A fierce live act, the band showed certain growth on this release. While it was a definite challenge to Razzle, he eventually mastered the part. This track took many hours to record, as the drums had to be perfect, almost robotic. It featured classic Hanoi tracks like “Until I Get You,” “Tooting Bec Wreck,” and “Mental Beat,” with its monotonous drum beat. The original producer slated to do the new LP was none other than Ian Hunter of Mott the Hoople, yet scheduling conflicts made this an impossibility, and Dale Griffin and Overend Watts were brought in to take on the project. In 1983, the band came back with a new album, Back to Mystery City, and a new drummer: Razzle. They might have been released or maybe done again differently.” “It was basically an album of demos,” said Andy McCoy. The release featured singles like “I Want You,” “Nothing New,” and “Whispers in the Dark,” as well a rare version of the title track performed acoustically.

As Christmas was approaching, the label decided to use previously released singles and a selection of rarities to piece together the album that became Self Destruction Blues. However, their record label, Joanna, had other plans. When it became time for the follow-up, the band started to work on new tunes. Yet tracks like “Teenangels Outsiders,” “Motorvatin’,” and the title track still had that semi-punk sting to them, and an attitude that only a front man like the magnetizing Monroe can provide. It was widely felt that the production of the record let the band down. At this time in the 1980s, bands like Duran Duran and Spandau Ballet were all the rage, and Woolliscroft was into that modern sound, which he tried unsuccessfully to incorporate into Hanoi Rocks. Woolliscroft admits to having tried to polish the band’s sound, knocking off too much of the edge that made them who they were. While the songs were great, the band was ultimately disappointed with the finished product. With working titles like “Greatest Tits” and “Second Attempt at Suicide,” the band settled on Oriental Beat. Having worked with acts like Slade, Cat Stevens, Frank Zappa, Yes, and the Buzzcocks, among others, the veteran producer tried to bring the best out of the band, even if they did not always see eye to eye. On their sophomore effort, Oriental Beat, the group decided to bring in an outside set of ears for production belonging to Peter “Pete” Woolliscroft. This was accomplished by lead vocalist Michael Monroe and guitarist Andy McCoy, who felt they were the best choice as producers. The production was meant not to neuter the band’s sound, but to bring their rewound-polished sound to life. Originally released in 1981, it made a small splash among the record-buying public, yet would go down as one of the best albums of that year. Classic tracks like “Tragedy,” with its angelic chorus, and “Don’t Ever Leave Me” showed an inexperienced but hungry act that would grow into its niche. Starting with their debut album, Bangkok Shocks, Saigon Shakes, Hanoi Rocks, this release contains a rawer production of some great tunes. Consisting of the band’s first five albums, this set has just about everything a Hanoi fan could want. Now, Cleopatra Records has offered up a five-disc box set, dubbed the Strange Boys Box. Bordering on punk, their sound was unique, and sometimes hard to capture in the studio. However, Hanoi Rocks were the real thing. Sometimes the hype around an artist is much more than the talent forthcoming from them. Acts like seminal ’80s glam band Hanoi Rocks are the things legends are made of.

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