Two Steps From The Move is the album I'm most familiar with, but it doesn't get a lot of time in my player, once every few years I guess. So I respect Hanoi as a piece of Finnish pop music history, but I'm not that into the actual product. To people outside my country Hanoi is probably seen as a piece in the puzzle that brought us Guns n' Roses and other glammier and far less powerful groups that dominated the late 80's, but, for Finns, in addition to that Hanoi is very significant as the first band that made any real impact outside our borders and paved the way for HIM (managed by the same dude as Hanoi), Nightwish, Children of Bodom and such. Pekka Turunen: As a Finnish music fan born in '86 I've been aware of Hanoi Rocks as a thing of the past for as long as I can remember. Sadly, it was the tragedy of Razzle and not this album that brought Hanoi Rocks up from the depths of Hair Metal obscurity. It just didn't quite have that Sunset Boulevard attitude or the NWOBHM sound. It made you snarl your upper lip and fist pump like Billy Idol. It had guitar riffs and melodies that made you wanna dance like Paul Stanley or Axl Rose. The good Hair Metal, Glam Rock, whatever you call it, had hooks that snagged you right away.
One or two songs made me tap my foot a little, but then I remembered I had laundry to do. I didn't care for it back then and it still doesn't do anything for me today. Hai Kixmiller: I listened to the album twice today. Graham Watt: Best production that a Hanoi album had, but the song writing was below par compared to the earlier tinny sounding records. I had tickets for their Christmas dates in December, but Razz was killed two weeks before the tour.
He sat on the drum riser at the end and said "I'm fuckin' knackered, now". Razzle stood at the front of the stage smashing a tambourine and headbanging like a maniac. On stage for almost two and a half hours and finished with an encore of The Stooges' Lookin' At You featuring Rat Scabies on Drums and Roman Jugg of The Damned on keyboards. Blame Vince or blame the drinks.ĭavid Heaton: I saw them on this tour at The Powerhouse in Birmingham. It’s so sad that this went on to be their last for about two decades. It’s still a great pleasure to listen to this album, but I just cannot rank it on par with Bangkok Shocks, Saigon Shakes, Hanoi Rocks and Back to Mystery City. The retitled rehash of Don’t You ever Leave Me from Hanoi’s first is competent, yet redundant for a fan like myself who worships every record released by the Finns before this. My personal favourite is track number three, I Can’t Get It.
In the wake of Quiet Riot’s Slade remake, hair metal treatment of old rocking songs appeared as the easy route to many a rocker. The fact that it starts with a cover of Creedence Clearwater Revival’s hit Up Around the Bend screams hunger for easy chart success. It comes across as a bit institutionalized.
It sure is sonically superior, courtesy of Bob Ezrin’s slick production, but that’s also one of its weaknesses. Maxwell Marco Martello: Hanoi Rocks’ “make it or break it” album is my least favourite of their classic period. Vince f***in' Neil has never apologised to the rest of the band, according to Andy McCoy. Unfortunately, Razzle was killed within months of it's release. This major label debut should've launched them into the big time. "The album marked Hanoi at their overall peak, perhaps less charming than on, for example, '82's Self Destruction Blues, but brimming with confidence, surrounded by good help, thick, muscular, adequately in tune with their essence to refrain from dishing what could have been an overflow of heavy metal." ( Martin Poppoff (opens in new tab))ĭavid Heaton: Great album from one of the best live bands I've ever seen. "The record was paced well, shot like a cannon with joyous lead single Up Around The Bend, written by Creedence Clearwater Revival (lone alternate choice: Bad Moon Rising by the same band), spilling into the hard rock of High School, eventually into the torrid and florid traditional balladry of Million Miles Away and Don't You Ever Leave Me (a remake of a track from the band's '80 debut) and back out again with the hard rock of Boiler and Cutting Corners. "In terms of combining the attitude, gang shouts, punk energy, and classic rock burn of the band, things couldn't be better - Monroe sounds phenomenal, the McCoy/Suicide guitar team comes up with some great riffs and even better trade-offs, and the Yaffa/Razzle rhythm section keep it all chugging." ( AllMusic (opens in new tab))
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