The Toy Box: Hanoi Rocks

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Retro Spins: Michael Monroe - Not Fakin' It

My journey through Hanoi Rocks, and now lead singer, Michael Monroe, ends today with his second solo effort, 1989's Not Fakin' It. It's been a solid trip so far, and I might even be a little bummed that it's coming to a close. It's rare that I find "new" music that actually makes me a fan, and this has definitely happened with all of this combined music so far.

After the breakup of Hanoi in 1985, Monroe ventured out solo. His first effort, Nights Are So Long, was release in 1987 by Yahoo!, and with it came attention from larger labels. This resulted in him shifting to Mercury for his second release, um...this one. Not Fakin' It would become his biggest solo success. This was aided by the music video for Dead, Jail Or Rock 'N' Roll, which would see steady rotation on MTV. It's possible, but not confirmed that this popularity was based on the appearance of Axle Rose in the video.

At the time of this album's release, Guns N' Roses's label, Uzi Suicide, would be actively re-releasing the albums of Hanoi Rocks on CD. This perhaps would bet what led to Axel's inclusion in the video.

Playing through it, for some reason, parts of it felt familiar. Specifically, She's No Angel, and All Night With The Lights On. I would bet money I'd heard these before, but I can't for the life of me figure out where or when. Whatever the case was, I was digging these two tracks.

Additionally, I was also down with Dead, Jail Or Rock 'N' Roll, Shakedown, Man With No Eyes, Smoke Screen

Upon its release, Michael would spend 1989 and 1990 touring. During this time, he'd be joined on stage by Slash for multiple shows in Los Angeles and garner the attention of Steven Tyler of Aerosmith. They invite him to play saxophone on Big Ten Inch, which they performed at Les Paul's 75th birthday at the Hard Rock Cafe in New York.

He'd close out 1989 and kick of 1990 by performing along with Bryan Adams, Don Henley, Huey Lewis and Loudness in two New Year's shows at the 70,000-seat Tokyo Dome in Japan, on 31 December 1989, and 1 January 1990. Guns 'N Roses would invite him to play both harmonica and sax on the track, Bad Obsession for their Use Your Illusion album, and then invite him back for their 1993 The Spaghetti Incident? where he sang on Ain't It Fun.

Despite all of this, his solo career didn't prove as successful as hoped. Monroe would take a bit of a hiatus, but then continue his solo career in 1996, releasing several studio albums through his latest, Outerstellar, which was released in February 2026. In between all of that, he also briefly reformed Hanoi Rocks with Andy McCoy, and released new studio albums under the band's name. He remains very active, continuing to tour and showing no signs of calling it a day any time soon.

But, with that, I wrap up my listening sessions of both Hanoi Rocks, and the solo career of Michael Monroe. As I've said in a few posts already, it's been a good time, and I'm definitely a fan. If I have one disappointment, it's that I completely missed out on this in real time during the 80's.

Tomorrow, I jump into another all new 80's hair band, but from there, I think I'm going to take a break from the metal scene, and drift back into some new wave. I've got lots to listen to still, and it's onward each day just crossing albums off. You'd think I'd slow down, catch up, and then go from there, but nah, just as of today, I've picked up seven more albums.

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Retro Spins: Michael Monroe - Nights Are So Long

When we last left Michael Monroe, you know, yesterday, he was fronting the band Hanoi Rocks. Much like that 80's discography the solo efforts of Monroe were not on my want list. Nor did I know of him until digging into the band itself. While I initially wasn't going to pick his two CD's up from the decade, I came across a listing on ebay that had both of them together, and reasonably priced. Story of my life when it comes to buying music.

If you recall from yesterday, shortly after the death of their drummer, Razzle, Hanoi Rocks called it quits. Nasty Suicide would ditch the stage name, picking up his life as Jan-Markus Stenfors, finished school, and become a pharmacist for a drug company. Sam, who was the first to actually leave, continued to work in the music business, joining up with several bands. Andy McCoy would also work with several bands but also spent time painting. Then there was Michael Monroe, who of course went on to a solo career.

Then there was Michael Monroe. He'd venture out on to a solo career, if you hadn't figured that out already by this post. First, however, he would join his friend Stiv Bators, to work on the Sun City charity project. They would not only contribute backing vocals but appear in the music video. His first solo effort would be 1987's Nights Are So Long, an album which consisted mainly of covers, and released by Yahoo!

It's a decent listen, but one thing I immediately noticed was the change in vocal style. Whereas Hanoi Rocks featured a higher pitch and sometimes screechy Monroe, his solo effort brought the range down to a deeper, and raspier one. Both are good, but it still caught me off guard. I guess I was expecting more of the same from him, but it's great that he's not a one trick pony and could mix it up.

Despite the overall listening session being a good one, I only ended up pulling two tracks for the old shuffle list. Those were Shake Some Action, and Nights Are So Long.

Nights Are So Long, the album, would be a moderate success, and attract the attention of Mercury Records, who would release his second studio album, Not Fakin' It. That's where I'll pick up tomorrow, and wrap up my latest journey through Hanoi Rocks, and their lead singer, Michael Monroe.

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Retro Spins: Hanoi Rocks - Two Steps From The Move

Wanting better production, and a larger budget for recording, Hanoi Rocks made the move to CBS Records in 1983. The band would invite Ian Hunter of Mott The Hoople to help write tracks, who in turn brought with him Jack Bruce (formerly of Cream), who brought with him bandmate Pete Brown. Despite all the talent contributing, by April of 1984, the label felt it was still missing a single. For this, the guys turned to a cover of Creedence Clearwater Revival's Up Around The Bend.

After wrapping up recording, Hanoi headed to Japan, where they discovered their massive popularity. Not only were all shows sold out, but the band couldn't even walk around the city without being followed by crowds of fans. A tour across England and Scotland followed, with British magazines not only raving about their shows, but stating that their next album would most certainly be their breakthrough.

With a last-minute title change from Silver Missiles And Nightingales, Two Steps From The Move was released, and did indeed become their most popular release to date. This led to another massive tour, this time of Sweden, and then to the USA. Unfortunately, this is where things would come to a head for Hanoi Rocks.

But first, let's play through the album.

It's a solid entry, and I can definitely see the breakthrough material here. Ironically, the single the label wasn't hearing at first, but got with Up Around The Bend, is probably the weakest track on the whole thing.

Better tracks, or as I like to call them, standouts, were I Can't Get It, Underwater World, Million Miles Away, Boulevard Of Broken Dreams, Cutting Corners, and Don't You Ever Leave Me. The latter is actually a remake from their debut album, and this slowed down version is far superior to the edgier first take.

It's unfortunate that Two Steps From The Move serves as their last album. I definitely would have liked to hear more.

While performing at USA Sam's in Syracuse, New York, lead singer, Michael Monroe would unknowingly fracture his ankle. Though he continued on with the tour, the pain got more and more, and upon getting checked out was informed of the injury. This would effectively take him out of the equation of events which were unknowingly unfolding.

Mötley Crüe was throwing a massive party at the home of Vince Neil in Redondo Beach, California. In attendance were Hanoi's lead guitarist, Andy McCoy, guitarist Nasty Suicide, bassist Sam Yaffa, and drummer Razzle. With everyone drinking heavily, guests soon found the place dry. Not content to call it a night, Vince Neil would make the decision to hop into his Pantera for a beer run. With him was Razzle. Though they made it to their location, when heading home, an inebriated Neil crashed his car into another. Razzle was rushed to the hospital, where he was pronounced dead. Both occupants of the other car, Lisa Hogan, and Daniel Smithers would be severely injured, suffering permanent brain damage.

When they didn't return, McCoy and Crüe drummer, Tommy Lee went looking for them. They drove past the scene just as Neil was being put in cuffs, and at that time learned of Razzle's passing. All but a handful of shows would be cancelled in the wake, with the remaining becoming dedications to Razzle. After the shows, Yaffa would be the first to leave the band, citing problems with McCoy.

Initially, they intended to go on, bringing in René Berg to replace him, while also incorporating Terry Chimes on drums, who filled in for the memorial shows. Shortly thereafter, Monroe also wanted to quit the band, though he would be convinced by CBS to stay on, and instead head out for a short tour in Poland. In doing so, he made one request - No live album. while they agreed, CBS did the opposite and released Rock & Roll Divorce in 1985. It would be panned by the band, their management, fans, and critics.

Berg would start making claims that Hanoi Rocks was his band, leading to his prompt dismissal, and replacement by Timo Kaltio. However, the lineup of Monroe, McCoy, Nasty Suicide, Kaltio, and Chimes would never perform together. Michael would end up leaving in June 1985. McCoy wasn't upset by this decision, instead saying that the spirit of the band evaporated with the death of Razzle, and Yaffa's departure.

Michael would go solo, releasing his first album, Nights Are So Long in 1987. To date, he's released thirteen. Andy, on the other hand, created several new bands, none of which took off. When not performing, he spent his time creating art as a painter. Nasty Suicide returned to his life as Jan-Markus Stenfors in Finland, where he finished high school, educated himself as a pharmacist, and works for a reputable drug company. Sam also continued his work in the music industry, performing with such notable acts as Joan Jett, New York Dolls, and Johnny Thunders.

McCoy and Monroe would reunite in 2001 and discuss reforming Hanoi Rocks. While this would happen, they would be the only two members to return for this "rebirth" (as they called it). Stenfors was content with his life as a pharmacist, and Yaffa was working in a new band, Mad Juana. Though they did offer original drummer, Gyp Casino a spot in the lineup, he declined, stating he was no longer interested in the music business.

Initially, this new iteration consisted of McCoy, Monroe, Costello Hautamäki, Timpa Laine, and Kari "Lacu" Lahtinen, and together they'd release 2002's Twelve Shots On The Rocks. Hautamäki would leave in 2003 to focus primarily on the band, Popeda. Timpa would also end up leaving in 2004 because of family issues. Both were replaced by Conny Bloom, and Andy Christell, respectively. This lineup would record the final two Hanoi albums, Another Hostile Takeover (2005), and Street Poetry (2007).

Lacu would announce he was leaving in 2008 to also join Popeda. While he would be replaced by George Atlagic, by this point, both Monroe and McCoy felt the rekindled Hanoi Rocks had run its course. They performed a farewell tour with six shows in Japan in 2009, and eight in Finland before disbanding on amicable terms. Nasty Suicide would join them for three shows in Finland.

As noted above, Monroe continued focus on his solo career. However, the story of Hanoi Rocks doesn't end there. Michael Monroe, Andy McCoy, Nasty Suicide, Sami Yaffa and Gyp Casino reunited in celebration of Monroe's 60th birthday, at the Helsinki Ice Hall in 2022 for a one-off show. With Monroe still very active, it's possible that won't be the last we ever hear from them.

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Retro Spins: Hanoi Rocks - Back To Mystery City

With new drummer, Razzle in place, and an agreement for Asian distribution in place with Nippon Phonogram, Hanoi Rocks were off on tour throughout the remainder of 1982. However, unbeknownst to them, their label, Johanna Kustannus, was preparing to capitalize on the band's growing success by compiling a stack of singles and B-Side into what would become the band's third studio album, Self Destruction Blues. Though at the time the members of Hanoi would hate the album, and resent the studio for their decision, the album itself would prove to be popular with fans and critics.

Unfortunately, this memo wouldn't make its way to Israel, where the band was shunned for their loud music, and overall appearance. Lead singer, Michael Monroe would literally be trapped in his hotel because if he left, was mistaken as an improperly dressed woman, and spit on.

Returning to the UK, the band recorded and released 1983's Back To Mystery City. The album would prove to be another success in Finland and become their first to chart in the UK. Further, it would also chart in Japan, becoming their highest to date in that country.

Hanoi Rocks is quickly becoming a favorite of mine. Back To Mystery City, though not perfect, is definitely another solid entry in their discography. Tracks Back To Mystery City, Ice Cream Summer, Beating Gets Faster, Until I Get You, Tooting Bec Wreck, Mental Beat, and Malibu Beach Nightmare.

Beyond that, I don't know that I have much to say.

With a desire for a major-label budget, professional production, and the global distribution necessary to achieve their massive commercial breakthrough in the US market, Hanoi Rocks would leave the small independent label, Johanna Kustannus, and sign with CBS Records.

The 1984 released Two Steps From The Move would become their biggest to date and poise the band for a massive breakthrough and success. Unfortunately, tragedy was also lurking around the corner. One which would derail all the momentum, and lead to the band splitting up. The story concludes tomorrow.

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Retro Spins: Hanoi Rocks - Self Destruction Blues

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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Retro Spins: Hanoi Rocks - Oriental Beat

After embarking on a Finnish record number of tours, Hanoi Rocks dove back into the studio to record and release their sophomore album, Oriental Beat (1982), as well as record their first ever music videos which included the tracks, Tragedy, Oriental Beat, and Motorvatin'. The song Tragedy would lead to the band's breakthrough in Japan, but overall, the album would be well received.

It would also serve as the first for vocalist Michael Monroe to contribute to song writing, whereas in their debut, all but one track was written by guitarist Andy McCoy. Katrina Leskanich, of Katrina And The Waves, would also step in to provide backing vocals on Don't Follow Me.

Despite going on to be listed on the 100 Greatest Rock Albums by the Finnish radio show, Radio Rock, the members of the band are not fans of Oriental Beat. Monroe blames the work of producer, Pete Wooliscroft, who he states mixed the album while they were on tour, with no working knowledge of who they were, or what their sound was about. Bassist Sam Yaffa would sum it up even shorter, by simply stating it as a piece of s**t.

Well, on that note, let's jump right in.

I think I'm going to have to agree with the critics and fans on this one. The album is pretty solid, and a good follow-up to their 1981 debut, Bangkok Shocks, Saigon Shakes, Hanoi Rocks. Songs, Motorvatin', Don't Follow Me, No Law Or Order, Devil Woman, and Fallen Star were all standouts for me.

Nothing really steps out of a comfort zone in terms of the band evolving or changing their sound. Instead, it's just more of what came before it, and I'm fine with that. About the only addition is more prevalent use of the saxophone. As I noted in my previous review, I don't typically associate that instrument with hair metal, but it works for Hanoi Rocks.

Overall, I'm still on board, and interested in hearing more from them.

By this time the members had fully relocated to London. While taking in a show of Johnny Thunders, Monroe would meet Nicholas Charles Dingley, AKA Razzle, the drummer for a local punk band called The Dark. After learning Monroe was the lead singer for Hanoi Rocks, he began attending shows, and showing up backstage, where he soon asked to join as their new drummer. With their current drummer, Gyp Casino struggling with drug abuse, depression, and suicidal thoughts, Monroe and guitarist McCoy took him up on his request, firing Casino.

However, before the above could happen, the band would release their third album, Self Destruction Blues (also released in 1982), which comprised of singles and B-sides recorded between 1981 and 1982. That's where I pick up tomorrow.

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Retro Spins: Hanoi Rocks - Bangkok Shocks, Saigon Shakes, Hanoi Rocks

Welcome to Finland! Home of Hanoi Rocks, the band credited, or as lead singer Michael Monroe would say, blamed for the look and style that would become 80's glam hair metal. Men with big hair, makeup painted faces, and tight leather. Or, as Steven Tyler would say, "Dude (Looks Like A Lady)".

The band was formed by Michael Monroe, and friend, Andy McCoy in 1979, but soon expand to include Stefan Piesnack, Nasty Suicide (Jan-Markus Stenfors), Nedo Soininen, and Peki Sirola. Though they began touring local Finnish clubs, by 1980 relocated to the UK. While most of the members lived on the streets, begging for money, McCoy stayed with his wealthy girlfriend. As Monroe would state in a later interview, when invited to people's homes, the first place the boys would hit would be the refrigerator.

A deal was made with Johanna Kustannus, to release the debut single, I Want You / Kill City Kills, followed by a 102-day tour which kicked off in January 1981. The tour would be credited as the longest in Finnish rock history and also hone the boy's energetic onstage presence.

To keep pushing them forward, the band released the second single, Tragedy / Café Avenue in February 1981, following it a month later with their debut album, Bangkok Shocks, Saigon Shakes, Hanoi Rocks. Dubbed, The Muddy Twins, Monroe and McCoy would produce the record themselves. The album would become a relatively immediate success in Finland, peaking at number fourteen.

When I fired it up, I was expecting the likes of Mötley Crüe or Twisted Sister. Instead, I got something reminiscent of the early 80's punk scene, more comparable to The Ramones. It wasn't terrible by any means, just surprising.

I found enjoyable tracks in Village Girl, Cheyenne, 11th Street Kidzz, and Walking With My Angel, but most surprisingly, the original version of Don't Never Leave Me. Granted I had only recently come across this song, but I associated it with the much slower paced 1984 version from their album, Two Steps From The Move. While the latter version is definitely the superior, this faster tempo one isn't horrible.

Lead singer, Monroe, is by far among the likes of Freddie Mercury, Steve Perry, or candidly anyone else who could consistently hold a note. He frequently sings off key, aiming for notes that are clearly out of his range, which perhaps is part of the charm. It certainly makes his vocals unique, and for now, I'm interested in hearing more from Hanoi Rocks.

I will say that what Monroe lacks in hitting notes, he more than makes up for in his skill on saxophone and harmonica. I can honestly say that the sax isn't something I often equate with hair metal, but it works here. In particular on Walking With My Angel, and Pretender, where it's very prevalent.

After an extensive tour throughout 1981 of Sweden and Finland, the band returned to London to record their second album, Oriental Beat (1982). A lineup change would also soon occur, one which would not only change the course of the band, but end in tragedy. At the risk of getting too far ahead of the changes that would soon come, I'll stop there.

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