The guitar universe was rocked on January 20 by the announcement of John Sykes’ death from cancer, at age 65. Forty years ago, the British guitarist rocked with high-volume bands like Thin Lizzy and Whitesnake, establishing himself before “shred” guitar had a name. Blazing on a Les Paul Custom, he was as fast as any human alive.
Within hours of hearing the tragic news, current Whitesnake guitarist Joel Hoekstra (VG, June ’23) told Vintage Guitar, “Like most rockers, I was a big fan of John’s work with Whitesnake, along with Thin Lizzy and Blue Murder. He played from the heart and had tremendous prowess both as a guitarist and vocalist. Unfortunately, I never had the chance to meet him, but always tried to pass along my admiration and respect for John through mutual friends.”
John James Sykes was born in Reading, England, on July 29, 1959, and started playing blues-rock licks on acoustic, initially inspired by Eric Clapton. Later influences included Gary Moore, Jimmy Page, and fretboard rippers like Michael Schenker and Uli Jon Roth. Barely 21, Sykes made his recording debut in 1980 with the band Streetfighter, which appeared on a New Wave of British Heavy Metal (NWOBHM) compilation, New Electric Warriors. The track, “She’s No Angel” already displayed nods to Thin Lizzy, with its melodic harmony lines.
Before long, he left Streetfighter to join Tygers of Pan Tang and helped record two solid albums in 1981.
“It’s very sad to hear of John Sykes passing,” Marty Friedman told VG. “His work with Tygers of Pan Tang was by far my favorite of the NWOBHM. A wonderful guitarist who played with bristling energy and new levels of ability. Forced me to up my game – something which I remain eternally grateful to John for.”
Subsequently, Sykes auditioned for Ozzy Osbourne’s band, but later found himself in the studio with Thin Lizzy frontman Phil Lynott. Working as a one-off duo, they conceptualized the pop-metal nugget “Please Don’t Leave Me.” A fast, tasty guitar solo bore hallmarks of the former Lizzy monster Gary Moore, who was off starting a solo career. The project was more than enough to convince Lynott to grab the 22-year-old Sykes, where he would play across the stage from Lizzy veteran Scott Gorham.
The result was the final Thin Lizzy studio album, 1983’s Thunder and Lightning, which has become revered as a metal masterpiece – arguably Lizzy’s only authentic heavy metal album. The lead single was “Cold Sweat,” co-written by Sykes and possessing an explosive solo with Van Halen-style tapping, over-bends, and brutal riffing. Another track, “Baby, Please Don’t Go,” was a metal master class containing one of the most-thrilling leads of Sykes career. As ’80s-era Thin Lizzy keyboardist Darren Wharton told Music Radar, “When [guitarist] Snowy White decided to leave Thin Lizzy, John was the natural choice to join us. While Snowy brought a laid-back, bluesy feel to the band, John introduced a heavier, more-intense element that Phil absolutely embraced.
“Recording Thunder and Lightning with John was also a creative highlight, full of excitement and energy,” he added. “John and I lived with Phil at his house in Kew Gardens… it was a special time, filled with camaraderie, music, and plenty of laughs.”
A mediocre live album, Life, was issued in late ’83, coming not long after Thin Lizzy disbanded in the wake of spiraling substance issues of Lynott and Gorham (Lynott died in January, 1986). After hearing the news of his former guitar partner’s death, Gorham said on social media, “So sad to hear about the passing of John Sykes. He and I played some sweet music together and he was a great musician. We’ll miss him.”
With Lizzy out of commission, Whitesnake’s David Coverdale feverishly tried to get Sykes into his band and, after heavy negotiation, landed the young guitar whiz. Their first task was finishing what became the Slide It In album, where Sykes appeared on the U.S. version while Mickey Moody and Mel Galley played on the U.K. mix. The album put Whitesnake on the map as a rising arena-rock draw and in January of ’84 they played to 500,000 fans at Brazil’s Rock in Rio festival.
Talking to the Metal Rules website in 2008, Sykes said, “I liked [David Coverdale’s] work with Deep Purple, especially, Burn, because I loved Ritchie Blackmore and all the Purple stuff before that. I think David sang great on that one, and he had an amazing voice – but I always felt he needed a rock player who could really drive him, not just strum along. He needed something like a kick in the arse, you know?”
The group reappeared with Whitesnake, titled 1987 in Europe and featuring new songs co-written by Coverdale and Sykes. The LP turned into a platinum seller, moving eight million copies, earning 24/7 video rotation, and establishing Whitesnake as a definitive ’80s “hair band.” MTV-encrusted hits included “Here I Go Again” (of which there are two versions, one with guitarist Adrian Vandenberg’s solo and another with studio man Dann Huff), as well as the Sykes-fueled power ballad “Is This Love.” But it was the guitarist’s riffs and faster-than-lightning solo on “Still of the Night” that established Sykes as a guitar god – it’s a metallic performance for the ages. Sykes later told veteran rock journalist/blogger Steve Newton, “[Producer Bob Rock] actually created my guitar sound on the Whitesnake album, and we’ve been friends ever since. I wanted to go for an early ’70s type of sound more than a late ’80s thing, and Bob was also into early Purple and Zeppelin, so it was great.”
A sad irony is that by the time Whitesnake became a smash, Coverdale had fired the band, as its dynamic had become acrimonious. The project was further delayed because Coverdale required surgery for vocal issues. The long and short of it was that Sykes was out, replaced on tour by Vandenberg and ex-Dio guitarist Vivian Campbell. Coverdale and Sykes never reconciled, but the former expressed his thoughts on social media, saying, “Just heard the shocking news of John’s passing. My sincere condolences to his family, friends, and fans.”
After being cut from Whitesnake, Sykes formed the power trio Blue Murder with drum icon Carmine Appice and bassist Tony Franklin (The Firm). Their 1989 debut and ’94 follow-up Nothin’ But Trouble provided potent MTV metal, earning a cult following for “Jelly Roll” and the Whitesnake-styled “Valley of the Kings.” Despite being well-received, Blue Murder never connected with fans on a mass scale and, with the arrival of grunge and alt-rock in the ’90s, was all but doomed as a commercial venture. In hindsight, however, the project not only reinforced admiration for Sykes’ guitar prowess, but also his powerhouse vocals. In fact, at times he sometimes sounded more like David Coverdale than David Coverdale, notably on the stomper “We All Fall Down.”
Sykes is universally identified with his ’78 Les Paul Custom with Dirty Fingers humbuckers – a tour-ravaged Black Beauty with plenty of battle wounds. Behind him, a row of 50-watt Marshall JCM800 heads or Mesa/Boogie Coliseum heads, along with 4×12 cabinets provided a mighty backline roar. Even decades later, the gigantic tones of Sykes-era Thin Lizzy and Whitesnake remain a thing of crunchy wonder.
In the mid ’90s, Sykes reconnected with Scott Gorham, drummer Brian Downey, and keyboardist Wharton for atouring-only Thin Lizzy lineup. The show proved a powerful homage to Lynott and carried on for over a decade, with John offering a potent reinterpretation of Lynott’s vocal phrasing and style. The live One Night Only appeared in 2000; at the same time, Sykes launched a solo career with a few modest-selling albums and singles.
On social media, fellow Whitesnake alumnus Doug Aldrich posted, “I met John several times and will never forget the conversations we had. He was a funny and cool guy [who] was fierce on the guitar and sang his ass off. John is now up there with Eddie, Gary, Randy, Jimi, and a whole lot of our heroes.”
Billy Idol guitarist Steve Stevens summed up Sykes’ impact with this pithy post: “Hearing that John Sykes has passed. Man, his work on the 1987 Whitesnake album was just incredible. You’ve got 12-year-old kids on Youtube still learning his stuff!”
Pete Prown is music editor at Vintage Guitar and author of Ultimate Heavy Metal Guitars: The Guitarists Who Rocked the World.
John Sykes
Arc Of An Icon
In the golden era of guitar that was the ’80s, A-list players like Edward Van Halen, Slash, Stevie Ray Vaughan stood alongside guys like Michael Hedges, Allan Holdsworth, Leo Kottke, Andy Summers, and Craig Chaquico, creating a great stylistic melange.
Also contributing was John Sykes, who became known for his idiosyncratic style and flair for the dramatic. Influenced by Jimmy Page, Eric Clapton, and Ritchie Blackmore, Sykes was a Gary Moore disciple who followed in his footsteps when he joined Thin Lizzy in 1984. Sykes’ breakout performance was on the 1987 self-titled Whitesnake album, but no matter the setting, his playing was consistently great. Here, we offer a curriculum vitae.
Streetfighter
Sykes’ recording debut happened in 1980, with the Streetfighter track “She’s No Angel,” on the compilation NWOBHM Thunder: New Wave of British Heavy Metal: 1978-1986. Sykes’ playing is fast, melodic, and raw, with edgy, spiraling solos that would remain a trademark of his musical identity.
Tygers of Pan Tang
Sykes joined Tygers of Pan Tang for a trial-by-fire debut in front of 60,000 people at the Reading Festival in 1980. He performed on the albums Spellbound and Crazy Nights and played on the tracks “Love Potion No. 9” and “Danger in Paradise” on 1982’s The Cage.
With Tygers, Sykes’ playing was more-polished and confident. Tunes like “Gangland,” “Hellbound,” “Don’t Stop By,” and “Mirror” display muscular riffs that leaned heavily into the British metal style of the era. His muted runs, heavy vibrato, harmonized guitar lines, and artificial harmonics became a mainstay of his artistry.
Thin Lizzy
After leaving Tygers, Sykes auditioned for Ozzy Osbourne, then re-recorded with Streetfighter before briefly joining vocalist John Sloman and Whitesnake bassist Neil Murray in the Wales-based Badlands. He then replaced Snowy White for Thin Lizzy’s final album, Thunder and Lightning, released in ’83. Joining forces with a visionary band that included bassist Phil Lynott and guitarist Scott Gorham, Sykes was entering his prime.
With Lizzy, his growth was huge. On the title track, he unleashed blazing staccato lines and heavy vibrato. Highlights include the haunting “The Sun Goes Down,” the severely rocking co-write “Cold Sweat,” “Holy War,” and the riveting “Baby Please Don’t Go.”
Thunder and Lightning was Thin Lizzy for head bangers, and Sykes was key in its heavier, more-intense guitar sound. It charted at #4 on the U.K. album charts and was followed by Life: Live, recorded in March of ’83. A must-own for aficionados, the double album was mostly recorded at the Hammersmith Odeon during the band’s farewell tour and features former bandmates Eric Bell, Brian Robertson, and Gary Moore. Sykes is on fire, particularly on the power ballads “Still In Love With You,” and the definitive version of “Don’t Believe A Word.” It features not one but two epic guitar solos in each song. The live versions of “Are You Ready,” “Got To Give It Up,” and “Waiting For An Alibi” are sweltering. On the song “The Rocker,” Bell, Moore, and Robertson join Sykes and Gorham in a firestorm of pentatonic passion.
Whitesnake
As Lizzy was disbanding, David Coverdale was looking for a flashy guitarist to match his stage presence. Adrian Vandenberg reluctantly declined, and Sykes pinged Coverdale’s radar when their respective bands shared festival bills on European tours. After passing on Michael Schenker, Coverdale courted Sykes by making him an offer he couldn’t refuse — lots of money.
Before Sykes joined, the U.K. version of Slide It In had already been recorded and British fans ate it up, but it received harsh reviews by the British press for its poor production and trite lyrics. Geffen Records refused to release the album in the U.S., so Sykes and Murray were flown to Los Angeles to re-record certain guitar parts, layer others, and replace all the bass. Producer Keith Olsen remixed the album, and the re-recording was a success, with improved production and a heavier, more-modern blues-rock sound. Sykes and Murray were confirmed as members of Whitesnake in January of ’84, culminating in Sykes playing in front of 500,000 people at the Rock in Rio Music Festival when they replaced Def Leppard the following year.
The U.S. version of Slide It In became Whitesnake’s first major success. Coverdale’s middle finger to the British press, it sold more than half a million copies and put the band on the map, partly due to Sykes’ aggressive playing. On the 2019 remaster, Sykes plays to complement the song, respectfully building from the ideas of guitarists Mel Galley and Micky Moody. His contributions are lyrical, adding girth, emotion, and his trademark pinch harmonics.
Exhibit A is Sykes’ re-do of the guitar solo on the title track. While Moody’s version is perfection, Sykes builds on his ideas, taking it to a more-modern, fiery, and melodic place. He finishes the solo with an epic arena-rock crescendo. Live versions of these songs with Sykes are breathtaking.
The 1987 Whitesnake album made Sykes famous. Deeply involved in co-writing nine of the 11 songs with Coverdale, his solo on the re-recording of “Crying in the Rain” is among the greatest of that era. But, on “Still of the Night,” he unleashes truly crafty six-string drama; dynamics, tension, release, bombast, and his distinctive vibrato are used to masterful effect.
Leaning into a polished and contemporary hard rock sound, Sykes and Coverdale recorded the album then parted ways. Adrian Vandenberg was hired to replace Sykes’ guitar solo on “Here I Go Again.” Dann Huff plays the solo on the radio mix.
The album is an immaculate blues-rock masterpiece. Coverdale, with his British metal-frontman persona, was the perfect emcee to deliver the songs with swagger, bolstered by Sykes’ guitar mastery. The opening riff of “Bad Boys” rocks with all-out gusto, while the ominous Led Zeppelin atmosphere of “Still of the Night” displays Sykes’ trademark melodies, muted 64th notes, lyricism, and epic crescendos.
While Sykes could light up the fretboard, he could also dig deep, delivering soulful guitar lines and beautifully harmonized backing. On the sugary ballad “Is This Love,” his silky smooth legato lines are cherry filling. Whitesnake’s seventh record, it became Coverdale’s most successful album to date, selling more than eight million copies in the U.S. while reaching #2 on Billboard, where it resided for 10 weeks.
Blue Murder
In late ’87, Sykes began recording demos for a band that was to include drummer Cozy Powell, bassist Tony Franklin, and vocalist Ray Gillen. After hearing them, Geffen Records A&R exec John Kalodner encouraged Sykes to front the band himself; he then added drummer Carmine Appice. Produced by Rob Rock, its self-titled debut was released in April of ’89 and is Sykes at his most-opulent. Songs like the title track display his trademark soloing, while “Valley Of The Kings” is his most-epic. Lost on most guitarists was his powerful singing within the context of arena rock, acoustic country blues, and accessible pop-metal.
One of that era’s finest hard-rock records, Blue Murder peaked at #69 on Billboard and garnered positive reviews. “Jelly Roll” became a minor hit, receiving rotation on MTV, peaking at #15 on Album Rock Tracks. Selling an estimated 500,000 copies in a changing music scene, the album failed to meet expectations.
During this period, Sykes was considered to join Def Leppard after singing background vocals on the Adrenalize album. He lost out to Viv Campbell.
Moving on, Skyes released Blue Murder’s second album, Nothin’ But Trouble, in August of ’93. He’d continued writing and playing in the style that made him famous, but also presented even heavier material; mammoth riffs infiltrated passionate songs with big choruses, ethereal dynamics, over-the-top soloing, and rich Les Paul tones. “Cry For Love,” “I’m On Fire,” and “I Need An Angel” is top-tier. “We All Fall Down” peaked at #35 on the Album Rock Tracks chart.
After the album essentially failed, Appice and Franklin left, replaced by drummer Tommy O’Steen and bassist Marco Mendoza. They released the live Screaming Blue Murder: Dedicated to Phil Lynott in 1994, which contained a mix of songs by Thin Lizzy, Whitesnake, and Blue Murder. Incendiary versions of “Cold Sweat,” “Dancin’ in the Moonlight,” “Still of the Night,” and “Jelly Roll” are worth the price of admission. Unfortunately, Sykes was dropped by Geffen Records, and the band then split.
Solo
Sykes’ solo debut came in ’95 with the release of Out of My Tree, followed by Loveland and 20th Century (both ’97), Nuclear Cowboy (2000), and Bad Boy Live! (’05). He also joined a reformed Thin Lizzy from ’96 to ’09 and auditioned for Guns N’ Roses in ’09. In ’11, he began recording demos for a power trio with drummer Mike Portnoy and bassist Billy Sheehan. Tentatively called Bad Apple, the project folded due to scheduling and personality conflicts. After Richie Kotzen replaced Sykes, the band morphed into the highly successful Winery Dogs. In January of ’21, Sykes released “Dawning of a Brand New Day,” followed in July by “Out Alive.”
Gear
Sykes’ main guitar was a black ’78 Les Paul Custom with Dirty Fingers pickups. He also used a ’59 Standard on Loveland, played a ’61 Strat on “Is This Love,” and a Charvel with a Floyd Rose on “Black-Hearted Woman” and “Ptolemy.”
A Marshall user who favored 50-watt JCM800 heads modified by José Arredondo paired with 4×12 cabinets, with Whitesnake and the first Blue Murder album, Sykes used two Mesa Boogie Coliseum heads, Mark III preamps, rackmount units with Dual Rectifiers, Mark IIC+ heads, TriAxis preamps, a Strategy power amp, a rackmount Dunlop Crybaby, Lexicon PCM 41 and PCM 70 delays, and an H&H V800 power amp. Later, he was partial to the EVH 5150III with EL34s.
Legacy
To hear the cream of Sykes’ six-string artistry, Thin Lizzy’s Thunder and Lightning, Life: Alive, Whitesnake, Blue Murder, and Bad Boys Live! are key. Sykes was no ’80s shredder clone; he wielded the theatrical intensity of Gary Moore, the scalar melodicism of Randy Rhoads, and techniques from Edward Van Halen, creating a blues-based hard-rock aura. With his British blues-rock attitude, signature vibrato, and out-of-the-box phrasing, he brought new life to palm-muted bass notes, bent harmonics, and pick slides.
His soloing incorporated an array of hard-rock techniques, such as super-fast alternate picking, pinch harmonics, exaggerated vibrato, muted pentatonic runs, and spiraling scale sequences. His playing was otherwise highlighted by behind-the-nut bends, harmonics, ostinato passages, seamless legato, and rapid-fire picking. Compositionally, the themes in his music dealt with straightforward guitar-centric hard rock as well as grandiose Egyptian-tinged mythological imagery and roots-oriented compositions like “Jelly Roll,” with its Db-Ab-Db-Ab-Ab-Db tuning (low to high).
His influence was deeply felt by guitarists in the hard rock and metal community like Zakk Wylde and Slash, as well as subsequent members of Whitesnake, including Adrian Vandenberg, Vivian Campbell, Steve Vai, Reb Beach, Joel Hoekstra, and Doug Aldrich.
This article originally appeared in VG’s April 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
