By: Robert Cavuoto
The journey begins as renowned guitarist, George Lynch, Vinnie Nicastro [drummer, artist and activist] and a musical band of politically engaged musicians climb into an old station wagon in the southwest desert.
The group was there to film a documentary that will illuminate the cost of the destruction of the Native American community; to both the indigenous population as well as to their European conquerors.
They visit the Apache, Navajo and Hopi reservations in Arizona, Zuni and Tewa in New Mexico, Shoshone in Nevada, Utes in Utah and Colorado and then on to the Dakotas to visit the people and places that were (and still are) the epicenter of conflict between the native peoples and their European conquerors.
The documentary reveals the qualities inherent in indigenous people’s world views that should be recognized and adopted if we all, collectively, intend to not only survive, but to find a way to live happier, more meaningful lives.
While engaging a wide variety of opinions from notable activists, authors, artists, elders and shaman, politicians and government officials, clergy, teachers and everyday people, the film will reveal its message through a powerful music-driven road trip.
Searching for a truth that can speak to power. I met up with George to talk about his documentary and touch upon his latest CD – Slave to the Empire.
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Robert Cavuoto: What are the origins of the film’s title Shadowntrain: Under the Crooked Sky?
George Lynch: Expansion westward by railroad was the death knell for the American Indian to retain their way of life and keep their territory, but there’s an even sadder reality to this story. That living in balance with, and having a deep reverence and love for the natural world is a human trait. If expressed, could save us from ourselves.
I believe if people learned out of necessity or desire to co-exist; we would see a paradigm shift in the evolution of the human race on a multitude of levels including economically and spiritual. We could live life with a much larger sense of meaning and fulfillment.
Robert: What is your personal mission for making this documentary?
George Lynch: For one thing to tell the truth [which seems to be an elusive commodity these days]. To not cherry picked subjective truths, but to pick the big obvious ones that deal with justice, ethics, equality, etc.
Robert: What do you want the viewers to take away from Shadowtrain?
George Lynch: I would like people’s hearts to be broken and to insight righteous indignation. The same kind of lying self-enriching politicians and preachers do, except I wouldn’t be lying to you. You know how I’m not lying? Because I’m not asking you for a lifetime of tithes or asking you to vote against your own best interest or against the interests of most of your fellow human beings
This benefits everyone involved in Shadowtrain. For those who worked for no worldly reward in the hopes that our efforts might help turn the tides of inequality and injustice.
Robert: What’s the highest compliment that somebody could pay you regarding your documentary?
George Lynch: That it actually succeeded in changing some small component of our existence for the better.
Robert: What can people do to help you?
George Lynch: We always need equipment, lights, cameras, and generators. People can contribute at www.shadowtrainmovie.com.
Robert: Did you win the opportunity to speak with the Tribeca Film Festival? If so what are next steps?
George Lynch: We did not win. We will hopefully wrap filming in July and finish editing and post production in September or October. We’re hoping to screen at as many film festivals as possibly. For the long term I love the idea of touring the film around with the band in old theaters, county fairs, Indian casinos, colleges and have the band [Shadowtrain] tour with the film and perform the soundtrack. Then at the end of the night open up the mic for discussions with the band, film makers, and audience
Robert: I heard that you met up with Ted Nugent at his ranch, how did it go?
George Lynch: Ted is highly regarded in some parts of the country. A lot of his music and lifestyle are aligned with the American Indian experience. Ted and I are on opposite poles of the political spectrum but the fact that we have a mutual respect for each other as guitarists allows us a nice cushion to alleviate some of the friction that’s going to occur when we discuss political issues.
Robert: On your latest CD, Slave to the Empire, you had so many great original songs, what was the decision to add Dokken covers?
George Lynch: To draw people in to listen to the record.
Robert: When speaking with many artists that re-record their songs they mention that when they originally recorded them, there were parts that they didn’t have time to add or perhaps after playing the song live for 20+ years they found enhanced way to play them. I noticed that you stayed fairly true to the originals. What is your take when visiting the decision to re-recordings?
George Lynch: We didn’t really think about it too much. I definitely would have stretched the stuff out beyond recognition if left to my own devices, but Mick Brown [drums] was the voice of reason, if that’s what you want to call it, that’s why we call Mick the dream killer! [Laughing]
Robert: What were the criteria for picking the five Dokken songs?
George Lynch: Which ever songs best fit the respective vocalists.
Robert: On “Tooth and Nail” and “Into the Fire” there’s a break with spoken words whicj is not in the original version. Was that something that got cut from the original versions back in the 80s?
George Lynch: No, we just added it his time around.
Robert: Any plans to tour?
George Lynch: Probably this fall.
Robert: Any plans to do some guitar clinic at various guitar stores? I saw you in NJ a few years back and really enjoyed watching you play in that environment.
George Lynch: I’m always out doing those sorts of things. I work hard with Randall and ESP to always do my part to help them succeed.
Robert: How much do you hate being asked about a possible Dokken reunion?
George Lynch: [Laugher….]
