Dan Reed Network – Let’s Hear It For The King
"Long awaited" and "much anticipated" are popular buzz-phrases in media hype and entertainment PR, usually more for geared promotion than genuine anticipation.
However with Let’s Hear It For The King, those phrases certainly apply.
The Dan Reed Network’s sixth studio album is indeed long awaited.
The original plan, as confirmed by Dan Reed to FabricationsHQ when he achieved Lift Off for his 2021 solo album, was for a release in the summer of 2020.
That date then got moved to the end of that year.
Neither worked out thanks to the triple whammy of Covid-19, Lockdown and no live performances.
it has also become, genuinely, much anticipated – as the three lead-off/ pre-album release singles emphatically underlined this is a back to the DRN’s funk and rock roots album, one that expresses itself as strongly lyrically as it does musically.
That it’s also the heaviest album to date from Reed, Brion James (guitars, vocals, synths), Melvin Brannon II (bass, vocals), Dan Pred (drums) and Rob Daiker (keys, vocals, guitars) just adds to the weight (in both senses), and impact, of the album.
'Pretty Karma,' one of the aforementioned singles, opens proceedings in classic DRN fashion via a simple hook-riff, big beat and even bigger chorus.
Lyrically the song verses point the finger at political and social tribalism (and the divide that inevitably follows) while the chorus cleverly embraces it’s-never-too-late positivity (a DRN trait); there’s also a chilling but telling spoken word outro for good "is it too late to rewind?" measure.
The intensity is then dropped (but not the impact) for 'The Ghost Inside,' a pulsating, rhythmic and atmospheric number that reflects on the internal battle each individual has with their darker side, and coming to terms with it.
'Starlight' is, simply, the best song AC/DC never did.
An intentional musical homage to Angus Young and Co. (it truly is AC/DC embellished with those DRN synth accentuations and melodic hooks), the song lyrically questions the social media generation’s seemingly incessant need for 'Likes' and continued attention.
The snarly dance-rock of 'Supernova' wouldn’t have been out of place on the band’s 1988 ear-catching (and head turning) debut album.
The song nods (and takes its influence from) the band’s even earlier funk rock club days but with the modern twist of a lyric (including another cynically driven, spoken word section) that tackles the everyone-wants-to-be-an-Internet-rock-star subject (listen out too for the not-so-hidden Easter Egg ‘Mind and Body’ moment).
The album's title track also has earlier origins, in this case via Dan Reed when he was a club owner in Portland, Oregon at the end of the 90s.
Reed’s original lyric remains pretty much intact (a biting diatribe on the rich, famous and politically connected, which is sadly even more relevant now) while the song’s musical makeover, mixing rock, EDM, synth-pop and Dub Step (for which Brion James gets a credited nod), makes for the most interesting song DRN have yet recorded.
Brion James is also the man behind 'I See Angels,' a slow, synth-textured ballad that isn’t so much an ode to the guiding lights of its title but a wider celebration of the positivity that still exists in the world (supported here by James’ short but melodically expressive solo) in spite of the depressing and daily, global news.
Continuing the positivity is 'Homegrown,' a chilled out and funky-soul number that celebrates bonds of friendship and love, amplified by its heavier chorus hooks ("only kind of lovin’ that you’re ever gonna need is right here").
However with Let’s Hear It For The King, those phrases certainly apply.
The Dan Reed Network’s sixth studio album is indeed long awaited.
The original plan, as confirmed by Dan Reed to FabricationsHQ when he achieved Lift Off for his 2021 solo album, was for a release in the summer of 2020.
That date then got moved to the end of that year.
Neither worked out thanks to the triple whammy of Covid-19, Lockdown and no live performances.
it has also become, genuinely, much anticipated – as the three lead-off/ pre-album release singles emphatically underlined this is a back to the DRN’s funk and rock roots album, one that expresses itself as strongly lyrically as it does musically.
That it’s also the heaviest album to date from Reed, Brion James (guitars, vocals, synths), Melvin Brannon II (bass, vocals), Dan Pred (drums) and Rob Daiker (keys, vocals, guitars) just adds to the weight (in both senses), and impact, of the album.
'Pretty Karma,' one of the aforementioned singles, opens proceedings in classic DRN fashion via a simple hook-riff, big beat and even bigger chorus.
Lyrically the song verses point the finger at political and social tribalism (and the divide that inevitably follows) while the chorus cleverly embraces it’s-never-too-late positivity (a DRN trait); there’s also a chilling but telling spoken word outro for good "is it too late to rewind?" measure.
The intensity is then dropped (but not the impact) for 'The Ghost Inside,' a pulsating, rhythmic and atmospheric number that reflects on the internal battle each individual has with their darker side, and coming to terms with it.
'Starlight' is, simply, the best song AC/DC never did.
An intentional musical homage to Angus Young and Co. (it truly is AC/DC embellished with those DRN synth accentuations and melodic hooks), the song lyrically questions the social media generation’s seemingly incessant need for 'Likes' and continued attention.
The snarly dance-rock of 'Supernova' wouldn’t have been out of place on the band’s 1988 ear-catching (and head turning) debut album.
The song nods (and takes its influence from) the band’s even earlier funk rock club days but with the modern twist of a lyric (including another cynically driven, spoken word section) that tackles the everyone-wants-to-be-an-Internet-rock-star subject (listen out too for the not-so-hidden Easter Egg ‘Mind and Body’ moment).
The album's title track also has earlier origins, in this case via Dan Reed when he was a club owner in Portland, Oregon at the end of the 90s.
Reed’s original lyric remains pretty much intact (a biting diatribe on the rich, famous and politically connected, which is sadly even more relevant now) while the song’s musical makeover, mixing rock, EDM, synth-pop and Dub Step (for which Brion James gets a credited nod), makes for the most interesting song DRN have yet recorded.
Brion James is also the man behind 'I See Angels,' a slow, synth-textured ballad that isn’t so much an ode to the guiding lights of its title but a wider celebration of the positivity that still exists in the world (supported here by James’ short but melodically expressive solo) in spite of the depressing and daily, global news.
Continuing the positivity is 'Homegrown,' a chilled out and funky-soul number that celebrates bonds of friendship and love, amplified by its heavier chorus hooks ("only kind of lovin’ that you’re ever gonna need is right here").
The DRN funk returns for the mid-tempo rock 'n’ beat of 'Stumble,' which lyrically takes on that tricky subject of religion.
The song lyrically speaks not so much of the age-old divides however but unification (which is pretty much DRN’s one word mission statement) – although I can guarantee said lyric, as clever and cheekily unifying as it is, will offend many an overly-righteous or overly-robed individual (which is the highest compliment I can bestow upon it).
The edgy yet melodic 'Just Might Get It' is a wholly contemporary Rob Daiker and Dan Reed construct that lyrically reflects on the dangers of the self-pitying path it’s all too easy to take ("reaching for the darkness, reaching for someone; careful what you wish for ‘cos you never know – you just might get it!").
The funk rock quotient is ramped up once more for 'Where’s The Revolution,' another song that would sit comfortably on those early DRN albums (and another Breathless Easter Egg in the shape of the "there’s a fire in the house" line).
That the groove-driven number also carries more than a rock guitar touch of Lenny Kravitz is no bad thing.
'Are You Ready?' Is a departure for DRN in the sense that it’s more blues rock boogie than funk rock (either way it still has a funky and boppin’ bass line driving it along); it’s the simplest number on the album but one of the most effective.
The eastern/ Indian styled intro of 'Unfuck My World' leads to another heavy blues-based number, or at least on the verses, because the chorus is full-blown DRN, with a message of never being scared to ask for help to unfuck the chaos of one’s own world and the bigger picture beyond one’s self.
'Last Day On Saturn' is another from the musical partnership and minds of Rob Daiker (who is also responsible for the excellent mix throughout) and Dan Reed.
An atmospheric, sci-fi slanted number with light (from the beacon of hope that is the sun) and heavyweight guitar shade, the song also interweaves real life lyricism and metaphor; all of which makes for a powerful closing statement (on CD and digital; the song does not appear on the Vinyl version).
Ladies and gentlemen, the long awaited and much anticipated return of the Dan Reed Network.
Let’s Hear It For The Kings of message-driven funk ‘n’ roll.
Ross Muir
FabricationsHQ
The song lyrically speaks not so much of the age-old divides however but unification (which is pretty much DRN’s one word mission statement) – although I can guarantee said lyric, as clever and cheekily unifying as it is, will offend many an overly-righteous or overly-robed individual (which is the highest compliment I can bestow upon it).
The edgy yet melodic 'Just Might Get It' is a wholly contemporary Rob Daiker and Dan Reed construct that lyrically reflects on the dangers of the self-pitying path it’s all too easy to take ("reaching for the darkness, reaching for someone; careful what you wish for ‘cos you never know – you just might get it!").
The funk rock quotient is ramped up once more for 'Where’s The Revolution,' another song that would sit comfortably on those early DRN albums (and another Breathless Easter Egg in the shape of the "there’s a fire in the house" line).
That the groove-driven number also carries more than a rock guitar touch of Lenny Kravitz is no bad thing.
'Are You Ready?' Is a departure for DRN in the sense that it’s more blues rock boogie than funk rock (either way it still has a funky and boppin’ bass line driving it along); it’s the simplest number on the album but one of the most effective.
The eastern/ Indian styled intro of 'Unfuck My World' leads to another heavy blues-based number, or at least on the verses, because the chorus is full-blown DRN, with a message of never being scared to ask for help to unfuck the chaos of one’s own world and the bigger picture beyond one’s self.
'Last Day On Saturn' is another from the musical partnership and minds of Rob Daiker (who is also responsible for the excellent mix throughout) and Dan Reed.
An atmospheric, sci-fi slanted number with light (from the beacon of hope that is the sun) and heavyweight guitar shade, the song also interweaves real life lyricism and metaphor; all of which makes for a powerful closing statement (on CD and digital; the song does not appear on the Vinyl version).
Ladies and gentlemen, the long awaited and much anticipated return of the Dan Reed Network.
Let’s Hear It For The Kings of message-driven funk ‘n’ roll.
Ross Muir
FabricationsHQ