Alright, let’s dive into the “Whitesnake (1987)” album. It put Whitesnake on the map in a huge way, blending blues, hard rock, and metal with a lot of polish. 

It’s big, it’s slick, and it’s got riffs that slap harder than a Monday morning after an all-nighter. 

The tension between frontman David Coverdale and guitarist John Sykes is a story of brilliance clashing with ego, and it’s a big reason this album has an electric, almost defiant energy.

So here’s a track-by-track breakdown with a bit of behind-the-scenes context on how the Sykes/Coverdale dynamic made this thing sound as urgent as it does.

“Still of the Night”

This is the anthem, the most recognizable song on the album and the one that’s basically synonymous with ‘80s rock.

It’s got everything: thunderous riffs, haunting verses, and that iconic “Led Zeppelin-meets-sex appeal” vibe.

Sykes’ guitar work on this track is relentless. He wanted to push the band’s sound harder and heavier, and this song is a perfect example.

Sykes basically re-wrote the song for Blue Murder and called it “Cry For Love”.

“Bad Boys”

This is where the band just goes full throttle. Coverdale’s voice has that primal, dirty edge, but it’s Sykes’ riff that gives it bite.

The lyrics are pure rock swagger, and Sykes is shredding with a vengeance here.

This track shows the chemistry they had when they were both on the same page, even if it was short-lived.

“Give Me All Your Love”

It’s a “ZZ Top straight-ahead rocker on steroids”, fun and a bit more upbeat.

It’s a testament to their ability to turn simple ideas into memorable hooks.

“Looking for Love”

This track is ambitious, longer, with a more emotional range. Coverdale’s lyrical yearning is palpable here, and Sykes’ guitar builds that moody atmosphere.

This song shows they were good at balancing heavy with heartfelt – when they let themselves, at least.

Coverdale has been quoted as saying that this song is his favorite and he was crushed when John Kalodner dropped the song from the North American edition of the album.

John Sykes meanwhile rewrote a derivative version for Blue Murder and called it “Out Of Love”

“Crying in the Rain”

Now, this is Coverdale’s roots showing through. It’s a re-recorded song from Whitesnake’s 1982 album, “Saints And Sinners” but Sykes puts his own stamp on it, giving it a modern, more aggressive edge.

While Zakk Wylde gets a lot of the press for pinch harmonics, it was Sykes who made them mainstream. Even Wylde credited Sykes. Check out the verse riff and how Sykes decorates it with pinch harmonics.

This song represents the mid 80s Whitesnake conflict well: Coverdale was proud of his blues-rock past, while Sykes was about pushing it into harder rock territory. That creative tension turned this into one of the album’s strongest tracks.

“Is This Love”

Arguably one of Whitesnake’s biggest hits, this song marked the band’s shift to mainstream rock.

Coverdale wrote this as a ballad for Tina Turner, but it ended up being a Whitesnake anthem instead.

On the Whitesnake “Evolution” demos, Coverdale is heard saying, “the Chorus to take over the world”. They knew they had something great.

There’s irony here: Coverdale’s soulful delivery shines, but Sykes’ subtle guitar fills are what keep it from sounding too soft. It’s their partnership’s “beauty meets brawn” balance.

“Straight for the Heart”

This one leans more into glam and is a bit straightforward, like a Thin Lizzy tune twisted and contorted by that “Twist And Shout” vibe.

Sykes’ guitars are crisp and driving and the lead break electrifying.

“Don’t Turn Away”

This is the album’s closer, a bit softer and more reflective. Sykes’ guitars are still powerful but more restrained, almost as if he’s letting Coverdale have his moment here.

“Children Of The Night”

It’s a re-write of “Burn” which Sykes re-did again with Blue Murder and called it “Black Hearted Woman”.

“Here I Go Again”

I don’t know how much Sykes played on this.

My understanding is he did all the rhythms while the solo he recorded for the song was cut and replaced by Adrian Vandenberg’s solo.

There is also a more polished version of the song that was also released to radio that has guitar playing from Dan Huff.

“You’re Gonna Break My Heart Again”

The song is in Dropped D and Sykes makes triads and diads sound super heavy. It wasn’t on the North American pressing but released everywhere else.

The Coverdale-Sykes Dynamic

They were a classic case of oil and water. Coverdale had been steering Whitesnake as a blues-rock band with a bit of soul for years. Sykes was the new gunslinger in town who wanted to push into harder rock territory, and his fingerprints are all over the Whitesnake album sound.

The problem?

They both wanted control.

Coverdale felt the band was his vehicle, while Sykes, with his new ideas, was increasingly getting frustrated at Coverdale’s tight grip. Add in the fact that Coverdale was dealing with health issues during the recording (which meant delays), and it’s no wonder they were butting heads constantly.

By the time the album was done, Coverdale had had enough and fired Sykes and the other artists before the tour even started.

A lot of us fans grew up watching a whole different band than the one that recorded it.

Bottom line?

The Whitesnake album is a product of a creative clash – that mix of Sykes’ technical aggression and Coverdale’s soulful, blues-rooted approach. The two couldn’t co-exist for long, but in that short span, they made something legendary.

And John Sykes will be missed. Passing away in December 2024, from cancer. He announced himself to me in 1987 with this album and became one of my biggest influences.