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By Martin Popoff
"The Dokken songs went through the most improvement in my eyes, because they are the oldest songs and are primitive. Some of those riffs in those Dokken songs are from the '70s (laughs), from my bands The Boyz, Xciter; Paris Is Burning came from that era. So we had a lot of time to think about those songs and what we might have done with them. Although I've got to tell you, we didn't really spend very much time on making the changes that we made. Even though there are quite a few dramatic changes and we did rewrite a lot of stuff, there wasn't any lyrical rewriting. It was riff changes; I just do it, it doesn't take any time. It happens automatically. So we spent about a day and a half doing our arrangements, tempo changes, all the little bits we added. And that was a day and a half of rehearsing with the drummer. The recording process was relatively quick, but the mixing process was a little more tedious; it took a little longer than we wanted to. But the recording went quickly because we kept it pretty bare bones."
And of course, the flipside is the material from Geroge's tearway band, Lynch Mob. I asked George how these versions compare with those from the platinum age of hair band-ness.
"The first two Lynch Mob records, Wicked Sensation and the self titled record, were highly produced and we spent a lot of time and money on those records. So it was really a challenge to even think about attempting to beat those songs, because I really think they work the way they are. And I don't think we succeeded on that level. I really hate to admit that, but I don't think we beat Wicked Sensation... River Of Love off the Wicked record. But having said that, I still think there's a certain kind of continuity to the whole REvolution record. It says one thing. I mean, if it's Breaking The Chains or something off a newer Lynch Mob record that we redid, it all sounds like one thing, which is what we were trying to achieve. Going after some of the songs on the second record, like Cold Is The Heart or When Darkness Calls, especially Tangled In The Web, I think we were able to do things a little differently. Because that record left a lot to be desired in my eyes. Keith Olsen produced it; we had horns on there, we had keyboards. It was just not ballsy enough and it was overproduced. It was a case of when we wrote those songs and rehearsed those songs, it was tougher and meaner. But by the time we got into his studio, it came out so watered down. It was too radio. So we had a chance to go back and toughen those up a bit. But the Wicked Sensation record, it was just an inspired album that took a year and a half to do and many, many hundreds of thousands of dollars in studios and producers; it was a great record and I don't even think we should have messed with those songs, but we had to do something off those records."
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