George Lynch - Love Power from the Mama Head video free download

"Memory Jack" and "Love Power from the Mama Head" from the album Sacred Groove (1993).

George Lynch is often praised for his extremely unorthodox style of guitar playing.

Lynch plays rhythm using a lot of open string chords and hitting all six strings to fill out the sound. Full barre chords are extremely rare, although he does use a lot of root-5 power chords. Tritones are also a preferred part of his playing; he can often be heard sliding the 5th down to a b5, and also happens to slide the root down 1 fret as well. The most interesting thing about the way George plays rhythm is to listen to what is going on with his picking hand. He employs a lot of accents, chirps, bends, etc., to spice things up. When playing clean passages, he relies on arpeggios and usually tries to stick to open string chords, often employing some unusual fingerings.

George Lynch is also known to use a variety of unusual scales. George often mixes major and minor scales in the same solo, often changing back and forth as his ear dictates. He loves to emphasize the major 3rd, and tritone (b5) when soloing, which lends an Arabic sound to his leads without being purely Phrygian mode. He tends to alternate long sustained notes with bursts of speed similar to Allan Holdsworth, applying one of several finger vibrato styles (see below), or occasionally using the whammy bar. He uses a lot of string bends as well as the whammy bar to slide into pitches, ala Jeff Beck.

George has a good balance of legato and alternate picking in his lead work. The very sustained lead tone he uses lends itself to hammer-ons and pull-offs, which he often takes advantage of in slower passages. He often relies on speedy alternate picking during very fast runs.

Among George's stylistic trademarks are several techniques picked from classical string players. For example, there's the "jackoff vibrato" — instead of applying vibrato to a note the way most blues based lead guitarists do, Lynch uses a technique similar to what a classical violinist might do, moving his fretting hand from side to side parallel to the neck, rather than perpendicular to it. George also will place his left hand under the neck with his thumb barring across the top of the neck, and then use his other 4 fingers to hit harmonics. This is an acoustic bass technique. - from Wikipedia