John's first connection with Whitesnake came when Lizzy appeared on the same bill for a few dates in Germany. Even though it was the end for Lizzy John had intentions of staying with Philip Lynott for the latter's solo career. Indeed, with Lizzy over and Scott Gorham needing to take a break, Philip, John and Brian Downey became The Three Musketeers for a stint in Europe. With this in mind he said, "No" when first asked to join Whitesnake. Also of note is that John was not a particularly big fan of Whitesnake, prefering DC's work with Deep Purple and the legendary Burn album. After further calls from the Whitesnake camp John was invited to hang out in Munich with DC and Mel Galley for a couple of days during sessions for the Slide It In album. During his visit he managed to jam on a couple of tracks but left without DC convincing him to join permanently. After more calls John was asked to name his price and, even to his surprise, the Whitesnake camp agreed to meet his large financial demands.
Initially part of a six piece consisting of DC, Jon Lord, Neil Murray, Mel Galley and Cozy Powell, John was to become the sole guitar player when a freak accident ruled Mel out of the tour. Legend has it that the two inebriated guitarists had been 'car hopping' with John landing on Mel's arm and subsequently breaking it (to this day John still feels bad about it). Soon Jon Lord had departed for the 1984 Deep Purple reunion and, with Mel Galley not invited back after complications with his injury, Whitesnake had become a completely different band both in appearance and sound. The highlight for the new line up had to be their performance at the 1985 Rock In Rio festival supporting Iron Maiden and Queen in front of half a million fans. John's version of Crying In The Rain backed up by the thunderous drumming of Cozy Powell was by now almost unrecognisable from it's original recorded version, particularly the extended solo section. During these shows John had a problem with rock photographer Ross Halfin, seemingly because of the latter's association with Kerrang! who were not the biggest champions of the band. It alledgedly reached a point where he refused to perform with Halfin in the photographers' pit which, in hindsight, is a real shame as there would've been some classic shots. John had certainly brought a fire and excitement to the band although at this time, like most guitarists, he was still looking for that elusive sound. Whilst the playing on the US version of Slide It In does give a glimpse of what was to come (both he and Neil Murray re-recorded some parts for the stateside version), it wasn't until the 1987 sessions and a little help from Bob Rock, that he found the sound that was to become legendary.
After a succesful eight month tour perfomed largely as a single guitar band (a first for Whitesnake) plans were made for the next album. As part of his contract John had insisted on a clause that guaranteed he would be properly credited on any album he appeared on. Also, he negotiated a better financial percentage than the rest of the band aside from publishing which was to lead to the departure of Cozy Powell who quit on the principle that he was only getting half as much. Nevertheless, it was with great optimism that John and DC began to write what was to become one of the biggest selling albums of the 80's...
Written in just ten days, recording for the 1987 album began in the September of 1985. Things proceeded at a good pace with newly recruited drummer Aynsley Dunbar and bassist Neil Murray banging down their parts in just a couple of months. Alarmingly, because of the problems documented elsewhere on this site, John was still recording and in some cases re-recording guitar parts a year later. Having understood that he would be involved with over seeing the mix with original producer Mike Stone in London, John was insensed by DC and Geffen's decision to mix the album in LA with Keith Olsen. Turning up unannounced during a mixing session John was to have a row that ultimately led to his departure from the band. The album was released with a completely different line up promoting it. To this day, the 1987 album must be one of the biggest selling albums performed by an all British line-up not to even have a sniff of industry recognition in it's homeland (Brit Award, anyone?).
John's next move was a return to England to form the band Blue Murder, managed by his step father Ron Sharples. The subsequent success of 1987 meant that John was now a hot property in music circles, even if he wasn't exactly a household name. Drummer Cozy Powell was soon onboard following his ill fated spell with ELP. A search for a singer ensued but it was to prove fruitless. Ray Gillen quit Black Sabbath to join but he struggled to come up with lyrical ideas and some of the songs just didn't suit him. Another Black Sabbath singer Tony Martin was also a contender and a song he co-wrote with John (Valley Of The Kings) was to actually make it onto the final album. A decision was eventually made that John would perform vocal duties himself and the band was reduced to a power trio, although Cozy Powell soon opted out to join Tony Martin in Black Sabbath. With drummer Carmine Appice and Tony Franklin completing the lineup, Blue Murder went to Vancouver to work with Bob Rock.
Blue Murder's nine track eponymous debut (on the Geffen label, 1989) was a complicated affair. The musicianship (also including Nik Green on keyboards) was absolutely first class and there's no doubt that the band could live with the best of them on this score. Opener Riot was rhythmically superb with Tony Franklin's fretless bass an unusual delight and, best of all, John's singing was spot on (with hints of both Phil Lynott and DC in places). The guitar work on Blue Murder was flawless and he certainly lived up to the reputation he'd gained through 1987. Perhaps the album's main weakness was in the lyrical department. The sexier songs were unfortunately like Whitesnake without any of the humour (check out Sex Child, Jelly Roll). Other subject matter was typically metal and was never going to cross over to a mass market (Valley Of The Kings, Ptolemy). Perhaps the album was a little too US driven too, magnified by the fact that the band never toured Europe to support it. Also worth noting was the band's image in accompanying promo shots which involved dressing like pirates. Heavy rotation did come via MTV and the album sold a respectable 500,000 copies, with great success in Japan. A good foundation had certainly been laid for future releases but then came... nothing. It was not until four years later that follow up, Nothin' But Trouble (Geffen label) was released to a grunge fuelled rock world in 1993. Gone were Tony Franklin and Carmine Appice, listed only as guest musicians, replaced by Marco Mendoza and Tommy O'Steen respectively. Strange addition to the band was former Baton Rouge singer Kelly Keeling who despite a two year tenure, bizarrely appears on only one song, the excellent I'm On Fire. Keeling later revealed that he had recorded the whole album but that his vocals were removed with little explanation. As an album it is arguably far superior to its predecessor lyrically but, with little success, John was to subsequently knock the whole Blue Murder project on the head following the Screaming Blue Murder live album (1993).
1994 brought about a peculiar turn of events. Having fended off regular Thin Lizzy 're-union' questions in Japan, John called Lizzy six string partner Scott Gorham to see what he thought. Gorham in turn called original drummer Brian Downey and the three of them agreed to a few rehearsals to see whether it would work. The subsequent shows with Darren Wharton on keyboards and Marco Mendoza on bass were a success. Brian Downey dropped out in the late 90's to be replaced by Tommy Aldridge. This lineup can be heard on the One Night Only release (CMC, 2000) taken from a live show at the end of '99. Wharton was soon to depart leaving just John and Scott Gorham as original members of the band. Mendoza, the man that John had plucked from an LA nightclub playing jazz and soul, left in order to join Whitesnake alledgedly telling John it was, "for the money..."
In November 2003 I caught Lizzy live in Sheffield with Michael Lee on drums (Tommy Aldridge had also left to join Whitesnake) and it has to be said that I was blown away - particularly with John's singing and playing. Still, I came away a little sad that I hadn't seen him playing the songs I grew up hearing him play with Whitesnake and Blue Murder.
The seemingly impossible could have come to fruition that same year when DC contacted John with a view to getting a Whitesnake band together. John claims that he was asked who to get in the band to which he replied Tommy Aldridge and Marco Mendoza. Talks collapsed though with John apparently giving DC a piece of his mind with regards to him living off the back of 1987 for nigh on twenty years. This didn't stop DC poaching the aforementioned drummer and bassist however, much to John's annoyance. John was said to have commented that there was more chance of him and DC getting into a Boxing Ring than reuniting as a songwriting partnership!
Despite sporadic solo forays largely for the Japanese market, Out Of My Tree (Mercury Japan, 1995), Loveland (Mercury Japan, 1997), 20th Century (Mercury Japan, 1997), Nuclear Cowboy (Mercury Japan, 2000) and Bad Boy Live (JVC Japan, 2004), it seems that John's main focus has switched to Thin Lizzy who continue to tour as a four piece (Francesco DiCosmo on bass completing the lineup with Tommy Aldridge back in the fold).
As it is, the plain truth in the matter is that neither DC nor John Sykes has managed to repeat the success, or escape the shadow, of 1987. There is, however, plenty of music to be enjoyed from the pair of them and long may it continue...
WHITESNAKE DISCOGRAPHY
Slide It In (US Version Only), 1984.
Whitesnake, 1987.
Greatest Hits, 1994.
This article was written by Phillip Hackney.
Copyright © 2008 P Hackney.