Forget the glam-rock days of Dokken and early-Nineties Lynch Mob. And don't even get me started on the ill-advised nu-metal experimentation of latter-day Lynch Mob. Guitarist George Lynch returns with an album under the Lynch Mob name, but that's where the comparisons to the man's previous work should end. REvolution, as the title implies, boasts rerecordings of some of those bands' loudest and raunchiest songs the way Lynch says they should have sounded in the first place. Lynch Mob's second singer, Robert Mason, helms the microphone on this collection and sounds as if he hasn't lost any of his range. Joining Lynch and Mason are original bassist Anthony Esposito and new drummer Michael "Fro" Frowein. And the music here, despite some of it being radically altered, smokes. Lynch clearly saved some of his best playing for this record.
A handful of these 13 tracks - "She's Evil But She's Mine," "Relax," "Wicked Sensation" - remain similar to their original Lynch Mob versions, perhaps because that band boasted a harder and rawer edge than Dokken ever did. But the rest might as well be new songs. In particular, Dokken's "Kiss of Death," "Tooth and Nail," "Breaking the Chains" and "Paris Is Burning" have been considerably reworked, sounding thicker and more grounded than the originals.
REvolution offers a fresh take on the increasingly popular concept of rerecording a band's previous output with current members. The high-octane result is a straight-ahead hard-rock album that manages to sound neither dated nor contrived.
I have only one complaint: Where the hell is "Dream Until Tomorrow"?
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