When you have a fair number of singles and B-sides, what do you do with them? In the case of Hanoi Rocks label, you compile them, and release them as the band's third album, 1982's Self Destruction Blues. But first and foremost, you don't get any input from the band and only tell them about it after the fact.
Love's an Injection would become a smash hit, reaching number one in Finland. It would also continue their success in Japan, garnering the attention of label, Nippon Phonogram, who they signed a distribution agreement with. It would further become a fan favorite, something which lead singer Michael Monroe would come to appreciate over the years.
One thing, however, would stand out to fans of Hanoi Rocks. That being the cover, which didn't feature drummer Gyp Casino. Rather, in his place was Nicholas Charles Dingley, AKA Razzle. Razzle had met Monroe at a show for Johnny Thunders, and after learning of his connection with Hanoi, started attending shows and making his way backstage.
During this time, Casino was struggling with drug abuse, suicidal thoughts, and depression, so when Razzle asked to join, he was accepted by Andy McCoy and Monroe almost immediately. Ironically, while he would appear on the cover, he didn't actually perform on any of the songs, as they were all recorded prior to his joining.
I'm going to have to once again agree with the fans and critics. Self Destruction Blues is a solid album. I dare say it may be my favorite so far. Being cobbled together the way it was, while it brings with it the overall sound of the band, it has varying styles, such as punk, blues, and straight up rock. This mishmash of styles works.
No, I won't call it a perfect album. However, there are more than a fair share of standout tracks. For me, these included Love's An Injection, I Want You, Nothing New, Kill City Kills, Beer And A Cigarette, Whispers In The Dark, Desperados, and Dead By X-Mas. That's still eight out of the twelve tracks.
So far, I'm really digging the Hanoi Rocks scene. So much so that I've taken to digging up interviews and performances by Michael Monroe in recent years. In doing so, I've learned about his appreciation for the greats which came before him, and the inspiration that they bestowed in him. I've also learned more about the tragedy that ultimately befell the band, bringing them to a close, the aftermath of it all, and the peace that has since been made. But now I'm getting too far ahead again.
With their popularity growing, Hanoi Rocks was given the opportunity to tour outside of their normal boundaries of Finland, the UK, and Sweden, leading them to Asia, where they were gaining momentum in popularity. However, a subsequent tour in Israel would not be as well received.
Monroe could purportedly not leave his hotel room, as the locals confused him as an improperly dressed female, and would spit on him. As a whole, the people of the country apparently did not understand or appreciate their loud music. Oh well, you can't win them all.
After that special treatment, Hanoi returned to the studio to lay down the tracks for what would become 1983's Back To Mystery City. It would not only be another successful release in Finland, but be their best charting in Japan to date, and their first to chart in the UK. Mystery City, here I come!
Hanoi Rocks would return to the studio to record their first with new drummer Razzle, 1983's Back To Mystery City.
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