Riot
Sex Child
Valley Of The Kings
Jelly Roll
Blue Murder
Out Of Love
Billy
Ptolemy
Black-Hearted Woman
During the recording of Whitesnake's multi-million-selling album 1987, the relationship between former Thin Lizzy guitarist John Sykes – who'd joined the band in 1983 – and frontman David Coverdale began to deteriorate.
By the time the album was ready to go, the band had been fired and Sykes was looking for something new. Geffen Records' A&R man John Kalodner encouraged him to form his own band, so he hooked up with bassist Tony Franklin and drummer Carmine Appice (a replacement for Cozy Powell) and released Blue Murder's debut album in 1989.
With Sykes on lead vocals, the album was critically acclaimed but a commercial underachiever, failing to reach the Top 40 in the UK and just denting the Top 75 in the US. But it picked up a cult following over the years, with fellow guitarists keen to praise the brilliance of Sykes' playing.
"These days there's a whole Brotherhood Of Blue Murder out there – musicians and crew guys who love this band," said Myles Kennedy in 2014. "You'd be surprised how many of us there are."
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in April 1989
- Beneath the Remains - Sepultura
- Sonic Temple - The Cult
- Twice Shy - Great White
- Doolittle - Pixies
- Buzz Factory - Screaming Trees
- Blue Blood - X Japan
- Full Moon Fever - Tom Petty
- Headless Cross - Black Sabbath
- Sea Hags - Sea Hags
- Best Wishes - Cro-Mags
- Repeat Offender - Richard Marx
- Mr. Music Head - Adrian Belew
- 1,000 Hours - Green Day
- The Black Swan - The Triffids
- The Headless Children - W.A.S.P.
- Slippery When Ill - The Vandals
What they said...
"The album has also become rather dated over the years, because of its frequent indulgence in the same sort of unchecked, peroxide-fueled "Bad Zeppelin-isms" that were then being shamelessly appropriated by bands like Kingdom Come and Sykes' own former boss, David Coverdale, and the reborn Whitesnake." (AllMusic)
"For whatever reason, this project was simply cursed, and it never got off the ground commercially. However, don’t let any of that muddled and unfortunate history fool you; this album is fantastic, and in my opinion, it is essential to any Hair and Glam Metal collection. Haven’t heard it? Do yourself a favour and change that." (VWMusic)
"Blue Murder has much in common with the ’Snake. Sykes’ strong voice isn’t quite the equal of David Coverdale’s, but it’s certainly as good as many other hard rock screamers, while his guitar playing, in the technical style then in favour, is superb. They made an epic, glossy album, marginally heavier than Whitesnake but in the same vein, and with tunes as big as Sykes’ hair and a typically clean yet thunderous production job by Bob Rock." (Record Collector)
What you said...
Mike Canoe: Boy, the lyrics to Sex Child haven't aged well, have they?
That stumble aside, I like Blue Murder, the eponymous debut by Blue Murder. For good or bad, it's the John Sykes show. He handled the majority of the songwriting, sang lead, and, of course, played plenty of flashy, slashy guitar. The inclusion of rock veterans Carmine Appice and Tony Franklin made the project a bit of a supergroup and they have the skills to help Sykes realize his vision.
Imagine my surprise then, when, while doing my weekly homework, I discovered this album was a commercial flop. It feels like I heard Jelly Roll on the radio all the time and, in 1989, this Zep-inspired hard rock was still very much the coin of the realm. Maybe with their poofy hair and pirate garb, they didn't stand out enough from the glut of late-80s hair metal bands.
While the songs aren't particularly original, they are played with passion and conviction. There's hints of the aforementioned Zeppelin, UFO, latter-day Rainbow, and, of course, Thin Lizzy and Whitesnake. Listening to Black-Hearted Woman, I snickered because Sykes was mimicking Whitesnake. Then I realized he was, never mind what the music videos told you, mimicking himself in Whitesnake.
And there it is. Blue Murder gave Sykes his shot at glory instead of being treated like a disposable sideman. RIP.
Evan Sanders: I wanted to enjoy this album, both as a tribute to John Sykes, and to appreciate a supergroup with the great Carmine Appice drumming. But unlike the Asia supergroup debut we reviewed a little while ago, I think this was way less than the sum of its parts. Perhaps the problem is just bad luck, as it sounds like a variation of 80s hair metal, which was on the way out at the time. Things may have gone differently if they released the album in the mid-80s, before groups like Guns N' Roses changed things, followed by grunge. A worthwhile effort, but at the wrong time. 5/10.
Chris Downie: While the late John Sykes's place in history as an all-time great guitarist has long been assured, via his stellar work with Whitesnake, Thin Lizzy and the perennially underrated Tygers of Pan Tang, the Blue Murder project always had a hint of the 'what might have been' about it. A victim of the zeitgeist, it was somewhat overlooked by all but the already converted, in a post-Appetite For Destruction musical climate that favoured the edgy over the sophisticated.
Looking back at this album, there's much to be admired about the musicianship all round; far from being another supergroup that fell just wide of the mark, each member is on-point and brings their 'A' game. It was simply the right album at the wrong time.
More pointedly still, it once again illustrates just what a waste of talent it was, having Sykes (never renowned for being prolific) on the sidelines for much of the last few decades of his life, with mooted projects such as a new solo album and a series of demos with Mike Portnoy that never saw the light of day. 8/10.
Gary Claydon: Decent enough but chock full of fairly generic 80s hard rock. Basically picks up from where Sykes' Whitesnake stint left off. His guitar work elevates the whole affair somewhat and his vocals are fine but, overall, the material is pretty run-of-the-mill (including some ropey lyrics) and isn't helped by Bob Rock's heavy-handed production. Still, a solid 6/10.
Dean Doherty: My all-time fave debut. I know: Van Halen, Boston, GN'R etc are brilliant but this is my fave and in my top 10. Fantastic album. Amazingly under-appreciated. John Sykes R.I.P.
Andrew Bramah: Blue Murder were being lined up as the next big rock band.
The Bob Rock production said it all. On the whole the album has some really good tracks but it was missing two elements: A really strong vocalist who could take the songs to the next level and a couple of epic singles that would catch the audience's attention.
I've seen John Sykes many times and he is a supreme guitar player on all the albums he played on. However, he was at his best with a brilliant singer.
Marike Elzinga: One of the best debut albums of all time. They should have become huge and it just kills me how much bad luck Sykes had with the projects he took on after Lizzy. With all his talent and skills he deserved so much more. I was just listening to the live version of Billy on Screaming Blue Murder this morning, it's mindblowing!
Philip Qvist: Although John Sykes is a decent enough singer this album could have done with a first-class singer who would have taken the songs to greater heights. In fairness though, he was initially quite reluctant to take on the singing role - and it should not diminish his role as a great guitarist and songwriter.
It looks like poor marketing was the reason why this record bombed because the reviews of Blue Murder the album were mainly highly positive. It is definitely an album that deserved far more success than it achieved.
The rhythm section of Tony Franklin and Carmine Appice are on top form and it is an album that I rate highly. My favourite tracks were Blue Murder, Out Of Love and Ptolemy. Highly recommended - a high score from me this week despite the average vocals.
Graham Tarry: This was a breath of fresh air when it came out. In places, it reminds me of the legendary Hughes-Thrall album. Over-the-top production, with some tremendous moments, in particular the section in Billy when it goes into overdrive!
Tony Cruse: Great playing from Sykes. However, the songs are not epic and the fretless bass sound ruins it for me. Incidentally, the Badlands debut came out on the same day and is a far better release.
Mark Herrington: This reminded me more of Journey’s heavier offerings - Eclipse and Frontiers - and less so of Whitesnake. The sound is swirling power rock /metal orientated, with great guitar.
It sprints out of the blocks with the pounding Riot. The less said about the second track the better. Valley Of The Kings borrows thematically from Rainbows Stargazer, and even has the “whips and chains” and “flesh “ references -but what the hell, it carries it off well.
The album continues in this vein, with obligatory ballads etc. Black Hearted Woman finishes the album off with a track that could have been written for Dio.
Overall, a very enjoyable listen, reminiscent of bands I like - a pretty good score from me.
Pete Miles: I loved this album! Not nearly enough credit.
Steve Torrens: One good song, Valley Of The Kings. The rest is average to poor. The whole thing was an ego vehicle.
Greg Schwepe: Like Gary Moore a few reviews ago, it seems I had initially heard more about John Sykes in my guitar magazines long before I realized who he was and what he had played on. Found out he too had a tenure in the initial last chapter of Thin Lizzy, and was the guy who played on Whitesnake’s breakthrough album. “Oh, he played on the album, but wasn’t in the videos 'cause he got booted. Got it.” And usually listed in any Sykes article was his other project; Blue Murder. For those in the know, this was another late 80s rock/metal one to check out.
So, on paper you’ve got a power trio with a pretty good pedigree. Shreddy, squawky pinch-harmonic using a guitar player who was in Thin Lizzy and Whitesnake. Mustachioed drummer Carmine Appice who’s played with everybody. And spikey-haired fretless bassist Tony Franklin who played along guys named Page and Rodgers. Dang. Bit of a resume there.
But can these guys put something together on their own? The short answer: Yes. Standard 80s hard rock fare played by guys with chops! But we knew that going in. Melodic, rocking, and worthy of multiple listens. Sykes's vocals are decent, with no extraneous shrieking.
Standout tracks are Valley Of The Kings, with its slightly atmospheric vibe, the bouncy, slightly acoustic-ish vibe of Jelly Roll, and the big crunchy riff of the title track, Blue Murder. I like Sykes’s guitar style and I like fretless bass… so I’m in on this one.
But, big thumbs down to the second track title, Sex Child. Really? I thought this was a Spinal Tap moment there. Nothing like putting a target on your back for the P.M.R.C. at that time with a title like that! I'm no prude, but... yuk!
Now, this is not the greatest thing to come out of the late 80s… but it’s enough to get me in the mood to play multiple times and find some other Sykes solo albums. But in a few days I will have moved on to something else that grabs me. 7 out of 10 on this one for me.
John Davidson: Sykes is a decent singer and an excellent guitarist, but the songs here never rise above the ordinary. Musically the album sounds, at times, like Tawny Kittaen-era Whitesnake and at others like post-Dio Rainbow.
The production too is very cluttered, typical of the bombastic late 80s style. I love a good rhythm section and both Appice and Franklin are accomplished musicians, but they don't leave enough space for the guitar and vocals to breathe.
That said, I can't blame Bob Rock entirely for this. His other 1989 album (The Cult's Sonic Temple) features a cleaner, hard rock sound that elevated The Cult from stomping Gothic rock to stadium-friendly anthems.
Regardless, Blue Murder is an album caught in the amber of its time, a glossy heavy metal shred album that doesn't quite have the songs to make it stand out from the crowd, despite the talent of the players.
Final score: 7.44 (47 votes cast, total score 350)
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