After the innermost journey, it seems about right we should engage with ‘Satans helpers, War Lazer Eyes And The Money Pig Circus’. Confused? Relax, sit back, and take a deep breath its only an album title.

I’ll set the picture for you, Sami Yaffa managed to turn in the album of the year when he released his debut solo album in 2021. It had everything and confirmed with many of us how fuckin talented the guy is. Not content with being the coolest bass player on the planet or playing on some of the best records ever he had to go and write produce sing and play on a solo album that was so fuckin good it was almost unfathomable. Roll on a couple of years and Mr Yaffa is back in the ring and taking precision shots again like the heavyweight player he is.

The first glimpse into album number two was the Iggyfied ‘Crashing Down’ and with a confident swagger, Sami was on top of his game with another earworm that sounded so good it made me grin for days. Excited at what was coming down the line and the first taste was exactly what I wanted to hear. Such is Samis laid back demeanour is infectious and engaging and it puts the listener in the best frame of mind for listening to some of the finest music currently being laid down anywhere by anyone.

The title track rolls in on a cool countrified lick that gathers pace before exploding into widescreen as Yaffas well worn, warm vocal wraps itself around you like a warm comforting blanket and the opening of this much-anticipated album is done.

‘Silver Or Lead’ rattles in off the back of the widescreen opener with a sharp, stripped back song with plenty of punch and gang vocals on the chorus but it’s the arrangement that gives the song an air of excitement that draws you the listener in. ‘Hurricane Hank’ is one cool motherfucker by the swagger of his soundtrack. A cool bluesy lick is held by some cool keyboard rattling over a rapid fuzzed guitar.

One thing Yaffa is clearly gifted is the ability to change pace and style yet keep it perfectly on point whatever the style so ‘Death Squad’ is the first glimpse of the reggae skank we had on that first record and it’s here with the keyboard slap with rhythmic stabs to groove alongside the skank of that clean guitar with its bluesy licks.

‘Down Home’ is laid on a bed of acoustic guitar chords and a warm pained vocal. It’s not quite a ballad but has a gentler hand maybe more Americana in the vein of say Jesse Malin at the top of his game. In contrast ‘Shitshow’ is rockin’ out at its finest from the storming the gates guitar break that’s scorching the speakers as it bursts through. No time for finery or complicated arrangments it’s heads down and lets rock! Some wonderful piano fills and backing vocals to accompany this rocka.

Whilst we’re deep into the record we have the first single that dropped several weeks ago ‘Crashing Down’ and it still sounds like the best song Iggy never wrote anytime over the last thirty years. ‘Chemical Life’ has the funk pulsing through the bassline sounding like an adventure through the NYC underbelly from the keys and that funkified bass to the cool lyric and fucked up flavours created by the brass and percussion exploding all over the place. A fantastic song and even after so few plays it sounds like a track to delve into for years to come.

A more varied album than his debut and touching upon all his previous bands and roles within bands Sami Yaffa has really spread his wings on ‘Satans Helpers’ there is perhaps a supreme confidence happening here before our eyes and ears and the off-kilter groove of ‘Far Star’ is his most varied offering yet. It could have been offered up to Harry and Chris Stein around the time they were eating to the beat it has that LES charm as the mist rolls in off the Hudson it might turn out to be the record’s buried gem the more play I give this, Only time will tell.

The record is almost done and already I’m excited to do it all again and see what pops out of my speakers on the next play. ‘Faster Than Me’ has a carefree vibe that is like a ray of sunshine after the storm. You know that satisfying smug feeling when you’ve looked forward to a new record and it absolutely doesn’t disappoint, well, ‘Satans Helper’ is exactly that record. I think it’s safe to say that Sami Yaffa will once again be challenging for the album of the year title such is the quality of this album after only a few plays.

Now, go and ask your local record store to get you a copy of ‘Satans Helpers, Warlazer Eyes & The Money Pig Circus’ it might just be the best record you buy in 2024 and you can quote me on that!

Buy Here

Author: Dom Daley

New York City guitarist, singer & songwriter Steve Conte has released a video for his new single, co-written with Andy Partridge (XTC) titled “Fourth of July.”

The song & video serve as a follow-up to his 2021 acclaimed solo album Bronx Cheer, and offers an early preview of his upcoming new LP due out in 2024 via Steven Van Zandt’s Wicked Cool Records.

Steve says:

“Fourth of July” was written with one of my favorite songwriters of all time, from one of my fave bands – Andy Partridge of XTC. I feel blessed to be writing with one of my heroes…and to be recording for Little Steven Van Zandt’s label, Wicked Cool Records,” says Conte.

“With a title like “Fourth of July” I knew I didn’t want to make this song lyric at all patriotic American or about Independence Day – I wanted it to be about the sparks that fly, the fireworks that go off in a relationship. One with intense chemistry…love, fulfillment …bombs bursting in air, ya know? Explosions, yes – but no stars & stripes.

The chorus of the song is one that I’ve had kicking around since the 90s. I wrote the hook while getting ready to leave my NYC apartment for some July 4th event – I just started singing about what was happening that day. The hook was all there; chords, melody, the title lyric, the phrasing – complete with that odd timing. I thought it could be something special because I never forgot it.”

Buy Here

The year is 2023 and I’m sat at home waiting for my Hanoi Rocks album to be delivered but with many things you simply have to wait and good things are worth waiting for and any original or should that be classic Hanoi Rocks album is well worth the wait.

I used to be a bit sceptical about bands doing a remaster or remix especially if its a classic album but as I’ve got older I’ve dug deep into some of my favourite records when they’ve had the overhaul treatment, especially some of those half speed jobs from Abbey Road and when I heard the difference Japans ‘Quiet Life’ had or some of the classic ‘Rolling Stones’ records sounding like a different album at times it can be a bit of a head fuck when they’re done well. What lowered my scepticism was hearing the Senseless Things overhaul of ‘The First Of Too Many’ and how much better the new version was compared to the muddy original I was converted and won over in one fell swoop and now I’d happily champion and shell out for a well-done remix/master which has brought us to this hallowed spot and the mighty, unparalleled, unrivalled Hanoi Rocks and this here Svart release of ‘Oriental Beat’.

Delays delays delays, I’ve put off reviewing this album and its re(al)mix but couldn’t wait any longer for my record to turn up so I’ve delved into the digital and sat back with my hands over my face as the virtual needle dropped and ‘Oriental Beat’ hit the ether and blew my fragile tiny mind. Wow, congratulations to Svart for doing something I didn’t think possible. ‘Oriental Beat’ sounds like an album that was released yesterday it’s got volume, punch, new clarity and moments I’d either forgotten about or were never listenable to the human ear. Sweet Baby Jesus! Hallalulija hark the herald angels sing. This is how Hanoi Rocks sound just listen to Sami Yaffa’s bass thumping its way through the title opening track it’s unbelievable. Truly a cut above and those BV’s are exceptional. I’ll admit it’s been a couple of years since I spun this album and when I heard it was being treated to an overhaul I wasn’t sure if Genius should be tampered with but on the evidence, Man I’m converted.

The strangest thing abou tthis version would be the track listing but dropping ‘Motorvatin’ deeper into the album is worth it because once you get your head around the sound the intro is a real highlight. The second Hanoi album saw them becomeing a real unique force sure they still leant on their heroes like the best song the Clash never wrote in ‘No Law No Order’ or the Mick n Keif locked in playing on the epic ‘Teenagels Outsiders’ where I think Monroe sounded amazing. Youthful exuberance and developing a unique style I think he’d really come into his own here and the saxophone use was and still is exceptional and I never understood why it wasn’t used more in punk rock when Hanoi used it it was brilliant as it was for bands like The Lords Of The New Church and Johnny Thunders but Hanoi were different, they used it best of all.

The groove and open-heart honesty of McCoys playing on ‘Sweet Home Suburbia’ is incredible the sustain is almost visual. I can’t express how much better this version is and once I get used to the track listing all will be well in the world and I will start to get on to whoever I have to to see if the master tapes for other albums are available for this sort of treatment. I don’t think I’m saying anything outrageous here but this album has only gone to cement how vital each member of the band was and how integral and truly amazing Yaffa was to the sound of the band. There are moments I haven’t fully appreciated before and some of the walking bass lines are majestic ‘Lightnin’ Bar Blues’ as is the harmonica of Monroe on ‘Devil Woman’. The band should be rightfully proud of this project its an emotional and exceptional piece of work that is an absolute must heart for any fan old or new it is worth every single penny and some. Special praise must also go to Petri Majuri for his input into this project and his exceptional work of drawing out the demons and replacing them with angels’ wings ‘Oriental Beat’ is already one of the best albums ever and is now even better – Buy this record!

Buy Here

Author: Dom Daley

IT’s been a looooong time coming but finally the evening has arrived where Michael Monroe pays tribute to The Lords Of The New Church. This has been hanging around since the pandemic first broke and the will they wont they questions were asked. I’m so glad it wasn’t shelved or kicked to the long grass because those Lords songs are too good to be resigned to history and whilst Brian, Dave as well as Mark Taylor are still with us we need to celebrate them and who better to stand in for Stiv than his old mucca Michael Monroe. Whoever pulld this off give yourself a big pat on the back because I’m sure Stiv was looking down and tipping his hat in approval. anyway I get ahead of myself. Whilst it was all about The Lords for me there was plenty going on besides as a well attended Shepherds Bush Empire will testify.

The first VLRockers set involved a couple of covers fronted by Paul Ronney Angel the choice of the two being a riproaring ‘Teenage Depression’. Then they were joined by Kim and Jackie for the HeadGirl EP with Beki Bondage adding vocals for ‘Please Don’t Touch’. The final track of the first 30 mins was ‘God Save The Queen’ with Millie Manders and Gaff which was dedicated to Lydon as the news that Nora had just passed away filtered through. The real highlight of this set I would say was the brass section which really added to this song selection…making it sound so much more than a mere covers set. A most lively of starts….

To be fair to the VLRockers house band they were in fine form all evening and did some sterling work when playing ‘Pipeline’ or having Jim Jones join them to tear through some Rock n Roll standards like their rcollective tails were on fire. The special guests were prompt and the awards were handed out in fine Mick Fleetwood and Sam Fox fashion which led to the live bands for the night and collecting an award the Cockney Rejects then performed a very brief set of their material with new tunes wedged between old classic Rejects culminating in a fine rendition of ‘Badman’ the only downside was some plonker in the audience chanting Chelsea at the boys from Canning Town and I’m sure he wouldn’t have been so edgy had any of the band heard his foul tirade, there’s always one.

Anyway, next up was Neville Staples Band and after catching this band perform an incredible set at Rebellion many moons ago they once again didn’t disappoint plucking Specials hits left right and centre and in thirty minutes the whole venue was moon stomping and singing along to classics like ‘Ghost Town’ and ‘Monkey Man’ once again I’d seen a fantastic set from a fantastic band whose energy and positivity was boundless.

It seemed like the years were pealing away and I was taken back to when I’d seen The Lords Of The New Church with the most incredible of frontmen in Stiv Bator but alas he has long since departed and all that is left is his memory and his music and if you were to pick one man to perform those songs with the band then it had to be the one and only Michael Monroe. As the house lights went down and Mark Taylor fired up the synth for the intro of ‘New Church’ I swear a warm glow descended over this theatre in West London and a gift from the rock n roll Gods fell down. Dave Treganna fired up that bass throb in time with Terry Chimes’ drum beat and we were off before the unmistakable roar of Brian James’ guitar filled every corner of your soul, we have lift off as Monroe danced to the front centre and it was finally happening. It was, however, an all too brief set and being greedy I could have heard them play every single track the Lords had recorded and still wanted more but alas I’ll take this however brief it might have been. ‘Livin’ on Livin’’, and ‘Method To My Madness’ Were fired out of the PA with aplomb as were classic Lords ‘Dance With Me’ which was well deserving of the Moroe saxophone

It was a no-brainer as far as I was concerned, this was never going to be a car crash of any description the players and the music was far greater than that possibility was ever meant to be. Let’s not forget for a minute these songs are 30-plus years old and a lot of water has flowed under the bridge since they were last played in anger by Mr James or anybody for that matter. It truly was a joy to close your eyes and feel the weight of ‘Russian Roulette’ or ‘Dance With Me’ filling the air of a concert hall again.

The band were then joined on stage by none other than Mr Rat Scabies who presented his old pal Brian with an award before ordering mr Chimes to Fuck off the drum stool so he could sit in and hammer out a mighty fine rendition of ‘New Rose’ as Michael Monroe looked genuinely star struck having to sing the song. It was a magical moment amongst several magical moments that had occurred over the last thirty minutes. Some of my favourite performers over a lifetime of music, on a stage playing some of my favourite songs ever. It was something I was trying to compute in real-time but I don’t know if I’ve taken it all in I do however know that I was delighted this evening had finally taken place and seeing the living Lords reform with Nick Turner standing on the stage left to supply tambourine and backing vocals was the icing on the cake. It was then abruptly brought to an end after an impressive Bo Diddley/New York Dolls’ ‘Pills’ and then they were done.

A tremendously entertaining night from Vive Le Rock with some fantastic performances topped off by The Lords Of The Fucking New Church Revisited Can we do this again sometime? pretty please.

I rarely venture out to academy size gigs these days, not for lack of wanting I hasten to add, it just seems most of the bands I’m interested in play smaller more intimate venues. But after catching The Interrupters last summer, it sure reminded me of a lot of the rock shows I used to attend back in the day at academy size, and who doesn’t like a full-on rock show?

So, with Black Star Riders coming into town promoting their highly acclaimed new album ‘Wrong Side Of Paradise’, and bringing with them not only the Michael Monroe band but also Phil Campbell & The Dirty Bastards, well it would be a shame to miss this.

I wouldn’t say I’m a massive Motörhead fan, but Phil Campbell once came to my flat and I made him a cup of tea, but that’s another story. Anyway, Phil Campbell & The Bastard Sons are not Motörhead, but in the same way as Black Star Riders they channel the spirit of the band that came before them. What The Bastard Sons are though, is a full-on, old school hard rock band, and a good one at that. The sole non-Campbell onstage, new singer Joel Peters, works the crowd like a pro tonight. A larger-than-life personality with a larger-than-life voice, he splits the crowd for audience participation, mixing up originals like ‘We’re The Bastards’ and ‘Get On Your Knees’ with Motörhead classics like ‘Going To Brazil’ and ‘Born To Raise Hell’, the band are mightily impressive. The rhythm section is tight, the guitar tone fantastic and Phil must be proud having his sons up there keeping the spirit of Motörhead alive for fans and the younger generation.

The biggest cheer of their set goes up as bassist Tyla thumps out ‘that’ bass line. They were always gonna end with ‘Ace Of Spades’, right? The crowd go wild, and so they should.

I don’t think I’ve ever seen Michael Monroe support anybody before, and I’ve never seen him do such a short set. This band don’t do bad shows, never give less than 100% onstage. The opening salvo of ‘One Man Gang’ and ‘I Live Too Fast To Die Young’ works a treat. The die-hards down the front know the words and the uninitiated are getting a shock treatment in high energy rock n’ roll. The Finnish Iggy Pop is on fire and the usual onstage chaos surrounds the whirlwind vocalist, who as ever is mesmerizing to watch, as he gets tangled up in microphone cables, does the splits and climbs the rigging. He swings the mic stand precariously close to guitarist Steve Conte’s head, but its all in a day’s work for the Michael Monroe band.

Older singles ‘Last Train To Tokyo’ and ’78’ go down well and get the crowd singing them back to the livewire singer as he bounds about the stage. If this is mainly a Black Star Riders fanbase tonight, I would say the band have won them over by now. And any who are not convinced may be shedding a tear by the time they finish the Hanoi Rocks classic ‘Don’t You Ever Leave Me.

‘Ballad Of The Lower East Side’ is arguably the strongest song in the band’s solo discography and it sounds killer live, yet as Michael climbs the rigging for the second time, the power is cut and the band stop playing mid-song! Seems the 02 don’t like rock stars climbing on their equipment. Funnily enough, the last time I saw this band, at The Brudenell up the road, there was an actual power cut on the equipment on the exact same song. What are the chances of that?

The band shrug it off and launch into ‘Motorvatin’ to get things back on track. ‘Dead, Jail Or Rock N Roll’ and ‘Up Around The Bend’ end a killer set that didn’t exactly go to plan, but rock n roll’s like that sometimes. I like it when a band has to work for it and I pity any band who has to follow The Monroes night after night.

Black Star Riders have that unenviable task, and while Ricky Warwick doesn’t possess the maniacal stage presence of Michael Monroe, he is one of the last of a dying breed of classic rock frontmen who are still out there doing it and doing it well. A 10-year anniversary for any band these days is something to celebrate, and Black Star Riders have morphed into quite the classic rock band now.

With original members drummer Jimmy Degrasso, bassist Robbie Crane and the Richard Branson of rock n’ roll Scott Gorham back in the fold for this tour, tickets have flown out, and the 02 is buzzing with anticipation as the band break into newbie ‘Pay Dirt’. In a leather jacket, his hair greased back and a Les Paul swinging from his hips, Ricky Warwick looks mean, moody and healthy, and his gritty voice is as powerful as it ever was back in The Almighty days. With the ever-smiling Wayward Sons guitarist Sam Wood by his side (who looks uncannily like a young Scott Gorham) the band sound impressive too.

The first half of the set weighs heavily on the new album. The single ‘Better Than Saturday Night’ is a killer highlight, ‘Riding Out the Storm’ and the title track ‘Wrong Side Of Beautiful’ showcase Warwick’s songwriting ability and suggests this album could go down as their strongest effort. They even breathe new life into their cover of The Osmonds ‘Crazy Horses.

Ricky introduces Scott Gorham to great cheers and the 71-year-old Thin Lizzy guitarist joins Black Star Riders for the rest of the set. The likes of ‘All Hell’s Breaking Loose’, ‘Testify Or Say Goodbye’ and ‘Bound For Glory’ all hit the spot and are welcomed like old friends to a crowd of a certain age. The spirit of Thin Lizzy seems omnipresent and of course a couple of choice songs get aired tonight. Phil Campbell joins them for ‘Don’t Believe A Word’ and a sublime ‘Jailbreak’ comes later in the set and understandably gets the biggest reaction of the night.

While the first half of the set was strong, I felt the latter half suffered and felt ploddy and a bit so-so. Only the addition of the Lizzy covers lifted thing for me. Hey, but I’m just nit-picking, really.

Big academy rock shows are always an event and tonight was no different. 3 bands who are well suited, all channelling the sprits of the bands who came before them, yet all with strong material that sets them apart from the legacy of those classic bands. And whether you’re a fan of Motörhead, Hanoi Rocks or Thin Lizzy, all had great new things to offer, as well as dipping into the past.

But finding out The Academy takes 25% of profits from the band’s merch and the fact that a pint and a G&T cost £17 reminds me why I favour the smaller shows these days.

Author: Ben Hughes

Taken from the new album ‘I Live To Fast To Die Young’ – still drinking from the fountain of youth Monroe and his awesome band deliver this fantastic new video for ‘Derelict Palace’.

Seconds out round two how about this spooky banger from Swedens The Dahmers ‘On Halloween’ is the second spooktacular tune for this Tuesdays offerings.

The Dahmers, are a Swedish rock ‘n’ roll horror sensation that’s creeping up on you. With a tornado of influences like garage punk, classic rock and 60’s pop this band truly is a Frankenstein’s monster of music. This is a band who’s going their own way with colorful contrasts and still keeping the main essence of what they are all about. With their catchy tunes that get stuck to your brain like a leech, The Dahmers sucks you into their music and to a world filled with darkness. Their lyrics and aesthetics have a big inspiration from classic horror movies but you also find emotional exposures about frustration, solitude and alienation amongst other things in their songs. They are skeletons with attitude and put as much effort into the visual experience as in their music. 

Spaghetty Town Records (USA) along with Ghost Highway Recordings (Spain) will be releasing “On Halloween” as a vinyl single in 2023. 

The sun is out and the smell of hairspray is in the air, we can only be in one place? 1985 on the Sunset Strip you say? Nah we’re in present day Sheffield and the Rock gods are smiling on us with the weather this weekend (although we are principally indoors). The venue is packed and backcombed to the rafters and has a bountiful amount of Sleaze, snakebites and hotdogs on offer for the masses. Let’s get stuck in!

First up for me is Gypsy Pistoleros on the main stage. An intriguing mix of sleazy riffs, singalong choruses and some fantastic moments where you feel like you’re listening to a Spaghetti Western score. Overall they’re frenetic and anthemic but dreadful in between song ‘banter’. Props to the excellent drummer though.

Next up over on the 2nd stage, it’s Rock ‘n’ Roll stalwarts Paradise Alley. A much-needed shot in the arm of Glam Punk for the day’s proceedings! Frontman Steve Vincent certainly has the voice of the weekend, serenading the audience and throwing in a few stories for good measure. At times the band’s performance is a bit shambolic, at other times good, but overall shambolically good. Which is a winner for me! Will definitely be checking them out on tour in the future.

Back over to the main stage to check out Kickin Valentina. Clearly a crowd favourite here at Sleaze this weekend, the audience has swelled in size with anticipation. This is a band that has never clicked with me on record but they definitely win you over with their swagger and workmanship. It’s nothing I’ve not heard before but they serve it up confidently and bolster their fans into a frenzy.

Heading further into the evening of day 1 we are treated to headliner-worthy Hardcore Superstar. A force so commanding it’s like they just turned the House PA up to 11! The atmosphere in the venue is electric, the band hitting the crowd with sonic blunt force blows with every note played. Fan favourites are supplied in abundance in the form of ‘wild boys’, ‘we don’t celebrate sundays anymore’, ‘last call for alcohol’ and early career classic ‘liberation’. Those assembled are all but won over, the point is truly hammered home with anthemic closer ‘you can’t kill my rock ‘n roll’.

It would be fair to wonder how Michael Monroe would compare after following Hardcore Superstar on the bill. As soon as the band hit full pelt into the first number, all doubts are cast aside and seem ludicrous in retrospect. With a set consisting of Monroe’s superb solo album offerings, choice numbers from Hanoi Rocks and Demolition 23, plus a few covers thrown in for good measure. Tonight’s set is certainly the showstopper everyone has been hoping for. With a band that must be one of the best in the business (Sami Yaffa, Steve Conte, Rich Jones & Karl Rockfist) they burst into a non-stop Rock ‘n Roll show, expertly led by Monroe, an awe-inspiring performance packed with boundless energy.

Stand-out tracks for me today would have to be ‘last train to Tokyo’ and the recent single ‘everybody’s nobody’. Not only does Michael rock your socks off, he has the lovable charisma to charm your sock off also. I find myself literally unable to stop smiling throughout the entire performance, I genuinely feel sorry for anybody unable to find joy in watching the show tonight.

With Day 1 over, everybody is leaving happy and appetites are satisfied with equal amounts of Sleaze and Hooch. 

Author: Dan Kasm

The gang are back, just in time for summer. Perhaps ironically, it all kicks off with lead single ‘Murder The Summer Of Love’, a typically punchy but slick opener. ‘Young Drunks, Old Alcoholics’ if anything, would have been a better choice, hook-laden with a sleazy solo.

‘Derelict Palace’ is reminiscent of a mid-paced Lords song, especially the bass line and hanging chords. Here, Monroe has never sounded better, I have to wonder if he was thinking of Stiv at the time of recording. ‘All Fighter’ starts off like The Damned’s ‘Ignite’, no bad thing, obviously. “Sing it all for the hopeless and rejected”,  there’s no resting on laurels just yet.

‘Everybody’s Nobody’ is the story of a “Coulda been a contender” musician. Hmm, I think a lot of us know the feeling. ‘Antisocialite’ is the inevitable, piano-led ballad, but, to his credit, cheesy cliches are avoided and it sounds like he means it.

You might already have heard ‘Can’t Stop Falling Apart’ via the video, another fine singalong number. ‘Pagan Prayer’ is a timely, full-speed-ahead rocker, bound to be great live.

The title track comes with a guest solo from Slash. I guess that will appeal to some, and I understand it helps shift units, but the band is great regardless of guest appearances, as is the song. ‘Dearly Departed’ A somber note to end on, but remains moving, nonetheless. It’s unlike anything else on the album, and a brave choice.

Since ‘Sensory Overdrive’, all Monroe’s albums have been solid, some more exciting than others and all have some real belters. This album shows the band’s strengths to good effect. I have a preference for the rockers, but you’ve got to respect his canon of work. And I look forward to seeing them take the roof off a venue somewhere soon.

With I Live Too Fast To Die Young, it is clear Michael Monroe is striding into the summer with a triumphant roar to offer you the real rock ‘n’ roll escape of 2022. It’s been way too long. Besides Nobody does sleazy Rock and Roll better than Michael Monroe that’s a fact!

I Live Too Fast To Die Young’ will be available on CD Digipak, 12” Red Vinyl, Signed Limited Edition 12” Vinyl with Alternative Artwork, Digital Download, Streaming and special D2C bundles. Available to pre-order Here

Author: Martin Chamarette

Follow Michael Monroe: 

Sami Yaffa has had a unique career as a musician both in Finland and around the world. First in Finland in the band Pelle Miljoona Oy and then as a founding member of the band Hanoi Rocks, with whom Yaffa lived the life of an international rock musician with all its spices. Fortunately for the man, there have been enough callers since Hanoi to keep him busy: Joan Jett and The Blackhearts and Hanoi Rocks’ big influence, the New York Dolls, to name a few were Yaffa’s bands for years before forming a new band with his old Hanoi Rocks partner Michael Monroe in 2009. This collaboration continues, but now Yaffa is also releasing music under his own name.

The second single from Sami Yaffa’s solo album ‘The Innermost Journey To Your Outermost Mind’ will be released. A song called ‘Down at St. Joe’s’ had been sitting in Yaffa’s desk drawer for a long time as a finished composition, but the lyrics were not coming together. Fortunately, Sami’s bandmate from the Monroe band, Rich Jones, came to the rescue.

“Rich had already written some lyrics for my album when I decided to send this song to him. I definitely wanted this song to be included on the album because it differs from the electronic world of the other songs on the album with its down-home acoustic approach. I wanted to raise a glass with the song to thank The Faces, Stones and Dylan for their brilliance and innovation. Eventually, the theme of the lyrics was found to be the king alcohol, its pros and cons and especially how close to a complete collapse one can get if it gets to take a stranglehold on your life. Richie’s ingenious lyrics brought this song to life, and it became one of my favourite songs on the album,” says Sami Yaffa.


Sami Yaffa: The Innermost Journey To Your Outermost Mind album will be released on September 3, 2021, in Finland by Vallila Music House and internationally by Cargo Records



Find Sami Yaffa online at: WEBSITE / FACEBOOK / INSTAGRAM