Whitesnake -

Whitesnake was an English hard-rock band formed in 1978 after David Coverdale left Deep Purple at the close of that band’s first run. The story starts the prior year with his debut solo album White Snake, followed by Northwinds and the first official Whitesnake release, the Snakebite EP.

Coverdale built the first lineup with bassist Neil Murray, drummer Dave Dowle, and guitarists Micky Moody and Bernie Marsden. Whitesnake rotated keyboardists Brian Johnston and Pete Solley until DP alumnus Jon Lord took the role. Fellow DP Ian Paice replaced Dowle after Lovehunter and played on the run that produced Ready an’ Willing, Live… in the Heart of the City, Come an’ Get It, and Saints & Sinners.

In late 1982, Coverdale retained Moody and Lord in a new lineup with guitarist Mel Galley, bassist Colin Hodgkinson, and drummer Cozy Powell. Further changes followed during the Slide It In cycle, when Coverdale teamed with Tygers of Pan Tang guitarist John Sykes. They co-wrote the self-titled seventh Whitesnake album, which spawned the 1987 transatlantic hits “Here I Go Again” and “Is This Love.” For the tour and videos, Coverdale replaced Sykes with Adrian Vandenberg, who co-wrote the 1989 followup Slip of the Tongue, recorded with Rudy Sarzo, Tommy Aldridge, and Steve Vai.

Members: David Coverdale (vocals, percussion, piano), Micky Moody (guitar, vocals, 1978-83), Bernie Marsden (guitar, vocals, 1978-81), Neil Murray (bass, 1978-81, 1983-86), Dave Dowle (drums, 1978-79), Brian Johnston (keyboards, 1978), Pete Solley (keyboards, 1978), Jon Lord (keyboards, 1978-84), Ian Paice (drums, 1979-81), Mel Galley (guitar, vocals, 1982-84), Colin Hodgkinson (bass, 1982-83), Cozy Powell (drums, 1982-85), John Sykes (guitar, 1984-86), Richard Bailey (keyboards, 1984-85), Aynsley Dunbar (drums, 1985-87), Adrian Vandenberg (guitar, 1985-97), Don Airey (keyboards, 1985-86), Vivian Campbell (guitar, 1987-88), Rudy Sarzo (bass, 1987-94), Tommy Aldridge (drums, percussion, cymbals, sticks, 1987-90, 2003-07, 2013-present), Steve Vai (guitar, 1990)

Background

David Coverdale (b. September 22, 1951) came from Saltburn-by-the-Sea, North Riding of Yorkshire. He first sang in the beat group Vintage 67, followed by a four-year stint in The Government, which opened for Deep Purple on a 1969 Northern stop. By 1972, he attended fronted The Fabulosa Brothers.

In late 1973, Coverdale answered a singer’s wanted ad placed by Deep Purple, who lost their frontman Ian Gillan. Coverdale fronted the Mark III lineup behind the 1974 albums Burn and Stormbringer, recorded with Glenn Hughes and DP co-founders Ritchie Blackmore, Jon Lord, and Ian Paice. When Blackmore formed Rainbow, American guitarist Tommy Bolin joined for the 1975 album Come Taste the Band.

By March 1976, Deep Purple collapsed and Coverdale embarked on a solo career. He formed a writing partnership with guitarist Micky Moody, an alumnus of Tramline and Snafu.

White Snake

David Coverdale released White Snake on May 6, 1977, on Purple after a February 22, 1977, Japanese issue.

Coverdale wrote five songs and co-wrote four with Moody. Bassist Roger Glover, who preceded Coverdale in Deep Purple, produced White Snake, which also features reddist Ron Aspery, keyboardist Tim Hinkley (ex-Jody Grind), and session drummer Simon Phillips (Chopyn, 801).

White Snake leans on slower, open arrangements with moments of hardness. “Lady” opens in a brisk rock frame, then “Blindman” drops into downcast, brooding weight. “Goldie’s Place” loosens the pace through a laid-back, funky sway, and “Time on My Side” answers with an uptempo keyboard-led charge. “Peace Lovin’ Man” holds back the pressure and leaves the vocal line exposed near the front, while “Sunny Days” brightens the set with a brisker, road-worn push. “Hole in the Sky” sinks deepest into the album’s reflective side, built on a slow, deeply felt frame and a strongly centered vocal. “Celebration” closes in a looser jam shape with jazz-funk color.

A1. “Lady” (3:48) — Coverdale, Moody
A2. “Blindman” (6:01) — Coverdale
A3. “Goldies Place” (5:03) — Coverdale
A4. “Whitesnake” (4:22) — Coverdale, Moody

B1. “Time on My Side” (4:26) — Coverdale, Moody
B2. “Peace Lovin’ Man” (4:53) — Coverdale
B3. “Sunny Days” (3:31) — Coverdale
B4. “Hole in the Sky” (3:23) — Coverdale
B5. “Celebration” (4:11) — Coverdale, Moody

Coverdale recorded White Snake during August and September 1976 at Kingsway in London and Musicland in Munich.

In May 1977, Purple issued “Hole in the Sky” (b/w “Blindman”) as the UK single tied to the European album release. In May 1977, Polydor Oyster issued “Whitesnake” (b/w “Hole in the Sky”) as a Japanese single. In Australia, Interfusion issued “Lady” (b/w “Whitesnake”).

Northwinds

David Coverdale released Northwinds on March 10, 1978, on Purple in the UK and Polydor in Japan.

Coverdale wrote five songs alone and shared three with Moody. Tim Hinkley dominates the arrangements, anchored by bassist Alan Spenner (Spooky Tooth, Kokomo) and drummer Tony Newman (May Blitz, Three Man Army, Boxer). Glover threads synthesizer and clavinet through several tracks.

Northwinds foregrounds piano while Coverdale leads a more restrained, song-centered set. The title track rests on piano and a restrained vocal line with a low, smoldering pull. “Keep On Giving Me Love” adds a funkier undercurrent, and “Give Me Kindness” spreads wider through gospel-backed voices. “Only My Soul” carries the heaviest emotional pull on the record, with a slow climb and a deeply held lead vocal. “Say You Love Me” stays in the same reflective register, with piano and backing singers pressed tight around the lead. “Breakdown” lands with the album’s bluntest force, and “Queen of Hearts” adds more bite through Moody’s slide guitar.

A1. “Northwinds” (6:13) — Coverdale
A2. “Keep On Giving Me Love” (5:16) — Coverdale, Moody
A3. “Give Me Kindness” (4:34) — Coverdale
A4. “Time & Again” (4:02) — Coverdale

B1. “Queen of Hearts” (5:16) — Coverdale, Moody
B2. “Only My Soul” (4:36) — Coverdale
B3. “Say You Love Me” (4:21) — Coverdale
B4. “Breakdown” (5:15) — Coverdale, Moody

David Coverdale recorded Northwinds between March 21 and April 19, 1977, at AIR Studios in London with Roger Glover as producer and John Punter as engineer.

Peter Shepherd designed the sleeve, Peter Livery shot the cover photograph, and Tom Schmid supplied the inner photography.

In February 1978, Purple issued “Breakdown” (b/w “Only My Soul”) ahead of the album’s release.

Snakebite

David Coverdale’s Whitesnake released Snakebite on June 2, 1978, on EMI International as a four-track EP.

Snakebite introduces the first lineup with keyboardist Pete Solley, Moody’s former Snafu bandmate. They’re joined by second guitarist Bernie Marsden, a late-period Babe Ruth player and recent auxiliary on Malice In Wonderland, the 1977 album by fellow Purple spinoff Paice Ashton Lord. Recent Streetwalkers drummer Dave Dowle forms the Whitesnake rhythm section with bassist Neil Murray, fresh off the first National Health album.

The EP contains three originals and one cover: “Ain’t No Love in the Heart of the City,” a 1974 ballad by Bobby Bland, also covered in 1977 by Cafe Jacques. Moody and Marsden interact with tight tradeoffs amid Coverdale’s vocal command.

A1. “Bloody Mary” (3:16) — Coverdale
A2. “Steal Away” (4:15) — Coverdale, Moody, Marsden, Murray, Solley, Dowle

B1. “Ain’t No Love in the Heart of the City” (5:05) — Michael Price, Dan Walsh
B2. “Come On” (3:25) — Coverdale, Marsden

David Coverdale’s Whitesnake recorded Snakebite on April 7-13, 1978, at AIR and Central Recorders in London with producer Martin Birch.

EMI issued the EP in a sleeve credited to David Coverdale’s Whitesnake with live photographs of the band in concert. The label then expanded the release for export markets during September 1978 by adding four songs from Northwinds and turning it into an eight-track album.

Trouble

Whitesnake released Trouble in October 1978 on EMI International in the UK, with Harvest/Sunburst, United Artists/Sunburst, and Polydor handling later issues in Europe, North America, and Japan.

Jon Lord replaces Pete Solley and gives the first full Whitesnake album a darker keyboard weight. Moody and Marsden divide the guitar parts between short riffs, clipped fills, and harmony lines, Murray and Dowle press the songs forward without much excess, and the arrangements leave room for piano passages, instrumental detours, and the Beatles cover.

Trouble sets fast, hard rockers against slower, heavier pieces and never holds one stance for long. “Take Me With You” opens with a heavy rush and firm momentum, then “Love to Keep You Warm” settles into a steadier mid-tempo pull. “Lie Down” carries a lighter swing under the twin-guitar front, while the slowed-down “Day Tripper” adds voice-box color to the album’s oddest detour.

“Nighthawk (Vampire Blues)” brings a funkier undercurrent, and “The Time Is Right for Love” gives the record its sharpest twin-guitar statement through driving rhythm and a contoured lead line. The title track drops into slow, brooding weight, “Belgian Tom’s Hat Trick” cuts through with a brisk instrumental burst, and “Don’t Mess With Me” closes on the album’s fastest, hardest attack.

A1. “Take Me with You” (4:45) — Coverdale, Moody
A2. “Love to Keep You Warm” (3:44) — Coverdale
A3. “Lie Down (A Modern Love Song)” (3:14) — Coverdale, Moody
A4. “Day Tripper” (3:47) — Lennon, McCartney
A5. “Nighthawk (Vampire Blues)” (3:39) — Coverdale, Marsden

B1. “The Time Is Right for Love” (3:26) — Coverdale, Moody, Marsden
B2. “Trouble” (4:48) — Coverdale, Marsden
B3. “Belgian Tom’s Hat Trick” (3:26) — Moody
B4. “Free Flight” (4:06) — Coverdale, Marsden
B5. “Don’t Mess with Me” (3:25) — Coverdale, Moody, Marsden, Murray, Lord, Dowle

Whitesnake recorded Trouble during July and August 1978 at Central Recorders in London with Martin Birch. The sessions moved quickly, and Jon Lord replaced Pete Solley’s keyboard parts before the album reached release form.

Bill Burks handled art direction and design, and Bill Imhoff supplied the illustration for the original sleeve. The album reached No. 50 on the UK chart.

In September 1978, EMI issued “Lie Down (A Modern Love Song)” as the first single from the album. Germany received “Day Tripper” as a single in December 1978, and “The Time Is Right for Love” followed in March 1979.

Lovehunter

Whitesnake released their second album, Lovehunter, on September 21, 1979, on United Artists in the UK and Polydor in Japan.

Here, they retain the six-man lineup with expanded arrangements. Moody and Marsden interlock across longer blues stretches and heavier choruses while Lord adds deeper organ mass.

Lovehunter shifts between striding rockers and slower, more open pieces that leave Coverdale plenty of room at the center. “Long Way From Home” opens with a light, easy gait, and “Walking in the Shadow of the Blues” follows with firmer drive and a stronger rhythmic push. “Help Me Thro’ the Day” pulls the tempo back and lets the vocal sit close to the front, while “Medicine Man” adds denser riff weight and a tougher pulse.

“Mean Business” lifts the pressure through quicker motion and a prominent Jon Lord keyboard break. The title track settles into a slower, heavier frame built around Moody’s slide lines. “Rock ’n’ Roll Women” returns to a plain rolling pattern, and “We Wish You Well” ends the album in a short, calm comedown.

A1. “Long Way from Home” (4:58) — Coverdale
A2. “Walking in the Shadow of the Blues” (4:26) — Coverdale, Marsden
A3. “Help Me Thro’ the Day” (4:40) — Leon Russell
A4. “Medicine Man” (4:00) — Coverdale
A5. “You ’n’ Me” (3:25) — Coverdale, Marsden

B1. “Mean Business” (3:49) — Coverdale, Moody, Marsden, Murray, Lord, Dowle
B2. “Love Hunter” (5:38) — Coverdale, Moody, Marsden
B3. “Outlaw” (4:04) — Coverdale, Marsden, Lord
B4. “Rock ’n’ Roll Women” (4:44) — Coverdale, Moody
B5. “We Wish You Well” (1:39) — Coverdale

Whitesnake recorded Lovehunter during May 1979 with the Rolling Stones Mobile at Clearwell Castle in Gloucestershire with producer Martin Birch, who engineered and mixed the album at Central Recorders in London.

Chris Achilleos designed the sleeve, which placed a nude woman across a giant serpent and became the album’s best-known visual talking point on release. The record reached No. 29 on the UK Albums Chart, the band’s first Top 30 album there.

On October 26, 1979, United Artists issued “Long Way from Home” as a UK EP with live versions of “Trouble” and “Ain’t No Love in the Heart of the City” on the reverse. The release reached No. 55 on the UK Singles Chart. Japan received the song in single form with “Walking in the Shadow of the Blues” as the B-side.

Ready an’ Willing

Whitesnake released Ready an’ Willing on May 23, 1980, on United Artists/Sunburst in the UK.

The album reunites Coverdale and Lord with erstwhile Deep Purple drummer Ian Paice. Moody and Marsden maintain lean, direct guitar exchanges while Lord interjects with organ, underscored by the new Murray/Paice rhythm Section.

Ready an’ Willing opens with “Fool for Your Loving,” where Jon Lord’s keyboards press against a striding riff and Coverdale carries the tension in a hard, urgent vocal line. “Sweet Talker” follows with a faster stomp, twin-guitar bite, and a swirling keyboard break, then the title track settles into a firm chug driven by Ian Paice and Neil Murray.

The middle stretch slows for expanded emotional range. “Carry Your Load” leans on a more reflective vocal frame. “Blindman” veers moodier with brooding weight, while “Ain’t Gonna Cry No More” opens from naked acoutics to a dense, lavish rise. “Love Man” maintains a plain twelve-bar push, “Black and Blue” turns to a tighter rock-and-roll shuffle with Lord again near the front, and “She’s a Woman” closes on a rougher, more overdriven charge.

A1. “Fool for Your Loving” (4:17) — Coverdale, Moody, Marsden
A2. “Sweet Talker” (3:38) — Coverdale, Marsden
A3. “Ready an’ Willing” (3:44) — Coverdale, Moody, Marsden, Murray, Lord, Paice
A4. “Carry Your Load” (4:06) — Coverdale
A5. “Blindman” (5:09) — Coverdale

B1. “Ain’t Gonna Cry No More” (5:52) — Coverdale, Moody
B2. “Love Man” (5:04) — Coverdale
B3. “Black and Blue” (4:06) — Coverdale, Moody
B4. “She’s a Woman” (4:07) — Coverdale, Marsden

Whitesnake recorded Ready an’ Willing during December 1979 and February 1980 at Ridge Farm Studios in Rusper and Central Recorders Studio & Sauna in London with Martin Birch as producer, engineer, and mixer.

David Coverdale supplied the original sleeve concept, and George Bodnar shot the inner-sleeve photographs.

In April 1980, United Artists issued “Fool for Your Loving” with “Mean Business” and “Don’t Mess with Me” on the UK EP and “Black and Blue” on the North American single. The release reached No. 13 on the UK Singles Chart and No. 53 on the Billboard Hot 100.

In July 1980, United Artists issued “Ready an’ Willing” as the second UK single from the album. The release reached No. 43 on the UK Singles Chart.

In October 1980, Mirage issued “Sweet Talker” as a U.S. single tied to the album’s American run.

Live… in the Heart of the City

Whitesnake released Live… in the Heart of the City on November 3, 1980, on Liberty/EMI (UK), Mirage/Atlantic (North America), and Polydor (Japan).

The album draws from two Hammersmith Odeon recordings taken from two distinct lineups. Sides one and two capture the 1980 band with Ian Paice in a tauter form, sides three and four return to the 1978 group with drummer Dave Dowle, and the sequencing sets the broader later set against the rougher first-phase document.

A1. “Come On” (3:38) — from Snakebite EP (1978)
A2. “Sweet Talker” (4:16) — from Ready an’ Willing (1980)
A3. “Walking in the Shadow of the Blues” (5:00) — from Lovehunter (1979)
A4. “Love Hunter” (10:41) — from Lovehunter (1979)

B1. “Fool for Your Loving” (4:58) — from Ready an’ Willing (1980)
B2. “Ain’t Gonna Cry No More” (6:21) — from Ready an’ Willing (1980)
B3. “Ready an’ Willing” (4:46) — from Ready an’ Willing (1980)
B4. “Take Me with You” (6:28) — from Trouble (1978)

C1. “Come On” (3:32) — from Snakebite EP (1978)
C2. “Might Just Take Your Life” (4:55) — from Deep Purple’s Burn (1974)
C3. “Lie Down” (3:33) — from Trouble (1978)
C4. “Ain’t No Love in the Heart of the City” (6:38) — from Snakebite EP (1978)

D1. “Trouble” (4:56) — from Trouble (1978)
D2. “Mistreated” (10:40) — from Deep Purple’s Burn (1974)

Whitesnake recorded sides one and two with the Rolling Stones Mobile at Hammersmith Odeon on June 23-24, 1980, and drew sides three and four from a November 23, 1978, Hammersmith recording that had already appeared in Japan as Live at Hammersmith. Martin Birch produced and engineered the album.

Jeff Cummins designed the sleeve. The album reached No. 5 on the UK Albums Chart, No. 146 on the Billboard 200, and later took platinum certification in Britain.

In November 1980, Liberty issued “Ain’t No Love in the Heart of the City” (b/w “Take Me with You” (live)) as the album’s single. The release reached No. 51 on the UK Singles Chart.

Come an’ Get It

Whitesnake released Come an’ Get It on April 6, 1981, on Liberty (UK), Mirage/Atlantic (North America), and Polydor (Japan).

The six-man band stays for this ten-song sequence. Moody and Marsden keep the guitar work concise, Lord places organ and piano where the choruses need weight, Murray and Paice press the backbeat with less spread than the earlier albums, and Coverdale takes the largest single share of the writing.

Come an’ Get It moves in tight, direct forms built on hard mid-tempo drive, rolling piano, organ surges, and Coverdale’s forceful vocal line. The title track opens with a strutting beat and blunt attack, and “Hot Stuff” pushes harder through faster tempo, sharp drum accents, and a strong keyboard lead. “Don’t Break My Heart Again” keeps the pressure up in a leaner shape, while “Lonely Days, Lonely Nights” lowers the pace and centers the arrangement on a darker guitar line.

“Wine, Women and Song” runs on barroom piano and a loose, swinging pull. “Child of Babylon” begins in an atmospheric hush, then expands into a broader, heavier frame. “Would I Lie to You” turns on clipped stop-start motion, “Girl” rides an easy bass-led pulse, and “Hit an’ Run” adds talk-box color and slide phrases to its faster charge. “Till the Day I Die” starts with acoustic calm, then rises into a full-band close.

A1. “Come an’ Get It” (3:59) — Coverdale
A2. “Hot Stuff” (3:22) — Coverdale, Moody
A3. “Don’t Break My Heart Again” (4:03) — Coverdale
A4. “Lonely Days, Lonely Nights” (4:16) — Coverdale
A5. “Wine, Women an’ Song” (3:45) — Coverdale, Moody, Marsden, Murray, Lord, Paice

B1. “Child of Babylon” (4:52) — Coverdale, Marsden
B2. “Would I Lie to You” (4:34) — Coverdale, Moody, Marsden
B3. “Girl” (3:54) — Coverdale, Marsden, Murray
B4. “Hit an’ Run” (3:23) — Coverdale, Moody, Marsden
B5. “Till the Day I Die” (4:23) — Coverdale

Whitesnake recorded Come an’ Get It during July-September 1980 and January 1981 at Startling Studios in Tittenhurst Park, Ascot, with Martin Birch.

Malcolm Horton painted the sleeve, which pushed the band’s innuendo-heavy snake image into a more stylized form than the earlier covers. The album reached No. 2 on the UK Albums Chart, the highest placing of the band’s first phase.

In March 1981, Liberty issued “Don’t Break My Heart Again” (b/w “Child of Babylon”) ahead of the album’s release. The single reached No. 17 on the UK Singles Chart.

In June 1981, Liberty issued “Would I Lie to You” as the second single from the album. The release reached No. 37 on the UK Singles Chart.

Saints & Sinners

Whitesnake released Saints & Sinners on November 15, 1982, on Liberty (UK), EMI (Europe), and Polydor (Japan).

This, the final studio album by the sextet lineup, maintains the twin-guitar and organ layout with tight, compact materal. Moody and Marsden alternate riffs and fills around Coverdale’s vocal line, Lord gives the songs their keyboard mass, Murray and Paice keep the pace close, and the set points toward the more stripped attack of the next phase.

Saints & Sinners carries a harder, more immediate attack, with fast tempos, firm rhythmic accents, and Coverdale set prominently above the band. “Young Blood” opens at high speed, and “Rough an’ Ready” follows with a shorter, tighter charge. “Bloody Luxury” presses further through Jon Lord’s driving keyboard line and a sharper vocal edge.

“Here I Go Again” and “Crying in the Rain” provide the album’s widest emotional range: the first moves with a measured, reflective pull, while the second draws on a darker blues frame and a stronger, more forceful rise. “Victim of Love” adds a rough soul weight, and the remaining tracks rely on stripped, direct structures where pace, attack, and vocal command stay at the center.

A1. “Young Blood” (3:30) – Coverdale, Marsden
A2. “Rough an’ Ready” (2:52) – Coverdale, Moody
A3. “Bloody Luxury” (3:23) – Coverdale
A4. “Victim of Love” (3:33) – Coverdale
A5. “Crying in the Rain” (6:00) – Coverdale

B1. “Here I Go Again” (5:08) – Coverdale, Marsden
B2. “Love an’ Affection” (3:09) – Coverdale, Moody
B3. “Rock an’ Roll Angels” (4:07) – Coverdale, Moody
B4. “Dancing Girls” (3:10) – Coverdale
B5. “Saints an’ Sinners” (4:25) – Coverdale, Moody, Marsden, Murray, Lord, Paice

Whitesnake recorded Saints & Sinners during 1981-January 1982 and August-October 1982 at Rock City in Shepperton, with the Truck Mobile at Clearwell Castle, then at Britannia Row and Battery Studios in London. Guy Bidmead began the album when Martin Birch was unavailable, Birch returned to finish the record, and Coverdale halted the band during the process before rebuilding Whitesnake around Jon Lord, Micky Moody, Mel Galley, Colin Hodgkinson, and Cozy Powell for the album’s release and tour.

The Concert Publishing Company designed the sleeve, and Virginia Turbett supplied the back-cover photography. The album reached No. 9 on the UK Albums Chart.

In October 1982, Liberty issued “Here I Go Again” (b/w “Bloody Luxury”) as a 7-inch single ahead of the album. The release reached No. 34 on the UK Singles Chart, and Maurice Phillips directed a promo clip that showed the rebuilt touring band onstage with Mel Galley, Colin Hodgkinson, and Cozy Powell in place of Marsden, Murray, and Paice.

In May 1983, Liberty issued “Victim of Love” as a German single tied to the continuing tour.

Slide It In

Whitesnake released Slide It In on January 30, 1984, in Europe and on February 6, 1984, in the UK on Liberty/EMI, then issued a remixed Geffen version in North America on April 16, 1984.

Coverdale rebuilt Whitesnake with Mel Galley, Colin Hodgkinson, and Cozy Powell beside Moody and Lord, and the original European album reflects that six-man band. Moody and Galley divide the guitar parts between slide, crunch, and short harmonized figures, Lord supplies the organ bed, Hodgkinson and Powell give the record a harder shove than the earlier lineups, and the songs stay close to blunt, compact forms.

Slide It In balances hard, mid-tempo drive with keyboard color and a heavier guitar edge that grows stronger as the record moves forward. “Gambler” opens with a firm stride and sets up the tougher sound to come, while the title track cuts cleaner and harder once the synth layer drops back and the band locks into a direct, pounding frame. “Standing in the Shadow” keeps the pressure high through its lead break, and “Give Me More Time” pushes on crunching rhythm figures and a brisker pulse.

“Love Ain’t No Stranger” starts with a soft keyboard lead and bare vocal space, then breaks wide into a full-band surge. “Slow an’ Easy” takes the broadest arc, beginning in a lower, looser pocket before the drums snap into syncopated accents, the riff thickens, and the song pays off with a long rise and solo section. “All or Nothing” and “Hungry for Love” carry the quicker side of the album, the latter with swirling organ in the arrangement, while “Guilty of Love” closes on an upbeat charge.

A1. “Gambler” (3:57) — Coverdale, Galley
A2. “Slide It In” (3:20) — Coverdale
A3. “Standing in the Shadow” (3:32) — Coverdale
A4. “Give Me More Time” (3:41) — Coverdale, Galley
A5. “Love Ain’t No Stranger” (4:13) — Coverdale, Galley

B1. “Slow an’ Easy” (6:09) — Coverdale, Moody
B2. “Spit It Out” (4:11) — Coverdale, Galley
B3. “All or Nothing” (3:34) — Coverdale, Galley
B4. “Hungry for Love” (3:57) — Coverdale
B5. “Guilty of Love” (3:18) — Coverdale

Whitesnake recorded Slide It In during 1983 at Musicland in Munich. Eddie Kramer began the album, Martin Birch returned to finish and mix the European release, and Geffen then reshaped the North American issue with John Sykes on added guitar, Neil Murray on replaced bass parts, and Bill Cuomo on added keyboards after Moody left and Murray returned to the band.

The sleeve kept the band’s original snake emblem at the center, and the album reached No. 9 on the UK chart and No. 40 on the Billboard 200 during its first run.

In August 1983, Liberty issued “Guilty of Love” (b/w “Gambler”) as the first single tied to the album’s rollout. The release reached No. 31 on the UK Singles Chart.

In January 1984, Liberty issued “Give Me More Time” (b/w “Guilty of Love”) as the second single. The release reached No. 29 on the UK Singles Chart.

In April 1984, Liberty issued “Standing in the Shadow” (b/w “All or Nothing”) as the third single from the album. The release reached No. 62 on the UK Singles Chart.

In February 1985, Liberty issued “Love Ain’t No Stranger” (b/w “Bitch of a Day”) from the continuing album cycle. The release reached No. 44 on the UK Singles Chart, while the song also became one of the record’s key American radio titles.

Whitesnake [aka 1987]

Whitesnake released Whitesnake on March 23, 1987, on Geffen in North America and on March 30, 1987, on EMI in Europe, where the album also appeared under the title 1987.

Coverdale wrote eight songs with former Tygers of Pan Tang and Thin Lizzy guitarist John Sykes, whose sharp riffs cascade across the rhythm tracks of Murray and session drummer Aynsley Dunbar.

Whitesnake runs on thick guitar mass, hard downbeats, and keyboard sheen that widens the choruses without thinning the attack. “Crying in the Rain” opens in a dark, slow frame, then drives into heavier riff weight and a long instrumental rise. “Bad Boys” and “Children of the Night” hit with faster pace, blunt guitar figures, sharp drum accents, and mid-song solos that push the pressure higher.

“Still of the Night” takes the broadest shape, moving from hushed voice and spare keys into crushing chord blocks, a slower central passage with suspended tension, and a final return to full force. “Here I Go Again” begins in a calm keyboard haze, then climbs step by step into a wide chorus and a bright lead break, while “Is This Love” holds a softer pulse under clean guitar lines and close, intimate phrasing. “Straight for the Heart” keeps the tempo up with light keyboard detail around its repeated refrain, and “Don’t Turn Away” closes the set on a slower, reflective note with the guitar solo at the center.

A1. “Still of the Night” (6:38)
A2. “Give Me All Your Love” (3:30)
A3. “Bad Boys” (4:09)
A4. “Is This Love” (4:43)
A5. “Here I Go Again ’87” (4:36) — Coverdale, Marsden

B1. “Straight for the Heart” (3:40)
B2. “Looking for Love” (6:33)
B3. “Children of the Night” (4:24)
B4. “You’re Gonna Break My Heart Again” (4:11)
B5. “Crying in the Rain ’87” (5:37) — Coverdale
B6. “Don’t Turn Away” (5:11)

Whitesnake recorded the album between September 1985 and November 1986 at Little Mountain in Vancouver, Phase One in Toronto, Compass Point in Nassau, Cherokee and One on One in Los Angeles, and Goodnight L.A. with Mike Stone and Keith Olsen in production roles.

Coverdale worked with Hugh Syme on the new emblem and sleeve design, which fixed the interlocked-serpent crest at the center of Whitesnake’s breakthrough-era image.

Sykes co-wrote all but two tracks and carried the guitar side of the record, but Coverdale dismissed him before release after the partnership collapsed. Coverdale then rebuilt Whitesnake with Adrian Vandenberg, Vivian Campbell, Rudy Sarzo, and Tommy Aldridge for the videos and tour, which left the band on record and the band on screen as two separate lineups. The album reached No. 8 in the UK and No. 2 on the Billboard 200.

In March 1987, Geffen and EMI issued “Still of the Night” as the first single from the album. It reached No. 16 in the UK and No. 79 on the Billboard Hot 100, and its video introduced the rebuilt touring lineup before the bigger crossover singles arrived.

In June 1987 in the U.S. and on October 19, 1987, in the UK, Geffen and EMI issued “Here I Go Again ’87” with “Children of the Night” on the American single and “Guilty of Love” on the British release. The re-cut reached No. 1 on the Billboard Hot 100 and No. 9 in the UK. Marty Callner cut the video between band-performance footage and actress Tawny Kitaen, whom Coverdale dated offscreen; dressed in white satin, she cartwheels and stretches across the hoods of two Jaguars and takes the visual center of the clip. The hit established the rebuilt video lineup in public view, not the Sykes-led band that made the record.

On May 18, 1987, EMI issued “Is This Love” in the UK, and Geffen followed in North America later that year with “Bad Boys” on the U.S. reverse and “Standing in the Shadow ’87” on the UK release. The single reached No. 9 in the UK and No. 2 on the Billboard Hot 100. Callner placed the video on a misty soundstage, where shots of the touring band give way to close scenes of Coverdale and Kitaen together and recast her from the athletic figure of “Here I Go Again” into the song’s intimate visual counterpart.

In January 1988, EMI and Geffen issued “Give Me All Your Love” as the final single from the album cycle.

Slip of the Tongue

Whitesnake released Slip of the Tongue on November 7, 1989, in the U.S. on Geffen and on November 13, 1989, in Europe on EMI.

Coverdale co-wrote nine songs with Adrian Vandenberg, but a wrist injury took him out of the sessions, conducted largely with Steve Vai. Side A contains a remake of their 1980 classic “Fool for Your Loving.” Vai pushes the album toward flashier lines and denser overlays, the keyboard team spreads extra gloss across the top end, Rudy Sarzo and Tommy Aldridge drive a harder rhythmic attack.

Slip of the Tongue pushes on bright, high-pressure surfaces where fast-picked riffs, hard drum attack, and stacked lead lines keep nearly every song in motion. The title track bursts open with hammering drums, a sharp opening figure, and a fast charge that sets the record’s clipped, forceful pace. “Cheap an’ Nasty” keeps that momentum through a hard stomp, cowbell-marked accents, and a coarse, joking vocal frame, while “Kittens Got Claws” cuts with lean blues-rooted figures under a harder top layer.

“Judgement Day” moves on a dark, moody pulse and gains much of its weight from Coverdale’s vocal rise over the heavy rhythmic bed. “Wings of the Storm” ranks among the fastest tracks, with furious picking under the verse, layered solo lines in the break, and a fevered lead run near the end. “Fool for Your Loving” returns in a bigger, brighter form, “The Deeper the Love” and “Now You’re Gone” slow the pace into softer, heart-sore territory with more measured lead work, and “Sailing Ships” starts in an acoustic hush before expanding toward a darker, full-band climax.

A1. “Slip of the Tongue” (5:20)
A2. “Cheap an’ Nasty” (3:28)
A3. “Fool for Your Loving ’89” (4:10) — Coverdale, Marsden, Moody
A4. “Now You’re Gone” (4:11)
A5. “Kittens Got Claws” (5:00)

B1. “Wings of the Storm” (5:00)
B2. “The Deeper the Love” (4:22)
B3. “Judgement Day” (5:15)
B4. “Slow Poke Music” (3:59)
B5. “Sailing Ships” (6:02)

Whitesnake recorded Slip of the Tongue during 1988-89 at Record Plant in Los Angeles with Mike Clink and Keith Olsen in production, engineering, and mixing roles. Clink handled the basic tracks, Olsen took the overdub stage, and Chris Lord-Alge later mixed the single remix of “Now You’re Gone.”

Hugh Syme handled art direction, emblem design, and cover-concept development. Gene Kirkland, Neil Zlozower, Hugh Gilmour, and Greg Gorman supplied the photography. The album reached No. 10 in both the UK and the U.S.

In October 1989 in the U.S. and in November 1989 in the UK and Japan, Geffen, EMI, and CBS/Sony issued “Fool for Your Loving ’89” (b/w “Slow Poke Music”) as the first single. The re-cut reached No. 43 in the UK, No. 37 on the Billboard Hot 100, and No. 2 on the U.S. Mainstream Rock chart. The promo clip placed the band in a smoke-heavy performance setup with headlight glare, cut to Coverdale in a padded room, and added Tawny Kitaen in chase footage outside the stage frame; Adrian Vandenberg also appeared in the video even though Steve Vai played the guitar parts on the record.

In February 1990, EMI and Geffen issued “The Deeper the Love” with “Judgement Day” on the UK single and “Slip of the Tongue” on the U.S. release. The single reached No. 35 in the UK and gave the album its second UK Top 40 entry. Marty Callner directed the video.

In May 1990 in the U.S. and Japan and in August 1990 in the UK, EMI issued “Now You’re Gone” (b/w “Wings of the Storm”) as the third single. Chris Lord-Alge remixed the single version, the release reached No. 31 in the UK and No. 96 on the Billboard Hot 100, and Wayne Isham directed the video.

Discography: