After being unceremoniously removed from Whitesnake after the completion of the recording of mega selling album 1987, John Sykes was out to prove a point. Depending on what story you believe, Sykes was after more credit and money for his contribution to the songs on 1987. Coverdale, being the ego maniac that he is, refused saying it was his band so take it or leave it. He had a history of dumping on guitar players that wrote and made him famous. Bernie Marsden anyone?
Going down the route of the classic three piece line up, this band were ready to roll with Tony Franklin on bass and Carmine Appice on drums. Opening with the track, Riot, it’s clear from the start that Sykes was going all out. If anyone was in any doubt who was the main protagonist in Whitesnake for the 1987 album, it was out there for all to hear. Next up is Sex Child, now the music is really freaking awesome, but the lyrics are so cringeworthy – I’m not sure they would have got away with a that today. The first epic of the album, Valley Of The Kings, follows and is melodic hard rock heaven. Very Zeppelin in its execution, but way louder and heavier. There’s a great riff and Sykes shows us he has a great voice as well as killer chops. Last track on Side 1 is Jelly Roll, and for me this is one of the highlights of the album. It has a blues vibe and a very odd take on a shuffle at the intro, with acoustic guitars, kick drum, plus hand claps – then the groove kicks in and away we go. The song slows right down for the big finish with a absolute monster of a solo.
Over to Side 2 and the title track, Blue Murder. If it was me I would have had this track opening the album. The groove is not a standard rock groove as it has a lot more swing and bounce – until the chorus when it really moves. A great middle eight with Sykes giving us all the moves. Out Of Love follows and it’s the dreaded ballad. Other than the solo (which is epic) it’s errr…well, a ballad. My other favourite track on the album is Billy, and again not the standard intro. Phased guitar and rimshots lead into a great riff with a killer vocal and melody – possibly the best solo on the record. A return to Egypt is next with Ptolemy, the other epic track on the album. A huge beginning with drums and guitars a wailing with the heaviest riff on the record – this is as close to metal the album gets and its a killer tune. It’s last track time with Black Hearted Woman, and it sounds like an unused Whitesnake riff from 1987 – or even a Dio tune – but I guess not, as it’s one of only two songs that was a full band effort.
So what did we learn from this? Well, Sykes can sure write a tune, Sykes can play some serious guitar, Sykes has a great voice, and Sykes is supported by one hell of a rhythm section. So why weren’t this band huge? That, my friends, is the million dollar question!
9/10 from The Grooveman.
