By Derric Miller - Staff Writer
Rating: 8.9/10
Coming full circle always makes for a good story. Any writer will acknowledge that to end where you began, to tie in the past with the present, makes the journey that more enthralling and fulfilling to the reader. That rule certainly applies to the art of music as well, to the listener therein, and that is exactly what you get on KEEL’s brand new studio release
Streets of Rock & Roll.
It was 25 years ago KEEL introduced itself with its major label debut, The Right to Rock, a raw, powerful Hard Rock album that borrowed somewhat from the persona of KISS, with lead singer Ron Keel baring his Gene Simmons vocal influence with abandon. But the chemistry in the band — with Bryan Jay, Marc Ferrari, Dwain Miller and Keel himself — combined over the next decade to become a glossier, multi-faceted juggernaut that could write a goofy pop anthem (like “Cherry Lane”) to a nearly Classical acoustic piece (“Nightfall”) and have it all make sense. Very bands could wield the sonic might of a song like “King of the Rock,” with piercing screams and scorching guitar solos, and flow into a Bon Jovi-type pop hit, as they did with “I Said the Wrong Thing to the Right Girl.” KEEL just didn’t sound like any other band out there, which may have been the reason they never “made it” to the same level of RATT, Motley Crue, Dokken, etc. But they should have, and although the past is what it is, KEEL is redefining their future with Streets of Rock & Roll.
KEEL wastes no time in hitting you with the title track. “Streets of Rock & Roll” isn’t the searing rocker you’d expect them to greet you with; this isn’t anything near their historical anthem “The Right to Rock.” Instead, they show a bit of maturity and reserve, if you will, and open with a melodic, catchy song that also allows the guitar duo of Ferrari and Jay to prove they haven’t lost a “lick” over the years. Out of all the band members, Keel never really left the scene—he just moved on to a different one. So, as anyone who has heard him sing live over the past few years can attest to, his voice is better than ever, with a fuller range and more control. You can’t say the same about the aforementioned RATT, Motley Crue, and Dokken, can you?
“Hit the Ground Running” goes back to a more classic KEEL sound, grittier while still maintaining its groove. The pre-chorus features Keel hitting the higher notes with his throaty wail and menacing anger, just like he did all those years ago. The theme here is “perseverance” and it’s a song KEEL didn’t need to do any research on, because they all lived it.
Although known for their heavier hits, KEEL also struck gold with slower songs like the cover of “Because the Night” and their MTV hit “Tears of Fire.” Keel’s voice in an acoustic setting (Alone at Last, anyone?) is stunning in its honesty, and it shines on the ballad “Does Anybody Believe.” The lyrics are somewhat philosophical, and at least make you think, when you hear, “Does anybody believe in anything anymore? Can you see inside your dreams and wish for something more? Is there anything we want that’s still worth fighting for?” As a sheer dissection of society, we’ve come a long way from love songs to wondering if the world is full of disimpassioned, disconnected, unemotional Atheists.
KEEL brings back the beer-guzzling fun on “The Devil May Care (But I Don’t).” The opening riff, chunky and serrated, leads into Keel saying “Let’s rock!” The way Keel went from his piercing falsetto screams in the ‘80s to this unbounded full-voice maniac today has to impress anyone who is drawn to a band by the vocals. You can try to sing along, but it’s probably going to hurt. That aside, the bluesy, playful rocker isn’t anything like you’ve heard from the band before.
KEEL goes back to their Led Zeppelin influences on “Gimme That.” Sure, it starts off like a classic KEEL rocker, but once you get to the entire groove and the verses, you can’t help but think Zeppelin (or maybe Whitesnake for you younger readers.) It’s a shout out to taking what you desire most in life, and isn’t that what KEEL did with Streets of Rock & Roll?
Showing their support for the American troops, “Hold Steady” is an extremely blues-based composition lauding those who give their lives for the American way. “We understand your sacrifice, appreciate that you paid the price, and we know our freedom don’t come free.”
The album closes with “Brothers in Blood,” a song about, well, coming full circle. For those who followed KEEL through the years, they never really broke up, and you’ll hear it in the line, “I’ve had a good time running, but we never said goodbye.” It’s a celebration of KEEL as a complete unit, coming back together, sharing their history and building on their past successes. From the heartfelt guitar solos to Miller’s powerful, pounding rhythms, and Keel’s final scream, it’s impossible to believe they haven’t been together these entire two and a half decades.
How KEEL found the Streets of Rock & Roll matters, because you can comprehend how their past struggles, their time finding their way as individuals and not as part of a unit, created the music you’ll hear today on this release. No band wants to be stricken with the moniker of being “the most underrated Hard Rock band” out there, but even after selling over two million albums, KEEL should be more of a household name. And even if Streets of Rock & Roll doesn’t get them into your home, the music industry is cyclical and this album gives KEEL more than a fighting chance to stand out amongst their peers and maybe get a deserved second dice toss at musical fame. Upon hearing Streets of Rock & Roll, it’s clear KEEL won’t let it slip by a second time … |
