Blue Murder | History of the Band
The Supergroup That Merged Technical Prowess, Blues and Late 80s Bombast
Blue Murder, an English rock supergroup formed in the late 1980s, carved a unique niche in the hard rock and heavy metal scenes with their blend of virtuosic musicianship and eclectic musical influences. Spearheaded by John Sykes, formerly of Whitesnake, the band's formation was a statement of intent to explore the heavier and more complex side of rock music. Despite their brief existence, Blue Murder's influence and legacy in the rock genre are undeniable.
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Formation and Early Years
Before founding Blue Murder, John Sykes had already made a name for himself as an influential guitarist and songwriter in the hard rock and heavy metal scenes. His tenure with Thin Lizzy and then Whitesnake, where he played a critical role in the writing and recording the latter's self-titled album (1987), a monumental success in the genre, had established him as a formidable force in rock music. His departure from Whitesnake set the stage for Blue Murder, where he sought to encapsulate his vision of a heavy yet melodically rich rock sound.
Tony Franklin, often referred to as "The Fretless Monster," was renowned for his mastery of the fretless bass. Before joining Blue Murder, Franklin made a name for himself playing with The Firm alongside rock legends Jimmy Page and Paul Rodgers. His fluid, melodic bass lines, which combined rock's power with the nuance of jazz, were a perfect match for Sykes' vision of a band that melded hard rock's aggression with more intricate musical textures.
A drumming powerhouse, Carmine Appice had already established a storied career when he joined Blue Murder. With a resume with stints with Vanilla Fudge, Cactus, and Beck, Bogert & Appice, Appice was known for his innovative drumming techniques and powerful playing style. His work is often cited as influential by many of the leading rock and heavy metal drummers. Appice's experience and versatility in blending hard rock, blues, and metal elements were instrumental in shaping the band's dynamic sound.
The formation of Blue Murder brought together these three musicians, each with their unique contributions to the rock genre, to create a powerful and intricate sound. Their collective experience and musicianship promised a blend of hard rock, heavy metal, and glam metal, enriched with the blues and funk influences evident in their debut album.
Musical Style and Evolution
Blue Murder's sound was a unique amalgamation of hard rock, glam, and heavy metal, with significant blues and funk undercurrents. Sykes' guitar work, Franklin's bass, and Appice's drumming created a dynamic and robust sonic landscape. Their music often drew comparisons to Whitesnake, Thin Lizzy, and Led Zeppelin, showcasing their ability to fuse hard rock's aggressive energy with the melodic and rhythmic complexities of blues and funk.
Discography
"Blue Murder" (1989): Released under Geffen Records, this debut album encapsulated the band's ambitious sound. Produced by Bob Rock at Little Mountain Sound Studios in Vancouver, it featured tracks such as "Valley of the Kings" and "Jelly Roll." It was considered a commercial disappointment despite reaching number 69 on the Billboard 200. Critics and fans praised its production and musicianship, with the album gaining a cult following over time. Eduardo Rivadavia of AllMusic highlighted its enduring quality compared to other metal albums of the era, noting its mix of hard rock and heavy metal with a bluesy undercurrent.
"Nothin' But Trouble" (1993): Their second studio effort, also released by Geffen Records, did not achieve the commercial success of its predecessor but was well-received critically. Tracks like "We All Fall Down" showcased the band's continued commitment to their signature sound, with the album incorporating a broader range of styles and a more polished production. Despite its positive reception, it failed to chart, which John Sykes attributed to inadequate promotion by Geffen. The album is remembered for its technical proficiency and is considered a worthy follow-up, showcasing the band's evolution and depth.
Influence and Legacy
While commercial success may have eluded them, Blue Murder's musical output has garnered a cult following, with their debut album, in particular, being celebrated for its production and musicianship. The band's ability to blend genres and technical skills have made them a subject of admiration in rock and metal circles.
Blue Murder's legacy is one of unfulfilled potential and cult admiration. Their music continues to be discovered by new generations of rock fans, with their albums being revisited for their quality and the unique place they hold in the rock genre's history. The band's influence extends beyond their immediate output, contributing to the broader narrative of rock music in the late '80s and early '90s.
Blue Murder's journey through the late 1980s and early 1990s rock landscape was marked by a blend of musical virtuosity and stylistic exploration. Their story is a testament to the enduring appeal of well-crafted rock music, transcending the constraints of commercial success to leave a lasting impact on the genre.
Sources
Wikipedia
Classic Rock History
AllMusic
Sputnikmusic
Whoa! I've NEVER heard of these guys and that's quite a trio. Thanks!
John Sykes was extremely badass, and his lineup of Whitesnake (Sykes, Neil Murray, and Cozy Powell) for the album "Slide It In" was the best version Coverdale ever had behind him, as a band.
The lousy promotion and weak sales of Blue Murder's records were largely due to one thing: by the time each one came out, it was well behind the trend of popular "hard rock" in charge at the time. 1989 was still G n' R "sleaze rock" territory; with more refined bands like Bulletboys and Extreme left to struggle in the wake; 1993 was the year of Seattle and Smashing Pumpkins, and Blue Murder was never gonna fit in there. There's also more than a hint of bad blood and dirty politics between Sykes and Coverdale, as well as some subterranean industry feuds involving Appice, that played into Geffen's lack of enthusiasm for investing heavily in Blue Murder's success.