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Album Review of George Lynch & Jeff Pilson: Heavy Hitters II (Deadline Music)

The long-awaited follow up to Heavy Hitters has finally arrived. On Heavy Hitters II, George Lynch and Jeff Pilson add their inimitable melodic metal personalities and zeal to a whole new set of already well-known songs. The original versions of these songs spanned several genres, but in the hands of Lynch and Pilson, they have been transformed into power rockers.

For this latest endeavor, the reprise, George and Jeff are again joined by Brian Tichy on drums, while Bernard Fowler provides lead vocals for the entire album, with guest vocals from Corey Glover on one track (“Smokestack Lightning”).

As I noted in my review of the first Heavy Hitters album, I really dig it when popular songs are transformed to new genres; well, when they’re done well, of course. And George and Jeff pick up where they left off, delivering a new batch of reimagined classics. The arrangements, the performances, the production – and, of course, the talent – are all top-shelf.

Peter Gabriel is the first to get the Lynch/Pilson treatment this time, as this band cranks up the volume and the crunch with its rendition of “Sledgehammer.” George’s axework is so at-home here, I can barely remember the pop version of the song. A funky, hard rockin’ update of Crosby, Stills, Nash & Young’s “Carry On” follows, featuring plenty of Lynch’s guitar noodling and some ’70s-ish rock harmonies atop a noisy rhythm sound bed.

image courtesy of Glass Onyon PR

I can always get behind a redux of “The Stroke.” The ever-underestimated Billy Squier’s always-unique rhythm is maintained from the original, but the heavy rock quotient is amped up a couple levels. “The Stroke” was already a banger even before getting the Heavy Hitters treatment, but this rendition really kicks ass.

Next up is “Radioactive,” which was the album’s first single. Again, the Imagine Dragons original was pretty rockin’, but Lynch and Pilson have accelerated the tempo and added a lot more guitars, and Fowler’s vocals add a rough-hewn hard rock edge to the song, almost turning it into an all-new, unique creation.

The band puts a heavy rock rhythmic steamroller behind Howlin’ Wolf’s “Smokestack Lightning,” and if you like a wall-of-noise backdrop framing your heavy rock, it’ll be one of your favorite songs.

However, it’s the next song that really stands out for me as quite probably my favorite song on Heavy Hitters II. It’s a funky melodic metal rendition of Sam & Dave’s R&B classic “Hold On (I’m Coming).” The song doesn’t flow in a straight line, despite the overwhelming recurring rhythmic hook. The chorus (essentially, the song title) is unfailingly sing/screamalong-worthy. There are some nifty little guitar flourishes to add color. And Fowler’s vocals simultaneously fan the flames and rein in the energy of the frenetic tempo. I know I always preach listening to an album beginning to end, especially when a lot of thought seems to have been given to song order, but sometimes I repeat this song a couple times before continuing.

The next song is no slouch, either. It’s a hard rock version of Sam Smith’s “Stay With Me,” one of those songs you just knew, when hearing the original, would sound good with crunchy guitar and hard rock vocal delivery. It’s followed by “Shout”; the ’80s Tears for Fears hit is sped up a bit, causing the drums to be more obviously prominent. Of course, Lynch’s guitar is omnipresent, but even at the faster tempo, the song is left surprisingly, refreshingly airy, with plenty of open space. And Fowler’s anguished vocals on lyrics such as “jump for joy” and “tell the tale” are an edgily effective treat.

For the next offering, Lynch & Pilson stay in the ’80s, rearranging another of that decade’s big pop-rock hits, amping up INXS’s “New Sensation.” They don’t touch the song’s classic, identifiable hook, but a faster tempo and a slightly revamped, prominent, funky-thumping bass line give the song a whole new feel.

An energetic cover of the Rolling Stones’ “Jumpin’ Jack Flash” is next, followed by a powerful reimagination of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin).”

The album closes with “It’s a Wonderful Life,” a crunchy yet light-and-soaring hard rockin’ Christmas song that I’m pretty sure every Lynch/Pilson fan is gonna really like.

If I had to choose my favorite songs from the dozen, I’d select “Hold On (I’m Coming)” and “Stay With Me,” though “The Stroke” and “Radioactive” would be close behind. And maybe the disc-ending Xmas track. But there’s something in every hard rock fan’s lane here, so you’ll have your own favorites. And the whole collection makes a great beginning-to-end album listen.

You know, I was psyched when I heard Lynch and Pilson would be releasing a second Heavy Hitters disc, and Heavy Hitters II didn’t disappoint… so much so, that I’m hoping they’ll make a habit of these collections. Two or three years from know, it’ll be cool if there’s a Heavy Hitters III.

Looking Ahead

George Lynch has some upcoming tour dates – solo, with his band Lynch Mob, and a November 17th guest appearance with Dokken – per the “tour” section of his website. You can currently catch Jeff Pilson on the road as Foreigner’s bass player. Brian Tichy is also currently on the road, drumming for The Dead Daisies. And you can keep up with Bernard Fowler via his Facebook and Instagram accounts.

photo courtesy of Glass Onyon PR

Album Review of George Lynch & Jeff Pilson: Heavy Hitters (Deadline Music)

Yes, you’ll know all of the songs. Or most of them, anyway. And we all know how cool popular songs can sound when exceptionally talented rockers give them a hard rock/light metal arrangement. This album does not disappoint. I always dig when hard rockers crank up the volume on covers of mellower tracks. When done well, you get… well, George Lynch & Jeff Pilson‘s Heavy Hitters.

Lynch and Pilson are joined on this album by Brian Tichy on drums and Wil Martin on lead vocals for most of the songs. Jeff Pilson takes the lead on “It’s the End of the World as We Know It (And I Feel Fine),” with Angelo Moore adding organ on that track. And Marq Torien provides vocals on “You Got the Love.”

The album kicks off with a delicious cover of Joan Osbourne’s “One of Us.” The big, open, slightly jangly sound of a George Lynch guitar opening is unmistakable, and the song builds slowly to power, pulling you in as you listen, loosening the reins just a little, and then delivering the goods with powerful guitars and vocals. Even though it’s a slow/mid-tempo number, it packs a huge punch and contains a dark, meandering guitar solo; it will soon be a favorite.

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That’s followed by Lynch & Pilson’s renditions of Rufus and Chaka Khan’s “You Got the Love,” Carole King’s “I Feel the Earth,” Duran Duran’s “Ordinary World,” Madonna’s “Music,” OneRepublic and Timbaland’s “Apologize,” Martha Reeves and the Vandellas’ “Nowhere to Run,” Prince’s “Kiss,” R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine),” and Oasis’ “Champagne Supernova,” with Lil’ Richard’s “Lucille” as a bonus track.

Among those, in addition to “One of Us,” there are a few more standouts for me. (Your mileage – depending on your specific musical tastes – may vary.)

“You Got the Love” sounds like the sort of jammin’ funky metal you’d expect from Extreme – not the hits, the more adventurous album tracks.

“Ordinary World” is enveloped in one of those guitar-heavy music bubbles, with a little edginess in the vocals before hitting the big, open, feel-good chorus. Honestly, before looking at the album information, I forgot this was a Duran Duran song. With this arrangement, it seems more like something you’d hear from one of those ’90s post-grunge hard rock bands instead, though it was one of Duran Duran’s more guitar-rockin’ hits, so it didn’t need as big an overhaul as, say, “Rio” would.

“Music” is pretty true to Madonna’s original, except cranked up to eleven with Tichy beating the hell out of the drums, trying to knock them through the floor, keeping a heavy, steady rhythm, AM radio static-filled shout-sung-but-tuneful vocals from Martin, a notable funky bass bit from Pilson, and, of course, Lynch’s guitar wails. By the end of the song, you’ll forget the original wasn’t this heavy.

“It’s the End of the World as We Know It (And I Feel Fine)” is performed as a straight-ahead hard rocker, packing lots of oomph. And Lynch and Pilson mostly just add a full, rich, warm, rockin’ music base to “Champagne Supernova,” essentially turning it into the big-sound, six-and-a-half minute long slow-dance metal ballad on the disc… with the requisite late-song, super-long, shredding guitar solo, obvs. (Why do you think hard rock/metal guitarists are always so willing to do ballads?)

You’ll have other favorites, I’m sure, but those are mine. On the whole, this is a fun, really rockin’ album. George and Jeff have done a terrific job selecting songs that are well-designed for a hard rock/metal makeover. You know I love original music, but I also love super-original covers of great songs. If you do, too – especially when it’s George Lynch manning the axe! – grab a copy of Heavy Hitters.

Looking Ahead

When he’s back on the road, you’ll be able to catch George Lynch’s tour dates here at the “Tour Dates” section of his website. The George Lynch Fan Page on Facebook also does a good job of keeping up with him. You’ll have your choice between Jeff Pilson’s website and his Facebook page to keep up with his endeavors.