Hanoi Rocks were one of those bands you really had to experience at the time to appreciate the excitement surrounding them. I remember seeing them in a pub in Moseley, Birmingham, where people were setting fire to the furniture to keep warm. It was absolute madness, but that memory has stayed with me.
Revisiting these records through BMG’s forthcoming The Complete Collection 1981–1984 brought some of that excitement back. I played the albums back to back, and what struck me was how well the music stands up.
The collection arrives on 13 November 2026, available as a six-LP coloured vinyl box and a six-CD edition. This review covers the vinyl version, which I have examined and listened to. Townsend Music
Self Destruction Blues was my introduction to Hanoi Rocks. Although it gathers earlier material, it has always worked as an album for me. It was the record that brought me into their world, so there is a particular pleasure in returning to it here.
A vinyl box that gets the details right
The outer box feels sturdy and protective, and the design draws on the visual identity of the debut album. Inside are the six records, five album-art cards and a 36-page photo book.
The art cards are printed on good, firm card. If you want the sleeves on display, you can frame these without sacrificing the records themselves.
The coloured vinyl also suits Hanoi Rocks beautifully. Among the colours in my copy are pink for Back to Mystery City, white for Self Destruction Blues, blue for Oriental Beat and green for Two Steps from the Move. The bonus LP has a smoky gold appearance.
With a band this visually distinctive, that splash of colour feels entirely appropriate.
But the detail that really impressed me is the way BMG has handled the inner sleeves.
Where there was originally a printed inner sleeve, the artwork has been reproduced as a separate double-sided insert. The record itself then sits in a polylined inner sleeve.
That is an excellent approach. You retain the lyrics, photographs and original presentation while giving the vinyl proper protection. I would love more labels to do this.
My copy arrived in excellent condition, with no split seams, and the records were clean and free from paper dust. The pressings were excellent throughout my listening.
A photo book that brings the period to life
The 36-page book works very well as a photographic record of the band.
There are live photographs, backstage images and promotional shots, allowing you to follow the development of their look across these years. What makes it particularly enjoyable is the photograph index, identifying where and when the pictures were taken.
You can turn to an image and discover that it was taken in Fulham in June 1982, for example. Those details give the photographs a sense of place.
The paper quality is good, too. I sometimes feel a box-set book would benefit from being hardback, but this works perfectly well as a photo book. It suits the material, and it is something fans will enjoy returning to.
Why Two Steps from the Move still stands out
Playing the albums consecutively was a wonderful way of revisiting Hanoi Rocks, and the record that particularly leapt out at me was Two Steps from the Move.
Bob Ezrin’s production gives it a stronger rock focus to my ears. There is more weight and scale, but the band’s personality still comes through.
There is also a lovely Mott the Hoople thread running across these later recordings. Dale Griffin and Pete “Overend” Watts produced Back to Mystery City, while Ian Hunter contributed to the writing of “I Can’t Get It”, “Boulevard of Broken Dreams” and “Underwater World” on Two Steps from the Move.
That connection makes perfect sense when you listen to Hanoi Rocks. Underneath the image and the attitude, this was a rock ’n’ roll band with a real feel for a song.
Motorvatin’!!!: the bonus album
The sixth LP, Motorvatin’!!!, adds ten tracks drawn from the archives.
These include BBC versions of “Underwater World” and “Boulevard of Broken Dreams”, demos of “The Beating Gets Faster (I Know You)”, “Sailing Down the Tears” and “Rebels on the Run”, plus a calypso version of “Malibu Beach”.
It gives the collection another avenue to explore once you have worked through the main albums.
How does it compare with the earlier Cherry Red box?
Some viewers will remember the earlier Cherry Red collection I reviewed. That included All Those Wasted Years but omitted Two Steps from the Move.
This BMG collection includes Two Steps from the Move and the Motorvatin’!!! bonus album, but does not include All Those Wasted Years. Despite the title, that distinction is worth keeping in mind when comparing it with what you already own.
My verdict
I think BMG has done a wonderful job with the vinyl edition of The Complete Collection 1981–1984.
The presentation is attractive, the photo book is enjoyable, and the art cards are a welcome addition. More importantly, the records in my copy sound great, and the polylined sleeves show that care has gone into how the music is housed.
This has been a thoroughly enjoyable way to revisit Hanoi Rocks. Self Destruction Blues still has that personal connection for me, while Two Steps from the Move remains a particular highlight.
If you enjoy vinyl box sets and want these albums together in a beautifully presented package, this gets a very enthusiastic thumbs-up from me.
The collection is also available on CD, although my comments on the packaging, pressings and listening experience relate to the vinyl edition reviewed here.
