Rejects Deliver Masterpiece with 'Kids in the Street'

Simply put, Kids in the Street is one of the best albums you’ll never hear.

In an era of computer-generated music and artists that often do not write their own music, the latest album from the All-American Rejects is a refreshing break from the mainstream music scene. After a three-year hiatus, the four-piece band, fronted by lead singer and primary songwriter Tyson Ritter, returns with a cohesive work that recalls the nostalgia and innocence associated with growing up.

Upon first listen, you can immediately tell the band has traveled a long way from their days of drum loops and power chords that once defined their sound. To create a more polished feel, the Rejects teamed up with super-producer Greg Wells, who is part of the creative genius behind mega stars like Katy Perry and Adele.

The album opens with “Someday’s Gone,” an abrasive but honest call to a simpler time. “Beekeeper’s Daughter,” the lead single, features an entire brass section, and is easily catchy enough to be a top 40 hit. “Fast and Slow” attacks the listener with a breezy guitar hook and infectious chorus. Synth-heavy “Heartbeat Slowing Down” has power ballad written all over it, especially with Ritter’s emotional and believable vocal performance. “Walk Over Me” has the potential to be a solid radio hit, with guitars that sound like they could be found on any Black Keys record and a bridge that could be eerily reminiscent of any classic Queen track.

Like all other albums, Kids in the Street has its weak spots. “Out the Door” and “Bleed Into Your Mind” contain odd instrumentation, sound effects, and song structure, but do little to advance the album as a whole. Sandwiched between these two tracks, however, is the title track (and second single). “Kids in the Street” marks the point at which the album establishes a clear direction. Backed by a well-placed synthesizer, the track is the epitome of the nostalgia the band seeks to describe. Ritter brilliantly captures the invincibility that every kid once had: “You were there, yeah we were all there/ Too young, too smart, too much for this one town.”

As the cliché famously goes, the band truly saves the best for last. A trio of beautifully arranged songs caps the album in a poignant manner. “Gonzo” begins as a slow-chugging reflection on the past and evolves into a pulsing anthem with Ritter nearly screaming “Only when you look forward can you see behind.” The pace ends abruptly with the bittersweet orchestral intro to “Affection” – another standout track which quickly transitions from sweet and innocent to raw and unapologetic in a stunning crescendo. Closing the album is “I For You”, a completely stripped down acoustic ballad featuring only Ritter and guitarist Nick Wheeler. “I For You” is a microcosm of the album in general: candid, heartfelt, and unabridged.

Included on the deluxe edition of the album is the bonus track “Drown Next to Me,” a near seven-minute epic catharsis that should go down as one of the best Rejects’ songs in their entire discography.

As ambitious and artistic as Kids in the Street is, the album has, so far, been a commercial flop. Lead single “Beekeeper’s Daughter” failed to chart on the Billboard Hot 100 or Alternative charts. The album in general only sold 18,000 copies in its first week, a far cry from the previous effort When the World Comes Down, which sold over 112,000 copies in its debut week.

Unless its later singles prove to be huge radio friendly hits, Kids in the Street is destined to become another underappreciated masterpiece, hidden from mainstream success.