Ron Keel made his mark on metal back in the Eighties, first with Steeler, and then with his own self-named band, through several notable recordings. 25 years after the debut Keel album came out (“Lay Down The Law”), Ron has been hitting the trail again with a handful of the musicians who helped make notable successes of songs such as “Someone’s Waiting” and “Raised on Rock” during the band's heyday. Thanks to the fine fellows in the local “Metal Machine” called Resistance, All Access Magazine was present at The Knitting Factory on Saturday, Jan. 31st, for a full-house show. Also there, besides Keel and Resistance, were Dame Fortune, Throttle, DC4, and Ritual Habits. Fittingly, this was two weeks after another vintage crew from the same era, L.A. Guns, lit up the Strip at The Whisky A Go-Go, as reviewed in the last issue of All Access Magazine. This time, fans put on their headbands for the revival of Keel, another rockin’ crew who set their stamp on the scene in the Eighties and beyond.
AAM was spurred to attend the show after running into a couple of the guys in Resistance, including new guitarist Burke Morris, over at the late, lamented Derby, where Cessation of Life was playing with ACIDIC and Joe Steel. The guys in Resistance and Cessation of Life are old friends, showing up at each other's gigs, and sure enough, bearded COS frontman 
Chris Violence was there at the Knitting Factory to see his pals perform. Rock-&-roll camaraderie, right on!
It's no surprise to see bikers at a metal show, sometimes flying colors, but at this gig it was interesting to observe into a handful of representatives from the Choir Boys, which is a law-enforcement-oriented motorcycle club. And in counterculture contrast to the Choir Boys, there was also a Hell’s Angels presence at the show — and everyone got along just fine.
A band called Vonzeles warmed up the crowd before Resistance played. Vonzeles is a four-piece outfit that comes blazing out from the sunny heat of Phoenix, Arizona. The band is led by Carl Venom on vocals, and the singer showed a strong presence, owing a little, perhaps, to the inspiration of Scott Weiland. (A “bullhorn” sound was noted in the Vonzeles song called “Cocked and Loaded” — it’s the same title that’s touted by L.A. Guns on their recent “Cocked and Loaded” anniversary tour, but the Vonzeles song is a different, self-penned composition.) Through the songs, tastes of plodding power progressions came through like those favored by Glenn Danzig, with feelings of impending doom — hard, dark, and heavy.
Resistance then hit the stage with a swift twin-guitar assault, blasting off into 
“I Am TechnoChrist,” and their subsequent set was tight. New-guy Burke meshed well with his musical mates, including solid, tattooed vocalist Robbie Hett, and founding-friends Dan Luna (guitar), Matt Ohnemus (drums), and Paul Shigo (bass). Burke’s vocal support rang through strongly, while the band slashed through “Ashes of Tomorrow,” “Inhumanation,” “One Nation Under G.O.D.,” and “Warpaint.” Robbie was happy to talk about the band’s new album, “Patents of Control,” which is generating appreciative interest in the metal scene. Both in person and in recording, the band forges meaty metallic constructions, with appealing melody lines that come through with strong harmonies. Resistance’s last song was “Son of the Dragon,” which Robbie said was written with Burke, based on a Dracula theme, and which featured a sweet dual-axe lead line, after which the boys bowed out to rousing applause.
The crowd next had the good fortune to see Dame Fortune, a local act that plays “classic hard rock with a modern Gothic edge.” Dame Fortune indeed rocked hard, and melodically, during songs such as the clever “In Like Flynn” and “Perpetual Emotion Machine,” both of which appear on the quartet’s new CD, “The Secret Art.” All members of Dame Fortune can sing – guitarists Mike James and David Blake, drummer John Merritt, and bassist Jeff Wire –
and at this show they presented a look and attitude that was part whimsical gypsy, part workmanlike piledriver. For their set-closer, “Old School,” Dame Fortune busted out a truly old-school touch, by smashing a guitar at the song’s conclusion, whoo-hoo!
A crunchy outfit called Throttle followed Dame Fortune, punching out rugged nuggets that included “A Wicked Land,” “Exit Wounds,” and their heavy-metal love song, “Adore.” Then the stage was set for a theatrical feast for the senses from Ritual Habits, a Hollywood band that accented their choppy, speedy set with several eye-catching go-go dancers on tables near the stage (sadly, patrons were asked to refrain from photographing the buxom, writhing beauties). Equally appealing was lovely bassist Angelica, backed by beefy Eric on drums and flanked by guitarists P.J. and Paddy, who burned with a spirit and style that ranged from the fire of old Iron Maiden to the innovation of contemporary Dragonforce. Fronted by livewire vocalist Eric, Ritual Habits shredded through original compositions that included “No Escape” and “Eternity One Day,” with guitar effects that sometimes almost seemed to mimic keyboards. Providing treats for both eyes and ears, Ritual Habits could indeed prove to be habit-forming.
A Los Angeles quartet called DC4 then came out to provide “hard effin’ rock for the people,” beginning with “Rock and Roll Disease,” and keeping the fire stoked with “Cabin Fever.” “Candy Caine” conveyed the sense of forbidden pleasure, delivered salaciously by singer-guitarist Jeff Duncan and fellow axe-slinger Rowan Robertson, rhythmically propelled by drummer Shawn Duncan and bassist Matt Duncan. From song to song and lead to lead, DC4 proved to be expert at slicing out satisfyingly searing kicks to the collective caboose.
And then, after being introduced by Warrant frontman Jaime St. James, came headliner Ron Keel, whose return was announced as having been “a long time coming.” Keel had six-string support from Marc Ferrari and Bryan Jay (replete in luxurious locks and headband), drums from Dwain Miller, and basswork by Geno Arce, and the band was vigorously welcomed by the packed house for their opening song, “Reason to Rock.” That choice piece led to “Rock and Roll Outlaw” and “Evil Wicked Mean and Nasty,” which featured a dose of good old audience participation. 
Ron was in fine form, parading energetically through a roster of favorites, including covers of Bruce Springsteen’s “Because the Night” and the Rolling Stones’ “Let’s Spend the Night Together.” “Lay Down the Law” and “Right to Rock” also had their rightful places, with all the notes and moves in place as well. And as a special treat, a star-studded encore closed out the night, with Ron Keel and his band being joined by St. James, Chuck Wright from Quiet Riot, and the drummer from Cinderella, Fred Coury. How appropriate that this lineup of legends celebrated Keel’s return with Thin Lizzy’s classic-rock staple, “The Boys are Back in Town.” This was Hollywood in a golden moment, on a stage that sparked with the satisfaction of the old and the invigoration of the new, celebrating with Keel the spirit of rock that just keeps on rolling, good and loud!
