(of Asia) John's first paid professional session and, he says, one of the hardest he's ever done.
(Cheap Trick singer) demo's for his record
On tour with them for about a month in 1988.
ghost player on one of their records
some live performances and the Jay Leno show. Salt N'Pepa are a female rap trio.
ghost player on one of his albums.
when Zakk Wylde wasn't there and they were trying out bass players. He didn't get the spot but perhaps that's when he first met Ozzy's drummer, Randy Castillo, who he formed Red Square Black with.
ghost player on some tracks.
Red Square Black
'Square' EP, lead guitar - October 1994.
Various Artists, Women: Live from Mountain Stage
guitar - 1995.
guitar on 'Japan' track of The Hypocrite album, plus guitar effect on two other tracks - 11th June 1996.
(a former girlfriend)
- Veiled, guitar - 27th August 1996
- I Feel The Earth Move, guitar - 1997.
Carole King cover
- Alchemy, lap steel guitar/guitar, co-wrote ten tracks - Sept 1998.
k. d. Lang
world tour 1996, 1997. Onstage 'Live in Sydney' vhs tape, also speaks on it (is the 'You're Okay' video a part of this? He's in that one.)
Various Artists, Speed 2: Cruise Control
guitar and bass for soundtrack - 1997.
Voyeurs album, guitar and bass - March 1998. Co-wrote I Am A Pig, Stutter Kiss, Water's Leaking, If, Deep In
The Ground, Hey Sha La La, Wake Up, Gimp, Bed of Rust. Then touring.
David Lee Roth
DLR Band, guitar - June 1998. Co-wrote some tracks too (Slam Dunk and Counter-Blast?)
July 1998 to March 2004.
- Last Tour On Earth - November 1999.
Live album from the Mechanical Animals era. Guitar/co-wrote Astonishing Panorama of the Endtimes. Note: When John joined MM, they were still working on the Mechanical Animals studio album. I used to think he did not play on that CD, just had his photo on the CD artwork, but I've now been told he provided over-dubs for the album. He was the guitarist for the MA tour.
- Holy Wood - November 2000.
Guitar/wrote music for The Fight Song, A Place In The Dirt, Count To Six and Die and co-wrote Disposable Teens, Target Audience, President Dead, In the Shadow of the Valley of Death, Cruci-fiction In Space, The Nobodies, The Death Song, Lamb of God, Born Again, Burning Flag and Coma Black.
- The Golden Age of Grotesque - May 2003.
Co-wrote 13 of the 15 songs.
Hard Pressed album, guitar solo on track 2, 'Try Boy, Try Girl', also guitar on track 8 (named?) - January 1998 release
Four Corners No Walls album, guitar - April 2001
Jimi Hendrix tribute album
Hazy Dreams: Not Just A Jimi Hendrix Tribute - Foxy Lady, guitar - June 2002. Japan release.
Co-wrote 'Thug Pop' track on DLR's album released May 2003
At first, I had no details but it was said he worked on a track for their next album, due March 2003. This didn't seem to lead anywhere though.
And then: early November 2003, a one-track CDR acetate was for sale on online auction, ebay. The track was 'Never Be Free', co-written by John Lowery. Chrysalis Music Group (USA) had no comment to make when someone asked if this was a Garbage release.
May 2005 update: Garbage's next single ('Sex Is Not The Enemy' in the UK and called 'Run Baby Run' in Australia and mainland Europe) will feature the song 'Never Be Free' as a b-side. The song was co-written and co-produced by John Lowery.
Solo instrumental albums, post-Manson
Vertigo, released August 2004.
Songs For Sanity, released 2005.
The Devil Knows My Name, 2007
Some other guitarists have guest spots on John's solo albums.
Here's part of a Guitarist magazine article where John talks about the John5 signature model guitar he collaborated with Fender on:
I have played Teles for so long and I wanted to have a Telecaster I could play in Marilyn Manson - for heavier stuff - but that country people and other styles could use because it didn't look like a heavy metal guitar. I wanted a really bullet-proof guitar, so I took a really nice heavy wood, an ash. The binding on the body is a throwback to the 1960 Telecaster Customs while the neck was designed around my 1966 Esquire. I took that to the factory and they measured it all up to recreate the size of the neck and the feel of it.
The headstock is designed like that because I love doing behind-the-nut stuff. So that's why it's carved out like that at the high E string. It's a unique looking headstock. Also, the locks for the tuning heads are important because I'm bashing them pretty good, y'know, and they stay in tune like a motherfucker. The old sixties Bigsby looks so badass too. I'm not known for a big Steve Vai vibrato thing but I use it every once in a while and I love the feel of a Bigsby. It still stays in tune great – all you've got to do is stretch out the strings.
I always had a problem with Teles feeding back because we're so loud and distorted, so the choice of pickups was really important. I was thinking DiMarzios but we put a Hot Rails in and it's perfect. We do a lot of percussive stuff with Manson, like on 'Beautiful People' where the sound stops, and a Telecaster would feed back. But when you hear it live now, it just stops dead. It sounds so good, I wish I'd had this guitar for earlier tours.
I showed it to the guys in Metallica and James Hetfield said: 'You've got to get me one of those'. It's so cool when your friends love the guitar you did. I saw the Dixie Chicks and showed them the guitar and they said they loved it as well. It's an all-round, perfect guitar.