Oregon Music News

Photos by Jon T. Cruz

Michael Monroe’s first and highly anticipated appearance in Portland took place on October 16th at Dante’s. In a pre-gig interview Michael Monroe explained that he bumped heads with Polygram Records when they released Not Fakin’ It in 1989. “They (the label) ran a TV ad that misrepresented me. It stated that Michael Monroe was ‘the brains’ behind Hanoi Rocks. Hanoi was a band–we were all equal. I demanded that they pull the ad because I wanted to maintain my integrity. They weren’t happy but I stuck to my guns.”

In the end the label pulled the plug on the album’s promotion despite positive reviews. The conflict resulted in limited touring in the United States supporting the album. Monroe remains defiant years later. He states, “I’d rather not be a millionaire if I can’t do it on my own terms. I’m happy with that decision today more so than ever.”

Monroe & Dregen an explosive combination

Monroe released his latest album, Sensory Overdrive, in August in the United States. Monroe has maintained a successful solo career throughout the years. He’s continued to release albums in Europe. It’s not a stretch by any means to call Sensory Overdrive his comeback album for the North American market. It’s unheard of for an established artist to inject several new tunes into the set. With most artists not taking many risks, you’d be hard pressed to hear more than two new songs in a set. Most keep it relatively safe and play “what casual fans want to hear.” Monroe played six songs from the new album, opening with “Trick of the Wrist,” “Got Blood?,” and “Modern Day Miracle” with “78,” “Superpowered Superfly,” and “Bombs Away” rounding out the new-fangled material.

Finding a singer that has aged well from the 80s is a rarity. Monroe is a trim, lofty, charismatic front man who has his “real” golden locks intact. More importantly, Monroe looked like he wanted to be on stage and he’s clearly having just as much fun as the audience. Midway through the set a fan offered an alcoholic beverage to Monroe. “No thank you, you go ahead. I only drink water,” Monroe responded. Believe it.

Dregen & Yaffa

The band was wound tight like a line on a brand new fishing reel. The rhythm section consisting of Sami Yaff (Hanoi Rocks, Jetboy) and Karl Rockfist (Danzig) lowered the boom while newly recruited guitarist Dregen (The Backyard Babies) showcased his frenzied, Chuck Berry-inspired play that complemented guitarist Steve Conte’s (New York Dolls, Company of Wolves) cool, Joe-Perryesque presence. The band powered through material from Monroe’s Not Fakin’ It to material from his band Demolition 23 and, of course, Hanoi Rock was well represented. Aside from the newly christened material (in America, anyway), other highlights included “Hammersmith Palais,” Not Fakin’ It,” “Back to Mystery City,” and “Malibu Beach Nightmare,” followed by closer and anthem, “Dead, Jail or Rock ‘n’ Roll.”

After vacating the stage, the band returned for their encore and played “Ain’t Nothin’ To Do” by Dead Boys, then a double-shot of Hanoi Rocks with “Taxi Driver,” and “1970.” Monroe extended “1970” by incorporating “Radar Love” and then, of all things, a couple of lines from the chorus of Gwen Stefani’s “Hollaback Girl.” It worked ridiculously well. Monroe was refusing to leave the stage. In the end Monroe and band scored big and the crowd cheered. You could not help but feel like you’ve just experienced “the rock ‘n’ roll event” of your life. It was worth the wait.