Michael Monroe's 'One Man Gang' - Album Review

As one of the 'Godfathers of Glam', Finnish singer Michael Monroe is held in high regard by those of us who love anything glittery and sparkly. As one of the two consistent members of the punk/glam act Hanoi Rocks, a band that never really received the attention that they deserved but still managed to influence literally hundreds of bands that followed in their footsteps, Monroe brought hairspray and sugary melodies to punk - helping to forge what would become hair metal in the process. Hanoi Rocks were something of a proto-hair metal outfit, with everyone from Mötley Crüe to Guns N' Roses later citing them as influences. Some bands are destined to live on through their influence rather than their hit records, and Hanoi Rocks are one of those acts - rather like Diamond Head to give another example. Outside of Hanoi Rocks, Monroe was a member of the short-lived bands Jerusalem Slim and Demolition 23. during the early 1990s - and has been pursuing a solo career since his debut solo release Nights Are So Long in 1987. For much of the 1980s, 1990s, and 2000s Monroe's solo career often took a backseat to whatever band he was fronting at the time - but since Hanoi Rocks called it a day for a second time in 2009 Monroe has put all of his energy into his solo career. It would seem however that the singer is much more comfortable in a 'band' situation, as since re-launching his solo career in 2010 he has been backed largely by the same four guys. Guitarist Steve Conte, bassist Sami Yaffa, and drummer Karl Rockfist have been with the Finn since 2010 - with only the second guitarist position changing hands a couple of times. Since 2014, that slot has been held down by English guitarist Rich Jones - meaning that this current iteration of the Michael Monroe band celebrates its fifth birthday this year. It is fitting then that this milestone is celebrated with the release of Monroe's ninth solo album, and fourth since re-launching his solo career, One Man Gang. It is the first since 2015's Blackout States, but it certainly picks up where that album left off. Monroe's music has been of a certain type throughout his career, but his recent albums have certainly seen him plough the punk furrow a little harder. There are still plenty of big, anthemic choruses here for all the glam fans - but there is a certain raw power and aggression in Monroe's current work. One Man Gang is no different, and contains twelve songs that breeze by - with only two songs clocking in at longer than four minutes long! This is good-time rock and roll music, with the band of five years sounding extremely tight after many round-the-world treks. The only thing somewhat strange about the album is the lack of writing from Monroe himself. He is only credited with writing one song here, with Jones and/or Conte writing the rest. This shows that One Man Gang is certainly more of a band effort rather than a true solo album, with the legendary singer leading his cohorts rather than dragging them along behind him.

Many of the songs on the album are short bursts of ferocious punk energy, with the blink-and-you-will-miss-it title track a perfect example - and therefore the perfect opening song here. The song opens with Monroe's voice briefly alone, before the band crash in with a fast-paced barrel of energy that barely lets up throughout the piece. Captain Sensible (The Damned) is featured on guitar throughout the song - which goes someway to explain the song's particular fury! Despite this essentially being a punk album, Monroe's status as a glam icon is also represented throughout with more sugary harmonies than on your average punk album and some stadium-sized choruses. The title track has a really anthemic chorus, which is sure to get everyone involved when played live, which gives way to a short but explosive burst of bluesy soloing. It is a song that perfectly encapsulates what Monroe is about, and sets the tone for what is to come. Last Train to Tokyo is more hard rock than punk, and acts as one of the album's main singles. The pace is not as furious here, recalling mid-period Hanoi Rocks somewhat with strident guitar chords driving the verses - before a gang vocal-led chorus bursts out of the speakers and into memories. The song recalls Monroe's singles of the past, and is sure to become another crowd favourite. The chorus is as anthemic as it gets for this kind of music, with Monroe's still-powerful voice perfectly carrying the melodies while both guitarists uses the piece to occasionally break into a burst of soaring lead playing. Junk Planet is somewhat more raw and abrasive, with a pounding bass intro from Yaffa that is soon built up up with some gnarly guitar leads and Monroe's bluesy harmonica. The bluesy elements are strong throughout, but they are mixed perfectly with Monroe's punk aesthetic with guitar riffs that recall the Sex Pistols at their best. The song is not as anthemic as the opening two, instead relying on the groove and dirty overall sound to drive everything forward. The barked chorus is still fun, but it is certainly more utilitarian - although this fits in nicely with the song's overall bass-heavy vibe. Harmonica and lead guitar cross swords often throughout the piece too, creating musical hooks in amongst all the attitude. Midsummer Nights certainly pairs everything back somewhat, and opens with some chiming clean guitar melodies which Monroe proceeds to croon atop. Monroe is not the most diverse of singers, and in my opinion is best when operating at full-tilt, but he can still pull the occasional slower number off. The verses here actually something of a modern indie vibe, which is a bit different than the norm, but the raw production make them feel at home on the album. The chorus is a bit more up Monroe's usual street however, with a more expansive sound and strong melodies. It might not be a classic, but it is a welcome change of pace on an album that usually has everything turned up to eleven.

The Pitfalls of Being an Outsider ups the pace again however, and operates at a strong mid-pace crunch with Yaffa's bass nice and prominent in the mix while somewhat discordant guitar leads create an atmosphere. It might not be the fastest song here, but there are still strong punk vibes throughout. The way the bass drives everything is indicative of the genre, and the chorus is a feast of gang vocals, somewhat-chanted vocal melodies, and brooding attitude. It is songs like this that see Monroe and his band really shine in my opinion, with all five guys really firing on all cylinders. I am not sure that Yaffa has ever really gotten the credit he deserves as part of this collective, as it is always his simple but punchy playing that holds everything together. That fact is evident here, and it shows why Monroe has worked with him a lot over the years. Wasted Years is a bit like a more laid back version of Junk Planet, with strong bluesy vibes throughout and more of that excellent bass playing from Yaffa. While Monroe is known primarily as a singer, he is also a strong musician and is known for being able to play a number of different instruments. This song features a lot of his harmonica playing, which helps to reinforce that bluesy vibe is often preferred here to lead guitar when it comes to creating mid-song melodies. That being said, there is still a short, expressive guitar solo present that showcases some tasteful phrasing - presumably from Monroe's old bandmate Nasty Suicide (Hanoi Rocks; The Cherry Bombz; Demolition 23.) who is featured on the song. In the Tall Grass opens slowly, with a distant drum beat from Rockfist - before the piece quickly opens up into a slower, yet full-sounding, song with a big guitar presence early on. The song seems to move constantly between quieter and louder sections - packing an awful lot into the relatively short space of time. The verses are sung by Monroe in almost a whisper, which is a bit of a different style for him, while Yaffa once again keeps a groove going. The rest of the song is much 'bigger' however, returning to the big guitar presence of the intro with chiming arpeggios over strident power chords. By Monroe's usual standards this is a dynamic piece, and a great mid-album way of mixing things up a little. Black Ties and Red Tape returns to the pure fury of the album's opening number, with Rockfist running a marathon behind his drum kit and choppy guitar riffing from everyone else. After a couple of more laid back and different pieces, the song is a not-so-gentle reminder of Monroe's usual sound - and the sound that has helped to make him a big deal over the years. He has lost none of his attitude and energy over the years, but everything is always delivered with a strong sense of fun. This is a song that is sure to see some movement if it is ever played live, and like the title track it is over in the blink of an eye.

Hollywood Paranoia is more of a mid-paced piece, but opens with a relatively heavy riff that ensures the song catches hold. The heavy feeling does not really last throughout the song, with the track instead settling into another solid punky groove with Yaffa's bass again present. It is these sort of songs that Monroe is best at in my opinion, so it is unsurprising that the album has a good number of them. The chorus here is extremely catchy, with some really great melodies that just instantly stick. Good punk always treads a fine line between being catchy and venomous and, while Monroe usually leans somewhat more towards the former, it is clear that he is the master of whipping up energy with his words and vocals. Heaven is a Free State is the only song here that Monroe actually wrote, but it does not sound a whole lot different to the rest of the album. It does open with a few bursts of saxophone and trumpet however, courtesy of the man himself and session player Tero Saarti, but on the whole the song is another strong mid-paced number. The horns surface occasionally throughout to mix things up somewhat, but the song's best moment is a strong chorus with some excellent punk/glam vocal melodies that are made to be sung by a loud crowd. It is a bit of a shame that Monroe did not write more of the material here, especially as this is a 'solo' album, but maybe in his older age he his happy to sit back somewhat and let his clearly prolific band members take the reigns before putting his own stamp on their compositions. Helsinki Shakedown continues on somewhat from the previous number, with a similar tempo and overall vibe. The slightly jazzy horn bursts are absent however, leaving the more traditional guitar riffing to fill any little holes. I like Monroe's use of harmonica and saxophone throughout his work, but I think it is wise that he never really overuses the instruments. It could start to sound a bit gimmicky if they were used too often, but used as they are they really make an impact - especially the harmonica on the earlier songs. Low Life in High Places is the album's closing number and surprisingly does not go for the throat - with the focus instead being on more controlled melodies and a slightly laid back feel. The song still moves along at a decent pace, and is not a ballad by any means, but still feels a bit different from Monroe's normal style. His voice is really placed at the front and centre of the song, with the bass yet again creating a groove while the guitars add colour. That being said, it is a song that somewhat grows up around the initial groove - getting more chaotic as the piece moves forward. It is not the best track here, but it is a song that ends the album on a different vibe than you might expect - showcasing Monroe's willingness to occasionally play with structure. Overall, One Man Gang is another strong album from Monroe and another in a long line of good releases since his 2010 solo 'rebirth'. There is nothing particularly new here, but anyone wanting more of Monroe's distinct style will certainly find plenty to enjoy.

The album was released on 18th October 2019 via Silver Lining Music. Below is Monroe's promotional video for Last Train to Tokyo.