Dan Reed Network's 'Let's Hear it for the King' - Album Review

I love it when I go to a concert and the support band blows me away. It has happened quite a few times over the years, but a particularly memorable occasion took place in December 2017 - when I went to see Extreme at the O2 Academy in Birmingham. Extreme were excellent, but the Dan Reed Network, who opened the show, were just as excellent - and really made the night one to remember. Whilst the Dan Reed Network were not totally unknown to me, that show was my first real exposure to the five-piece. I was largely just familiar with the band in name-only prior to the show, despite having given a couple of their albums a cursory listen in the weeks leading up to it, but I was not prepared for just how much I would enjoy their set. The band's mix of 80s-style melodic rock, funk, and soul really comes alive on stage; and I was entranced during their 45 or so minutes on stage. I became a big fan that day, and I have seen the band live a further three times since - and have amassed their, sadly, small back catalogue. If there is a downside to the band, it is the fact that they have not been very prolific over the years. In fairness the band were not active between 1993 and 2012, but it is a shame that since reforming they had, until recently, only released one album of all-new material: 2016's excellent Fight Another Day. During their original run, between 1984 and 1993, they released three albums: 1988's self-titled effort, 1989's Slam, and 1991's The Heat - which means that, until recently, they only had four albums to their name. There are other releases that contain original material, such as the hard-to-find 1986 EP Breathless and 2018's Origins - which contained four new songs and four re-worked old songs recorded with the participation of a studio audience/choir - but for a band that have been around as long as the Dan Reed Network have this output is rather on the sparse side. Anything new from the band is gratefully received by the fanbase, then, so it was with excitement that Let's Hear it for the King was greeted with when it was released back in June. The band had been working on the album for quite a while, and I think it was one that had actually been finished for a long time before it was released - with the band opting to delay its release due to the COVID-19 pandemic. Sound-wise, Let's Hear it for the King is both familiar and somewhat different from what the band have done before. Fight Another Day was essentially a more cinematic and modern take on the band's original sound, and in many ways Let's Hear it for the King continues that trend. There are a number of songs here that would have sounded at home on Fight Another Day, but the album also contains some of the band's riffiest material yet. Guitarist Brion James shines throughout, and co-wrote six of the songs here in the process, whilst Reed himself, at times, sounds more venomous than usual. Reed is known for his very positive outlook and attitude, but there are a few songs here that find him dealing with angrier topics - which reflects the album's shift into heavier territories.

The album kicks off with one of its strongest tracks in my opinion, and a song which shares a lot of musical DNA with Fight Another Day despite its riffy sound, Pretty Karma. It opens with some lumbering and thick bass playing from Melvin Brannon II, before the first of the album's many James riffs kicks in. The cinematic sound that the band have been cultivating recently is still very much present, though. James' riffs inject some heaviness and kinetic energy, but the depth is always provided by Rob Daiker's keyboards and synths. The verses here are very much keyboard driven, with pulsing synth stabs, that are backed up by the punchy rhythms created by Brannon and drummer Dan Pred, whilst the chorus is much more rocked up - with the guitars kicking in again in a big way and Reed's hooky and repetitive vocal melodies. A strange spoken word closing section then allows the song to take a bit of a left turn as it fades out - with more keyboard textures adding plenty of depth. The Ghost Inside opens with another big James riff, and the song has more of a traditional classic rock feel - at least at first. There is still a cinematic depth here, but Daiker's keyboards are a bit less prominent this time - with the track feeling somewhat more organic. James' guitar creates the main hooks and riffs, whilst the verses are led by the smooth and funky bass playing of Brannon. The band have always had a strong funk side, and that is very much on display here - even if the grooves are somewhat subtle. James' guitars provide injections of hard rock, and the choruses very much see the energy levels raised, but the dominant sound throughout is that of the bass - which helps the song to snake along nicely. Starlight is similar, but the harder rock vibes are retained throughout. It is a track that relies on its classic rock punch throughout, and the band rely on that keep the energy levels high. James' guitar is ever-present, his distorted riffing keeping the track moving, whilst the tight beats from Pred give the track its energy. There is little of the band's soulful side here, with Starlight very much being an out-and-out rocker. Daiker's keyboards add colour and the occasional sparkling melody, and James also gets the chance to shine with a fluid and bluesy guitar solo - which sounds at home within the song due to its focus on brash riffing and a hard rock energy. Supernova, which includes a rare writing credit for Brannon, is another harder rock song - but it really focuses on the groovy side of the band's sound. It sounds like a heavier and more modern take on the sound of 1989's Slam, but it also has an organic side. Daiker utilises a lot more traditional keyboard sounds throughout the track, with rumbling organs adding depth during the choruses, and James' guitar stabs have a heaviness to them which helps the song to stand out. The standout player, though, is Brannon. His bass is high in the mix, and his funky basslines are the dominant sounds throughout - and the band's trademark funk side is very much on show thanks to his grooves.

The album's title track follows, and it is another real standout song for me. It is a mix of heavy riffing, particularly during its strident chorus which features some of Reed's most aggressive vocal shouts, and smooth grooves - so the song is a real mix sounds as a result. There are some smooth, poppy moments, such as the keyboard-heavy pre-chorus which is actually quite sweet-sounding, whilst other sections are more chaotic with some busy drumming from Pred and lots of big bass slides and melodies. It is a song that can sound a bit confused at first, but it all comes together on repeated listens. From an arrangement perspective, then, the song is very impressive. It is probably the most progressive (along with one other song here) that the band have sounded, and I love how it pulls a lot of their different sounds together - and still manages to hit hard with some aggressive riffs. I See Angels slows the pace down somewhat. It is the first ballad here, and it sounds a bit like a holdover from Fight Another Day sound-wise thanks to its synth-heavy sound and the smooth lyricism of Reed. Given the punchiness of many of the preceding songs the change of pace is welcome, and it is great to hear the band sounding like their old selves again briefly. Reed always shines during smooth ballads, and the bass playing of Brannon adds a soulful edge - whilst James again impresses with an emotional guitar solo that builds on Reed's smooth vocal performance nicely. Homegrown stays with the past sounds of the band, as it somewhat harks right back to the band's debut album - as the song is very funky and poppy. Brannon's bass playing again drives everything, and Pred's drum grooves perfectly play off these funky basslines - giving the song a very 1980s feel which is enhanced by some of the synth sounds which creep in here and there. Despite how hooky the song is, though, the track is still very smooth. The band excel at subtlety, and the hooks here very much display that. The chorus is catchy, but it is never over-the-top or in-your-face, with the grooves and Reed's unique voice perfectly carrying the melodies. The closing saxophone licks courtesy of Patrick Lamb only enhance this vibe, too, and the track is another standout. Stumble is similar, but with more of a modern sound. James' guitar playing is much more dominant this time, his riffing playing off the basslines nicely, and the pulsing keyboard stabs of Daiker create addition hooks. There are Nine Inch Nails vibes in some of the synth sounds here, but they still feel at home within the organic riffing of James - and the chorus still has a strong hook. Despite this, though, the song is one of the lesser cuts here for me. The hooks are not as strong as the songs which preceded it, and the overall arrangement just is not as interesting. Just Might Get It picks things up again, though, as the song is a spiky, yet expansive, rocker with lots of rumbling basslines and various synth treatments and programming that give it its own sound. It is one of two songs here co-written by Daiker, so it is unsurprising that his synths dominate. James adds a tortured solo for effect, though, which includes some busy shredded lines, but much of the melody and drive throughout comes from the synths and the various programmed grooves throughout. The song has a slight industrial edge at times as a result, but this works well within the heavier context of the album - and the song's attitude is very much in-keeping with everything else here.

Where's the Revolution feels like another throwback, this time to 1991's The Heat - which is a very funky and groove-laden album that is underrated in my opinion. Where's the Revolution very much channels that feeling, and it mixes smooth and upbeat vibes together nicely which bring the best out of everyone involved. James' riffing again drives everything, and the song has a hard rock edge as a result, but Daiker's synths also shine - particularly during the chorus which is extremely poppy. The chorus is one of the album's hookiest moments in my opinion, and the keyboard melodies and textures throughout it are a big part of the reason why. They contrast nicely with the heavier riffs throughout, giving the song that great Dan Reed Network mix of harder rock and groovy soul. Are You Ready? is similar. Where's the Revolution was certainly more overt in terms of its melodies, particularly during its chorus, and Are You Ready? continues this thanks to its punchy sound. It is also one of the funkiest pieces here, and the bass playing throughout from Brannon is impressive. His trademark smoothness is largely absent here, and his basslines throughout the song are more aggressive - with funky stabs and melodies that punch through the mix to create a huge sound. Reed's vocal approach and the synth use overall is generally more subtle, but the overt funk vibes allow the song to sound big and melodic. Unfuck My World returns to the band's trademark subtlety after a couple of bigger-sounding songs, and the lumbering mid-paced rocker sounds like a distant cousin of Pretty Karma - albeit less urgent. The song overall has quite a laid back vibe, but there is still plenty of rock energy to be found throughout thanks to James' bluesy riffing. The synths very much dominate throughout, though. Daiker's keyboards are a big part of the song's overall sound, and his melodies add additional hooks - and sometimes allow the guitars to deviate from their riffing. James' closing guitar solo is a good example of this, and the slow-burning chorus showcases Reed's general approach to melody. The album's closing track, Last Day on Saturn, is the second Daiker co-write here - but the track is very much a full band piece. The keyboards and synths do not dominate as might be expected, despite a few sections which are very keyboard-heavy, and there is still plenty of punch throughout thanks to James' guitar riffing and the groove of the rhythm section. It is another pretty progressive-sounding song, too, which allows different vibes to shine throughout. Daiker lays down a brief synth solo at one point, whilst other moments see Reed singing alone against a simple acoustic guitar backing. At times the song is very busy whilst at other times it is pretty quiet, but this allows the arrangements to shine. It is one of the most complex pieces that the band have written to date - and it works well as an album-closer with its mix of sounds and styles. It is the sort of song that brings everything that has been heard on the album up to this point together, too, and it is a great moment of reflection. What is clear from this reflection is that Let's Hear it for the King was very much worth the wait. The band's overall output has always been high quality, and this latest album is no different. The band's trademark subtly means that a few listens are needed to fully appreciate the album's melodies, but this is typical of the Dan Reed Network - and Let's Hear it for the King is both new and familiar, with songs that play to the band's strengths nicely.

The album was released on 17th June 2022 via Drakkar Entertainment. Below is the band's promotional video for Starlight.