Hailing from Finland, Hanoi Rocks burst on the scene in
the early '80s with their debut release, Bangkok Shocks, Saigon Shakes, Hanoi
Rocks. Producing themselves, the band took the energy and D.I.Y. attitude of
the punk movement, and fused it with a love for glam rock to create an
in-your-face sonic attack.
Their first release is heavy on melody and full of
bravado. Lead singer Michael Monroe doesn't have the best voice in the world,
but delivers the lyrics with a perpetual sneer that gives him character. Added
to the mix is the razor sharp guitar playing of Andy McCoy, who rips off some
impressive solos as on "Don't Never Leave Me." It's all great fun as
the band never fails to lock into a solid groove and serve up highly melodic,
high-octane rock.
The opening track title to Finnish rock ‘n’ roll band
Hanoi Rocks’ debut album, is all too fluky; this is because this set of songs
is the first documentation of a band who may be regarded as the greatest band
that never was (at least in terms of 1980’s rock ‘n’ roll) and this, surely, is
a ‘Tragedy’.
To lump this cut of early 80’s rock (to be precise, it possesses a release date
of circa March, 1981) into a genre, such as glam rock or glam punk, would be
unfair. For what I believe this group is aiming at, with this set of songs, is
to maintain the flame of that purely simple corner of the global music psyche,
rock ‘n’ roll.
Diving in, album opener ‘Tragedy’ sets an effective tone for the remainder of
the ten tracks released on the original cutting of the record; the chugging
bass of Sami Yaffa and the accurate (if uninspiring) drum work of Gyp Casino
showcase the dependable rhythm section upon which the more affluent guitar and
vocal parts are built. ‘Tragedy’ works, as Andy McCoy and fellow guitarist
Nasty Suicide weave their licks about, which is the first comparison to the
Rolling Stones I would like to make: McCoy and Suicide appear to be disciples
of the partnership approach to rock ‘n’ roll guitar, as laid down by Keith
Richards and Brian Jones (and later Ronnie Wood). Coupled with high pitched,
Keith Richards-esque backing vocals (sung by McCoy) to enhance a sense of
melody, ‘Tragedy’ exists as probably the strongest tune from the album.
Another memorable moment is the ballad, ‘Don’t Never Leave Me’; though
possessing a definite ballad styled vibe, the quirky temperament of the song
allows for an ease of enjoyment, while still efficiently emanating the
appropriate emotions; an excellent example of such eccentricity is the
near-spoken-word interlude by McCoy.
For a balanced perspective of the album, I must admit, the album has to have a
low point; but when one must go in desperate search of this aforementioned low
point, it’s safe to say, the album is brilliantly done. For me, the least
memorable track is the underwhelming album closer, ‘Pretender’ – while
certainly not a bad track, and though it shows off a high level of Stones-ish
swagger, the hook emphasized sensibilities which are in abundance throughout
the rest of the album are in a lesser force here. Indeed, some may also
criticize the general similarity in sound among the tracks; most of the tunes
found here follow the same general formula: a catchy, sleazy riff (with the
filthiest of rock ‘n’ roll guitar tones – a sure compliment), moments of
Monroe’s saxophone and harmonica, accompanied by toe-tapping, melodic verses
and choruses. I’ll admit, the variety isn’t great (despite a cover of Herman’s
Hermits’ ‘Walking With My Angel' thrown in, and cleverly done), however, if
something ain’t broke, don’t fix it.
Michael Monroe’s vocal expertise (and impressive showcase of
multi-instrumentalism), supported by Andy McCoy’s capacity for song-writing,
leave these two as the distinct stars of the band, and the tracks presented
here give very, very little reason as to why Hanoi Rocks couldn’t have been the
biggest rock ‘n’ roll band of the 1980’s; their unfulfilled potential, caused
by ‘Tragedy’, surely is just that, a tragedy.