Whitesnake’s First Slither: Coverdale’s Post-Purple Blues

David Coverdale’s exit from Deep Purple in 1976 marked the end of an era, but it also opened the door for a new chapter in his musical journey. 

Stepping out from the shadow of one of rock’s behemoths, Coverdale embarked on a solo career that would lay the groundwork for the future phenomenon known as Whitesnake. 

These early years, often overlooked in the band’s lore, reveal a period of exploration and rediscovery, where Coverdale delved deep into his blues roots and honed the soulful vocal style that would become his signature.  

Leaving Deep Purple wasn’t a decision made lightly. Coverdale had joined the band in 1973, a young singer thrust into the limelight as the replacement for the iconic Ian Gillan. 

He fronted the Mark III and IV lineups, contributing to powerful albums like Burn and Stormbringer. But by 1976, creative differences and internal tensions within the band had reached a boiling point. Coverdale, feeling creatively stifled, decided to strike out on his own.  

His first solo effort, aptly titled White Snake, arrived in 1977. This album wasn’t a radical departure from his Deep Purple days, but it did showcase a shift in emphasis. 

The hard rock edge was still present, but it was tempered by a newfound blues sensibility. 

Tracks like “Lady” and “Blindman” revealed a more introspective side to Coverdale’s songwriting, while his vocals took on a richer, more soulful quality. 

This wasn’t the screaming banshee of “Burn”; this was a singer exploring the nuances of his voice, drawing inspiration from blues legends like Paul Rodgers and Robert Plant.  

The following year, Coverdale released Northwinds, an album that further cemented his blues-rock direction.  While White Snake hinted at the sound that would later define Whitesnake, Northwinds saw Coverdale embracing a more mature and confident songwriting style. 

Tracks like “Keep On Giving Me Love” and “Only My Soul” showcased a growing command of melody and dynamics, with Coverdale’s voice soaring with newfound power and control.  

These early solo albums weren’t just a stepping stone to Whitesnake; they were a crucial period of artistic growth for Coverdale. He was no longer the new kid trying to fill big shoes; he was a seasoned vocalist and songwriter forging his own path. 

The bluesy swagger, the soulful delivery, the raw emotion – these elements, honed in the crucible of his solo career, would become the cornerstones of Whitesnake’s sound.

While White Snake and Northwinds might not have the commercial clout of later Whitesnake albums, they hold a special place in the band’s history. 

They show Coverdale’s resilience and his unwavering commitment to his musical vision.  

They are the sound of a future rock icon finding his voice, a voice that would soon command the attention of the world.

From Solo Ventures to a Shared Vision: The Genesis of Whitesnake

The year 1978 marked a pivotal moment for David Coverdale. Fresh off his solo explorations, he felt the pull of collaboration, the desire to forge a new sound with a band of like-minded musicians. 

This yearning led to the genesis of Whitesnake, not as a meticulously planned project, but as a loose collective of British rockers drawn together by their shared love for blues-infused hard rock.

It’s important to remember that the Whitesnake of 1978 bore little resemblance to the MTV-conquering behemoth it would later become. 

This early incarnation was a more organic, almost improvisational affair, built on the foundations of camaraderie and a shared passion for gritty, soulful music. 

Coverdale, still riding the wave of his solo work, sought out musicians who could not only match his intensity but also contribute their own unique flavors to the mix.

Enter Micky Moody and Bernie Marsden, two guitarists who would become instrumental in shaping Whitesnake’s early sound. Moody, a seasoned veteran with a bluesy slide guitar style honed in bands like Juicy Lucy and Snafu, brought a raw, earthy edge to the table. 

Marsden, a versatile player with a knack for crafting memorable riffs, added a melodic counterpoint to Moody’s grit. 

Their contrasting styles, far from clashing, created a dynamic interplay that would define Whitesnake’s early albums.

The rhythm section was solidified with the addition of Neil Murray on bass, a player who had previously lent his talents to bands like Colosseum II and National Health. 

Behind the kit, for a brief period, was none other than Ian Paice, Coverdale’s former bandmate from Deep Purple. Paice’s thunderous drumming provided a powerful backbone for the band’s blues-rock explorations.

This early lineup, though somewhat fluid in its initial stages, coalesced around a shared set of influences. 

The blues, of course, was a primary touchstone, with echoes of British blues giants like John Mayall & the Bluesbreakers and Fleetwood Mac filtering through their music. 

This wasn’t just a retro blues revival; Whitesnake injected their sound with a hefty dose of hard rock energy, drawing inspiration from bands like Led Zeppelin, Free, and Humble Pie.

This potent blend of blues grit and hard rock swagger, combined with Coverdale’s powerful vocals, formed the core of Whitesnake’s identity. 

It was a sound that resonated with audiences hungry for authentic, no-frills rock ‘n’ roll, and it laid the foundation for the band’s future triumphs.

Ready an’ Willing: Forging a Blues-Rock Identity

With a solid lineup in place, Whitesnake hit the ground running, channeling their collective energy into a string of albums that would define their early sound and establish them as a force to be reckoned with in the British hard rock scene. 

These early years were a whirlwind of creativity, marked by extensive touring and a prolific output of gritty, blues-infused rock ‘n’ roll.

Their debut album, Trouble, arrived in 1978, hot on the heels of the band’s formation. It was a raw and energetic affair, showcasing the band’s potent chemistry and their commitment to no-nonsense hard rock. 

Moody’s slide guitar snaked its way through tracks like “Take Me With You” and “Lie Down (A Modern Love Song),” while Marsden’s riffs provided a solid foundation for Coverdale’s tell-tale vocals. 

The album also featured the powerhouse drumming of Ian Paice, who brought a touch of Deep Purple thunder to the proceedings.

Lovehunter, released in 1979, saw the band further refining their sound. 

The blues influences were still prominent, but there was a growing sense of confidence and swagger in their music. 

Tracks like “Walking in the Shadow of the Blues” and the title track itself were packed with infectious energy, while the album’s controversial cover art (featuring a naked woman riding a serpent) only added to the band’s growing notoriety.

Don’t forget the throb of “Don’t Break My Heart Again.”

By the time Ready an’ Willing hit the shelves in 1980, Whitesnake had truly hit their stride. 

It was a commercial breakthrough, propelled by the hit single “Fool for Your Loving.” 

This track, with its irresistible blend of bluesy groove and hard rock punch, became a staple of the band’s live shows and remains a fan favorite to this day. 

Ready an’ Willing also saw the arrival of drummer Cozy Powell, a legend in his own right, who brought a ferocious energy and technical prowess to the band. 

Powell’s explosive drumming added a new dimension to Whitesnake’s sound, injecting their music with an extra dose of power and excitement.

The band’s upward trajectory continued with 1981’s Come an’ Get It. 

Come an’ Get It, another UK commercial success, solidified Whitesnake’s position as one of the leading lights of the British hard rock scene. 

“Don’t Break My Heart Again” and “Would I Lie to You” showcased the band’s growing mastery of melodic hooks, while still retaining their bluesy core.

These early albums, from Trouble to Come an’ Get It, paint a vivid picture of a band brimming with talent and ambition. 

Possibly perversion.

They captured Whitesnake at their rawest and most vital, a group of musicians who weren’t afraid to wear their influences on their sleeves while forging their own distinctive identity. 

The bluesy swagger, the hard rock energy, the undeniable chemistry between the players – these were the hallmarks of early Whitesnake, a sound that set the stage for the band’s future evolution.

Just not in America.

Can you smell the beer? Er, ale!

Conquering the Continent: Whitesnake’s Rise to European Fame

While America remained largely unaware of Whitesnake’s burgeoning talent in the late ’70s and early ’80s, the band was steadily building a devoted following across Europe. 

Their relentless touring schedule, coupled with a string of strong albums, saw them conquering stages and winning over fans throughout the UK and mainland Europe.

This grassroots approach to building a fanbase proved incredibly effective. Whitesnake’s live shows were legendary, fueled by the band’s raw energy and their undeniable onstage chemistry. 

Coverdale, with his charismatic stage presence and powerful vocals, proved to be a captivating frontman, while Moody and Marsden’s dueling guitars provided a thrilling sonic backdrop. 

Word of mouth spread like crazy, and Whitesnake soon found themselves headlining major venues and festivals across the continent.

Their success in Europe wasn’t solely reliant on their live prowess. 

Albums like Ready an’ Willing and Come an’ Get It were connecting with UK audiences hungry for authentic hard rock with a bluesy heart. 

They climbed the charts, spawning hit singles and solidifying Whitesnake’s reputation as a major player in the European rock scene.

This period of sustained success in Europe provided the band with a solid foundation upon which to build their future. 

It allowed them to hone their craft, develop their stage show, and cultivate a loyal fanbase that would remain with them through thick and thin. 

By the time Whitesnake set their sights on conquering America, they were already seasoned veterans, ready to take on the world.

A New Direction: Slithering Towards a Heavier Sound

As the ’80s progressed, a subtle shift began to occur within Whitesnake’s ranks. While their blues-rock roots remained firmly planted, a desire for a heavier, more contemporary sound started to emerge. 

This transition was perhaps most evident on their 1982 album, Saints & Sinners, which featured tracks like “Crying in the Rain” that hinted at a harder-edged direction.

This shift was further amplified with the arrival of guitarist John Sykes in 1983. Sykes, known for his work with Thin Lizzy and Tygers of Pan Tang, brought a more aggressive, almost metallic edge to Whitesnake’s sound. His fiery playing and penchant for soaring solos injected a new level of intensity into the band’s music.

The result of this collaboration was 1984’s Slide It In. Well, the American version.

While still retaining elements of their bluesy past, the album showcased a noticeably harder and more polished sound. Sykes’s influence was undeniable, with tracks like “Slow an’ Easy” and “Love Ain’t No Stranger” driven by his powerful riffs and melodic solos.

Interestingly, Slide It In existed in two distinct versions: the original UK release and a remixed version for the US market. 

The US remix, with its emphasis on bigger drums and a more polished production, further emphasized the band’s move towards a more commercially viable sound. 

This strategic move hinted at Coverdale’s ambition to conquer the American charts and foreshadowed the glam-metal direction that would dominate their later work.

With Slide It In, Whitesnake found themselves at a crossroads. They had achieved significant success in Europe with their blues-infused hard rock, but Coverdale’s vision was expanding. 

He sensed a change in the musical landscape, with bands like Van Halen and Def Leppard dominating the airwaves. 

He wanted Whitesnake to be at the forefront of this new wave, and Slide It In marked a crucial step in that evolution. It was a bridge between their bluesy past and the stadium-ready rock giants they were about to become.

Here I Go Again: Whitesnake’s Conquest of the World

By 1987, the stage was set for Whitesnake’s global takeover. 

David Coverdale, ever the astute strategist, had carefully steered the band towards a sound and image that perfectly aligned with the prevailing trends of the era. 

Hair metal was in full swing, with bands like Bon Jovi and Def Leppard dominating the airwaves, and Coverdale was determined to stake his claim to the throne.

The result was Whitesnake’s self-titled album, a record that would catapult them to superstardom. 

Released in 1987, the album was a slick and powerful statement of intent, showcasing a band at the peak of their powers. 

Gone were the raw edges of their early blues-rock days; in their place was a polished, stadium-ready sound that embraced the bombast and swagger of glam metal.

The album was a commercial juggernaut, selling millions of copies worldwide and spawning a string of iconic singles. 

“Here I Go Again,” a re-recorded version of a song from Saints & Sinners, became an anthem for the ages, its infectious melody and soaring vocals capturing the hearts of rock fans everywhere. 

The accompanying music video, featuring Tawny Kitaen’s seductive dance moves on the hood of a Jaguar, became an MTV staple, further fueling the song’s popularity.

Other hits like “Is This Love” and “Still of the Night” solidified Whitesnake’s dominance of the charts and cemented their place in the hair metal pantheon. 

These power ballads, with their soaring vocals, emotive lyrics, and undeniable hooks, became staples of arena rock radio and karaoke nights across the globe.

The success of the 1987 album wasn’t just down to the music; it was also a triumph of image. Coverdale, with his flowing blonde locks and leather-clad physique, became a pin-up icon, embodying the glam metal aesthetic to perfection. 

The band’s videos, with their high production values and emphasis on visual spectacle, perfectly captured the spirit of the era.

Whitesnake had finally conquered America, and in doing so, they had achieved a level of global stardom that few bands could even dream of. 

The 1987 album was a defining moment in their career, a testament to Coverdale’s vision and the band’s undeniable talent. 

It solidified their place as one of the biggest rock acts of the decade and ensured their legacy as a true icon of the hair metal era.

What a Sec! What Happened to John Sykes?

The breakup between John Sykes and David Coverdale is one of those rock ‘n’ roll enigmas, full of “he said, he said” and rampant speculation. 

Officially, Coverdale claims that Sykes, along with producer Mike Stone, attempted a takeover while he was sidelined with a severe sinus infection. 

They allegedly tried to oust Coverdale and continue Whitesnake without him, a move that understandably didn’t sit well with the band’s founder.

Sykes, however, denies this, stating he was shocked by the firing and that Coverdale essentially went into hiding to avoid a confrontation. 

It’s a messy situation, and the truth is likely buried somewhere in between.

From a more human perspective, it’s easy to see how creative differences and personality clashes might have contributed to the split. 

Sykes, a fiery and ambitious guitarist, undoubtedly injected a new energy and edge into Whitesnake, playing a key role in the success of Slide It In in America. 

He was a powerful presence, and it’s conceivable that his growing influence and strong personality led to friction.

Coverdale, as the driving force and visionary leader of Whitesnake, had a clear direction for the band. 

Known for his meticulous nature and unwavering commitment to his artistic vision, it’s plausible that he felt Sykes’s influence encroaching on his own, or that their creative differences were becoming insurmountable.

Perhaps there was an element of ego involved, a struggle for control and recognition. Both were strong personalities with a deep passion for their music. Maybe their ambitions simply outgrew the band.

Whatever the true reasons, the split marked the end of an era for Whitesnake. Sykes went on to form Blue Murder, showcasing his formidable guitar skills and songwriting. 

Coverdale continued to guide Whitesnake towards the glam-metal sound that would define their commercial peak.

The separation of Coverdale and Sykes remains a fascinating chapter in Whitesnake’s history, a reminder that even the most successful bands face internal conflicts and creative tensions. 

It’s a tale of ambition, ego, and the ever-changing dynamics of the music industry.

And like many rock ‘n’ roll stories, it’s one that may never be fully resolved.

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