid-tempo crusher.

“Silent Winter”: Modern radio sheen with killer hooks.

“Killer of the Night”: Pop-metal done right.

“Burning Man”: Slow-burn. Pradhan kills here.

Pilson’s fingerprints are all over this as producer—tight, dense, atmospheric.

Title says it all: quantum shift. This machine is still dangerous.

CASANDRA’S CROSSING – Garden of Earthly Delights (2024)

Dirty Shirley 2? Almost.

Dino leaves. Lynch finds Casandra Carson (via a Lynch Mob connection). A new project forms.

It’s Carson on vocals, Lynch on guitar, with the Frontiers version of Max Martin or Desmond Child or Jim Valance in Alessandro Del Vecchio on bass and Jordan Cannata on drums.

If you need to press play on a track, press play on “Kneel Before You”. 

IN THE END…

George Lynch isn’t just a shredder. He’s a soul player. A lifer. A builder of sounds and chaos and meaning.

He’s Hendrix in a leather jacket. Miles Davis with a whammy bar. One of my biggest influences and one of the last L.A. gunslingers who still has something to say.

Randy Rhoads is gone. Robin Crosby too. EVH, a few years back.
The others from the original early 80s, Warren DeMartini, Jake E. Lee, Brad Gillis, are still active, but no longer pushing like this.

Lynch? Still reinventing. Still surprising. Still dangerous.

Play “Mr. Scary” in the dark. Then play “I Will Remember.” That’s the whole spectrum.

If you get it—you get it. If you don’t? You weren’t meant to.

But if you do?

Welcome to the Church of Lynch.

We’ve been waiting.