Hanoi Rocks was quite possibly the most influential band on the 80s glam/trash rock scene, inspiring a host of other groups (notably Guns N’ Roses) who went on to enjoy far greater mainstream success than the Finnish five-piece. The tragic death of drummer Razzle in 1984 cut short their hitherto promising career, and the following year the band was no more. However, after a long hiatus, 2001 saw frontman Michael Monroe and guitarist Andy McCoy reunited and after a couple of years, Hanoi Rocks’ present incarnation was born.  

This new line-up, featuring Ex-Electric Boys members Conny Bloom on rhythm guitar and Andy ‘A.C.’ Christell on bass, as well as drummer Lacu (who had previously played in Michael Monroe’s solo band), has seen the band go from strength to strength. Having already released two albums in the past four years, their third effort, Street Poetry, is a clear sign that there’s plenty of life in them yet.  

The album’s production is spot-on from the outset, lending the whole record a sound that is crisp yet authentic. It may be much less rough around the edges than many of the band’s best-loved classics, but this offering definitely proves that change is not always a bad thing. Opening track Hypermobile is more than enough to convince listeners that the band means business; Monroe’s vocals are as raw and brazen as ever, and McCoy’s blazing riffs are nothing short of delicious. Refreshingly - and I have to admit, a little surprisingly - there’s nothing remotely tired about any of it. 

The title track pays homage to the inspiration for the album: a “Street Poet” whom the band would see on the streets of London years ago, reciting observational poetry about those around him. The track’s punchy build-up gives way to mellower, more introspective vocals, demonstrating the band’s impressive versatility. In similar varied style, the album’s first single, Fashion, which reached number one in Hanoi Rocks’ native Finland, alternates between laid-back reggae-tinged verses with slower, sultry hooks and a powerful, catchy chorus. 

Some of the album’s tunes are undoubtedly stronger than others; tracks like Power of Persuasion and Worth Your Weight in Gold are slightly less memorable mid-tempo affairs, but Monroe’s distinctive vocal style never fails to command interest and, coupled with the rest of the band’s excellent musicianship, it ensures that every song brims with character. All the material on Street Poetry sounds as though it would translate extremely well live; there are plenty of sing-along moments, such as the rousing, triumphant chorus of Teenage Revolution and the stomping, defiant Powertrip. This One’s for Rock ‘n’ Roll verges on the cheesy, but it’s all good fun and a sure-fire crowd-pleaser.   

On penultimate number Tootin’ Star, Hanoi Rocks firmly evoke the heady sleaze of their vintage material, with vibrant harmonica adding to the track’s bluesy swagger. The instrumental Fumblefoot and Busy Bee concludes Street Poetry with further evidence, if any were needed, of the chemistry present within this line-up. Lacu’s drumming style may not possess quite the same frantic, haphazard energy of the legendary Razzle’s, but he plays with admirable precision, and the watertight rhythm section ensures that the exhilarating, menacing quality of Hanoi Rocks’ original sound is not lost. Decades on, the band is clearly still a force to be reckoned with. Like the maverick street poet to whom the album is dedicated, they remain memorable, original, and just a little unhinged.

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Track Listing

Hypermobile
Street Poetry
Fashion
Highwired
Power Of Persuasion
Teenage Revolution
Worth Your Weight In Gold
Transcendental Groove
This One's For Rock 'n' Roll
Powertrip
Walkin' Away
Tootin' Star
Fumblefoot And Busy Bee

Line Up

Michael Monroe - Vocals
Andy McCoy - Guitar
Conny Bloom - Guitar
Andy  Christell - Bass
Lacu - Drums