ALBUM REVIEW: Oriental Beat – 40th Anniversary Re(al)mix – Hanoi Rocks

HANOI ROCKS occupy an important space in the history of rock. Their edgy-but-pretty take on NEW YORK DOLLS-styled punk mixed in elements of UK acts like THE CLASH, and bleak down-and-out lyrics to create something with a bit more bite than their glam appearance would belie. They paved the way for glam and hair metal in the UK and US, but with a scuzzier underbelly than the bands they would go on to inspire. But with their career cut short by the tragic death of drummer Razzle, HANOI ROCKS have always had an air of unfulfilled potential about them.

Oriental Beat, the band’s second album, feels like a microcosm of that nascent promise. While their debut (the charming but scrappily delivered Bangkok Shocks, Saigon Shakes, Hanoi Rocks, oozed character), it also felt like a bit of a work in progress. Oriental Beat builds on the first record’s promising framework, leaning further into the big chorus hooks while offering more aggression in the delivery. It’s a great sophomore album, but was always let down by a thin, listless mix that robbed the band of any musical heft – a bugbear of the band for the last four decades. Enter Oriental Beat – 40th Anniversary Re(al)mix.

From the get-go, the overall sound and production of this Re(al)mix is incomparably fuller than the original release. The rolling thunder of the slinking bass lines cut through with just enough attack, while the guitars come across more crisply and full bodied than ever before. There’s just enough punch to the chords, but still some space for Andy McCoy’s jangly riffs to dance about. Moreover, Michael Monroe’s vocals sit comfortably and clearly above the rocking and rolling riffs. While it’d be a stretch to say it feels modern, this is the sound of HANOI ROCKS firing on all cylinders – this time captured properly with a mix that does their energetic performances justice.

But what’s the point of a new mix if the material itself isn’t up to scratch? While Oriental Beat isn’t necessarily the first album mentioned when HANOI ROCKS comes up, lead songwriter McCoy is at a creative peak on the record. There are some of HANOI ROCKS’ all time classics here; Motorvatin’, with its huge power pop chorus feels more full of life than ever, and while the casual Orientalism of the title track has aged poorly, its shuffling guitars and BEACH BOYS backing vocals are still a winner.

Beyond the well-known tracks though, Oriental Beat teems with highlights; M.C. Baby leans further in to the classic rock ‘n’ roll vibes thanks to its slide guitars and rolling rhythms, whereas Teenangels Outsiders channels the swing of early 70s AEROSMITH into a singalong ode to misspent youth. On the more menacing side is the tom-heavy swagger of Sweet Home Suburbia, a rumbling testament to self-destruction, and the urgent bounce and threat of Visitor. That’s not to mention the full throttle glam power pop of Don’t Follow Me, which turns into a charming duet with Katrina Leskanich of KATRINA AND THE WAVES fame (as an aside, definitely one of the most unexpected collaborations of the 80s right there).

Throughout, the bright jangly guitars of Andy McCoy and Nasty Suicide provide just the right foil to the melodic shout of charismatic singer Michael Monroe. Compared to the debut, Monroe in particular has come on leaps and bounds. His delivery across Oriental Beat is both more aggressively powerful and more tuneful, helping the songs retain a rougher edge even in their most melodic moments. Add in the tight and pummelling rhythm section of Sami Yaffa and Gyp Casino and it becomes clear just how at the top of their game HANOI ROCKS were when they went in to the studio for Oriental Beat. The Re(al)mix really helps all the band’s performances shine in a way that was buried before.

Where 40th Anniversary Re(al)mix does falter however is in its changes to the running order. For slightly inexplicable reasons, a number of songs have been shuffled about. While the changes aren’t terrible, they are at best jarring to anyone familiar with the original record, and at worst they disrupt the album’s flow. The biggest of these changes is shifting the title track to become the opener, bumping the classic Motorvatin’ from its top spot – a bizarre change considering how iconic an album opening its thundering toms and bouncy bass were. The rearranged order is really a baffling misstep, but at least those listening digitally can amend the track list however they see fit.

While this might not be the definitive HANOI ROCKS album, the new mix certainly does a lot to cement Oriental Beat as one of the band’s defining moments. The 40th Anniversary Re(al)mix is yet more proof that, with the right people around them and the stars aligning just right, HANOI ROCKS would have been up there with the bands they laid the groundwork for. Revisiting Oriental Beat, it’s hard to imagine how a band like GUNS N’ ROSES in particular would have existed without this blueprint for melodic self-destruction. The new sonic treatment gives the record the polish it deserves – the only thing that stops 40th Anniversary Re(al)mix from being perfect is its bizarre shifts to the track list.

Rating: 8/10

Oriental Beat – 40th Anniversary Re(al)mix is set for release on March 17th via Svart Records.

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