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John Sykes
Born in Reading, Berkshire, England in 1959, John Sykes was a renowned guitarist, songwriter, and vocalist, best known for his work in several influential rock and heavy metal bands, including Thin Lizzy, Whitesnake, and Blue Murder. His career spanned decades, marked by a distinctive guitar style, powerful vocals, and an enduring legacy as a songwriter.
Sykes began playing guitar at an early age, heavily influenced by rock legends like Jimi Hendrix, Jimmy Page, and Gary Moore. His professional career took off in the late 1970s when he joined the band Streetfighter. His talent soon caught the attention of the British hard rock band Tygers of Pan Tang, with whom he recorded two albums, “Spellbound” (1981) and “Crazy Nights” (1982). Sykes’ contributions to these records, particularly his melodic yet aggressive guitar work, helped establish his reputation as a rising star in the heavy metal scene.
In 1982, Sykes joined Thin Lizzy, a pivotal moment in his career. He was brought in to replace Snowy White and played a significant role in the band’s final studio album, “Thunder and Lightning” (1983). His explosive guitar solos and contributions to the songwriting, notably on tracks like “Cold Sweat,” co-written with Phil Lynott, showcased his ability to blend melody and intensity. Sykes also participated in Thin Lizzy's farewell tour before the band disbanded in 1983.
Following Thin Lizzy, Sykes joined Whitesnake, led by David Coverdale. His tenure with the band marked a commercial and artistic high point. He played a critical role in reshaping Whitesnake's sound, contributing to their 1984 album “Slide It In” and co-writing much of their eponymous 1987 album (“Whitesnake” in the US, “1987” in Europe). The latter became a massive success, featuring hit songs like “Still of the Night,” “Is This Love,” and “Here I Go Again.” Sykes co-wrote “Still of the Night” and “Is This Love,” among others, and his incendiary guitar riffs and solos were central to the album's appeal. However, internal tensions led to his departure from Whitesnake before the album's release, and he did not tour with the band during its peak of popularity.
In 1988, Sykes formed the hard rock band Blue Murder, where he took on both guitar and vocal duties. The band's self-titled debut album, “Blue Murder” (1989), featured songs like “Valley of the Kings” and “Jelly Roll,” which highlighted Sykes’ songwriting prowess and versatile musicianship. Despite critical acclaim, the band struggled to achieve widespread commercial success, and lineup changes hindered its momentum. Sykes continued to release music under the Blue Murder name, with the 1993 album “Nothin' But Trouble”, but eventually transitioned to a solo career.
As a solo artist, Sykes released several albums, including “Out of My Tree” (1995) and “20th Century” (1997). These works displayed his signature blend of melodic hard rock, soulful vocals, and virtuosic guitar playing. His songs often explored themes of love, personal struggle, and resilience, resonating with fans worldwide./
At the age of 65, on the 19th January 2025, in Los Angeles, California, USA, of cancer.
Jim Liddane
Stéphane Venne
Born in 1941 in Montreal, Canada, Stéphane Venne was particularly renowned for his contributions to French-language music in Canada, creating a lasting legacy through his evocative lyrics and memorable melodies.
His career spanmed several decades, during which he established himself as a prolific songwriter, performer, and producer. Venne was particularly renowned for his contributions to French-language music in Canada, creating a lasting legacy through his evocative lyrics and memorable melodies.
In the 1960s, Stéphane Venne emerged as a significant voice in Quebec's burgeoning cultural movement, which sought to promote Francophone identity and artistry. This era coincided with the Quiet Revolution, a period of significant social and cultural change in Quebec. Venne’s songwriting often reflected the introspective and poetic sensibilities of this time, resonating deeply with audiences.
Among his most famous works is the song "Le début d’un temps nouveau," which became emblematic of the optimism and change associated with the Quiet Revolution. This song captured the spirit of a society undergoing transformation and remains one of the defining anthems of that era in Quebec. Its uplifting lyrics and hopeful tone struck a chord with listeners and solidified Venne’s reputation as a songwriter with a profound ability to articulate collective sentiments.
Venne also worked extensively with celebrated performers of the time, crafting songs that highlighted their vocal talents while conveying rich emotional depth. For instance, he wrote "Un jour, un jour," which was performed by Donald Lautrec and served as the official song for Expo 67, a world exposition held in Montreal. This song encapsulated the excitement and pride of hosting such a globally significant event and further established Venne as a prominent cultural figure. He also provided songs For Emmanuëlle, Pierre Lalonde, Renée Claude, Suzanne Stevens and Marie-Élaine Thibert.
A notable collaboration was with Ginette Reno, one of Quebec’s most beloved singers. For Reno, Venne wrote "La dernière valse," a song that showcased her powerful voice and emotional range. His ability to tailor his compositions to suit the strengths of individual artists contributed to his enduring success and wide-ranging influence.
In addition to his songwriting, Venne had a notable career as a performer. He recorded several albums, blending his poetic sensibilities with accessible melodies. While his own recordings were not as commercially successful as the works he wrote for others, they demonstrated his versatility as a musician and his dedication to his craft.
Venne’s contributions extended beyond the music industry into film and television. He composed scores and theme songs that enriched the narratives they accompanied, further showcasing his ability to evoke emotion through music. His work in this area includes the theme song for the Quebec television series “Les Berger”, which became widely recognized and appreciated.
Over the years, Stéphane Venne received numerous accolades for his contributions to music and culture. He was honoured with awards recognising his influence on Francophone music and his role in shaping Quebec’s cultural identity.
Stéphane Venne’s legacy lies not only in the timeless quality of his songs but also in the cultural impact he made during a transformative period in Quebec’s history. Through his lyrics and melodies, he captured the essence of an evolving society, leaving an indelible mark on the province's cultural landscape.
At the age of 83, on the 17th January 2025, in Montreal, Quebec, Canada, of cancer.
Jim Liddane
Melba Montgomery
Born in 1938 in Iron City, Tennessee, USA, Melba Montgomery was an American country music singer-songwriter, renowned for her distinctive voice and her contributions to the genre as both a singer and a songwriter.
Melba grew up in Florence, Alabama, in a musical family. Her mother was the local Methodist choir director, her father was a fiddler, and she learned to play guitar at an early age, developing a love for traditional country and bluegrass music, which would deeply influence her style throughout her career.
In the early 1960s, Montgomery's big break came when she won a talent contest sponsored by the Grand Ole Opry, which led to her being introduced to Roy Acuff. This opportunity helped her gain entry into the country music scene. However, her career truly took off when she began collaborating with George Jones. Their duets became incredibly popular, and they were celebrated for their chemistry and traditional country sound. One of their most successful songs was "We Must Have Been Out of Our Minds," which Montgomery co-wrote with Earl Montgomery, her brother. Released in 1963, the song became a Top 5 hit on the country charts and remains a classic example of traditional country music.
Montgomery's collaborations with Jones continued to produce several hits, including songs like "What's in Our Hearts" and "Let's Invite Them Over." These duets solidified her place in country music and showcased her ability to convey deep emotion through her singing. Her voice, characterised by its raw, heartfelt quality, resonated with fans who appreciated the traditional sounds of the genre.
Beyond her work with George Jones, Montgomery also pursued a successful solo career. She recorded numerous albums and singles, many of which highlighted her songwriting skills. Among her notable solo hits was "No Charge," a song written by Harlan Howard. Released in 1974, it became her only No. 1 hit on the country charts and crossed over to the pop charts. The song's narrative about a mother explaining the sacrifices she has made for her child struck a chord with audiences and is considered one of the definitive songs of her career which between 1962 and 2010, saw her release more than thirty solo and collaborative albums, twenty duet singles with such acts as George Jones, Charlie Louvin and Gene Pitney (thirteen of which charted), and forty-five solo singles.
Montgomery's contributions as a songwriter were significant, though they are often overshadowed by her singing career. She wrote or co-wrote many of her own hits, often collaborating with her brother, Earl Montgomery, and other notable songwriters of the time, scoring such successes as George Strait's Top 5 hit "What Do You Say to That", along with chart entries for such acts as Skeeter Davis, Bobby Bare, Roy Drusky, Priscilla Mitchell, Emmylou Harris, John Prine, Del Reeves, Timi Yuro, Eddy Arnold, Connie Smith and Roger Williams. Her writing frequently explored themes of heartbreak, family, and faith, reflecting her roots and the values of her audience.
Throughout the 1960s and 1970s, Montgomery continued to release music and perform, maintaining a loyal fan base. She recorded duets with other artists as well, including Charlie Louvin and Gene Pitney, further cementing her reputation as a versatile and talented performer.
In later years, Montgomery remained active in the music industry, though her commercial success waned as country music evolved. She will always be regarded as a significant figure in the genre, particularly for her contributions to the traditional country sound and her ability to convey authentic emotion through her music, and her influence can be seen in the work of several later artists who continued to draw inspiration from her style and songwriting.
At the age of 86, on the 15th January 2025, in Nashville, Tennessee, USA, of undisclosed causes.
Jim Liddane
David Lynch
Born in Missoula, Montana, USA, in 1946, David Lynch, was best known as a visionary filmmaker and producer whose work in that field included such classics as “Twin Peaks”, “Blue Velvet” and “Mulholland Drive”. However he also made significant contributions to the world of music and composition.
David’s early life was marked by a peripatetic childhood, as his father worked for the U.S. Department of Agriculture, which led the family to relocate frequently. This upbringing in small-town America deeply influenced his artistic sensibilities, which often explore themes of suburban unease and surrealism.
Lynch’s journey into music and composition is closely tied to his filmmaking career. From his earliest works, he exhibited a keen interest in using sound and music as integral components of storytelling. His breakthrough film, "Eraserhead" (1977), featured an unsettling industrial soundscape that he co-created with sound designer Alan Splet. This project marked the beginning of Lynch’s experimental approach to sound design and his interest in music that could evoke specific emotions and atmospheres.
As his film career progressed with projects like "Blue Velvet" (1986), "Twin Peaks" (1990-1991), and "Mulholland Drive" (2001), Lynch became increasingly hands-on with the musical elements of his work. He often collaborated with composer Angelo Badalamenti, with whom he developed a long-standing creative partnership. Together, they crafted some of the most iconic soundtracks in film and television history, blending dreamy, melancholic melodies with eerie, unsettling undertones. The theme for "Twin Peaks" in particular, became a cultural touchstone, showcasing the emotional depth and atmospheric power of their collaborations.
David’s personal involvement in music expanded beyond his collaborations with Badalamenti. He began experimenting with writing lyrics and composing music himself. His 2010 album "Crazy Clown Time" marked his debut as a solo musician, featuring a collection of experimental electronic tracks characterised by haunting vocals, surreal lyrics, and layered soundscapes. The album demonstrated Lynch’s penchant for pushing boundaries, much like his work in film.
Throughout his musical career, David Lynch showed a fascination with technology and its impact on sound. He often incorporated digital tools and synthesisers into his compositions, blending them with more traditional instruments to create a unique sonic palette. His second solo album, "The Big Dream" (2013), continued this trend, exploring themes of mystery and introspection through a mix of blues, electronic, and ambient music.
Lynch’s approach to music mirrored his filmmaking style in its emphasis on mood and atmosphere over conventional structure. His work often blurred the lines between genres, challenging listeners with unexpected juxtapositions and unconventional arrangements. His music, like his films, invited audiences into a world that was simultaneously familiar and alien, comforting and disturbing.
In addition to his solo albums, Lynch contributed to various musical projects and soundtracks, collaborating with artists such as Chrysta Bell, Karen O, and Lykke Li. His multidisciplinary approach to art and music underscored his belief in the interconnectedness of creative expression, where sound, visuals, and narrative converged to create immersive experiences.
David Lynch’s contributions to music and composition, though overshadowed by his reputation as a filmmaker, represented an essential facet of his artistic legacy. His work in this domain exemplified his relentless curiosity and commitment to exploring the boundaries of creative expression, cementing his status as a true Renaissance artist.
At the age of 78, on the 15th January 2025, at his daughter’s house in California, USA, of complications brought on by emphysema, soon after having been evacuated from his own home due to the Southern California wildfires.
Jim Liddane
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