Twelve Shots on the Rocks Enhanced, Original recording remastered, Import
Twelve Shots On The Rocks marks the first time in over 17 years that the original songwriting duo of Michael Monroe and Andy McCoy have collaborated as Hanoi Rocks. This domestic version features 17 tracks including 4 bonus tracks, 'Bad News', 'Moonlite Dance', 'L.A.C.U.' & 'Are You Lonely Tonight', as well as an enhanced video not available on the import version for the song 'Winged Bull'. Packaged in a deluxe three-panel digipak along with a 12-page full-color booklet of photos & song lyrics, plus a sticker of the Liquor & Poker Music logo. Liquor & Poker Music. 2003.
一部に楽曲の順番の変更、そして日本ボーナストラックのCheck out the girlsが無い代わりに四曲のボーナスがついています。シングルB面などに使われた曲もあるので、まだ買ってなかった…という人はこちらのお買い上げをお勧めします。
Hanoi Rocks was dirty and less polished back then. But 12 Shots is just great! It's polished and classy while being dirty, high energy, bluesy, sentimental and very true to it's punk/glam roots.
Get this album. You won't be disappointed.
This is the album that took 17 years to make and it's their best ever. When I got this and saw that only two of the members were back (Michael and Andy) I was skeptical, especially since most of Michael Monroe's work has been absolute crap (he even got my favorite guitarist, Steve Stevens, sound bad on their failure of a collaboration, Jerusalem Slim) and their last studio album, Two Steps From the Move, was their worse album ever by far. I was, however, quite pleasantly surprised. I would call "12 Shots" the best album to come out since AFI released Sing the Sorrow (yes, it's even better than Outkast's Grammy winner). I find it rather strange though that neither Nasty Suicide nor Sam Yaffa played on this album considering that they often collaborated with Monroe throughout the Hanoi-less years. This would seem a disappointment especially since their work on the Johnny Thunders tribute seemed to point to an all out Hanoi reunion. Fortunately, the new band performs wonderfully on this exquisite collection of songs. The absence of the original rhythm section, Sam and Razzle (RIP), is felt by the lack of any songs reminiscent of the camp classic, "Tooting Bec Wreck." This cloud definitely has a silver lining, though, as it is good to see Hanoi not recycling previous failsafe ideas like so many other bands do when they have their "reunions." Without a doubt, the classic Hanoi sound is still there, but continues to move forward. This may be due to the change in songwriting leadership. While before, almost all of their songs were written exclusively by McCoy, this time around sees Monroe taking the helm as he writes or co-writes almost all of the original songs on the album (which scared me at first considering his track record). The best song on the album by far is "In My Darkest Moment," a collaboration between the two. This song, along with "Obscured," is a testament to the fact much focus has shifted away from camp and goofiness of their original sound as showcased on Back to Mystery City, it has shifted toward depth and lyrical maturity. There are still songs like "Delirious" to give listeners are chuckle, but this album has a far more urgent sound than previous efforts.
Unfortunately, Hanoi will never get the respect they deserve because they refuse to sell out. They are deeply rooted in glam which has the biggest stigma of any genre attached to it. Fear not though, this is not some Motley Crue/Poison sounding band. While the aforementioned have obviously taken their cues from the Rocks, the eyeliner veterans are much closer in sound and attitude to Iggy Pop than Whitesnake, Great White, or any of those ozone-depleting bands. Actually the climatic buildup and depth of several of the songs remind me a bit of 1970's Springsteen. Hanoi would no doubt be much more respected if no one knew what they looked like. First of all, no self-respecting punk should be without at least one Hanoi Rocks album, as their sound is as punk as anything out there. However, Hanoi also have a tender side to them which is evident on every album (and fortunately this album didn't need yet another version of "Don't You Ever Leave Me" in order to display that). If Hanoi Rocks were to comb down their hair, stop dressing like Debbie Gibson wannabe crack [prostitutes], and reinvent their image, they would probably be sharing chart success with Jet and the Darkness, but instead they stick to their guns and lipstick.
This is a great album for people who may not be Hanoi Rocks fans or glam rock fans at all. It is highly recommended for people who like innovative and high energy artists like the Sex Pistols, Andrew WK, AFI, HIM, Outkast, early Springsteen, Meatloaf's Bat Out of Hell, Prince, Siegue Siegue Sputnik, and of course, Johnny Thunders. If you like bands that take chances and push the envelope you will love this album. Just don't look at the damned pictures and you'll be fine.
Sit back, strap yourself in, because when we reach 88mph, you're gonna hear some serious s**t! It's been nearly 17 years since Hanoi Rocks last left their mark on the rock music world, and with the release of their latest CD, it seems like it's the next day. Often confused with pop-metal bands, Hanoi Rocks are punk rockers with a glam look. The group makes this perfectly clear on "Obscured." Andy & Michael's punk-fueled rhythms are highlighted by their melodic vocals. You can almost smell the hairspray (destroying the ozone layer). "Devious" is equally accelerated. This time the guys pull of some great dual vocal harmonies.
Hanoi Rocks don't stay the punk route for long. Bluesy guitar rock seems to be one of their strong points as well. "New York City" is a gritty guitar laden track that shows Michael taking on a harsher tone in his delivery. Andy boats some sweet guitar tones as well. There is also plenty of twang on Moonlight Dance. "Watch You Want" kicks it up a notch with heavier riffage and bitter vocals. This song almost rivals some of Motley Crue's earlier work. One of the discs five bonus tracks, "Winged Bull," has a little bit of everything. It starts off with some futuristic sounds that lead into a power ballad that David Coverdale (Whitesnake) would be jealous of.
It wouldn't be the eighties if it weren't for a couple of my favorite rock record clichés. First you have the infectious guitar riffing in the song named after a famous proverb, "Day Late and a Dollar Short," and then you have a song written about the gypsy lifestyle, Gypsy Boots. Michael breaks out his harmonica for this one. One things for sure, Hanoi Rocks know how to write a catchy tune. On "People Like Me," the CD's first single, Michael sounds off against MTV and radio for discarding the past. He makes some valid points too.
The ballads are good, but Michael's vocal style is a little weathered to pull them off with emotion.
I read a few reviews for this CD and they all said the same thing, "Hanoi Rocks are back with their brand of whiskey soaked rock and roll anthems." What the hell does that mean? It means they didn't listen to it! I didn't see any whiskey, smell any whiskey, or hear any whiskey. What I did hear was some great rock songs. Hanoi Rocks project a great rock and roll atmosphere with their catchy, simple yet effective songwriting, and their punk/blues landscape.