Dan Reed is back, baby.
There is something about hearing that voice wrapped around a proper funk rock groove that feels immediately welcoming. Reed has always understood that rock music can move your feet as well as your head, and “Funk Party” wastes little time reminding you of the fact. The title tells you what you need to know. The music takes care of the invitation.
Shogun Mojo brings Reed together with Tommy Thayer, the guitarist best known for his work with KISS and Black ’N Blue, while Bengt Jonasson and Robert Ikiz supply the bass and drums. There is plenty of experience here, obviously, but the best thing about this self-titled debut is how readily they seem to enjoy playing together.
Thayer, in particular, sounds as though he is having a fine time. “Under The Gun” has plenty going for it, but what a solo. It gives the song a real lift, and there is something pleasing about hearing a guitarist seize his moment with such relish. The rhythm section gives him room to stretch without letting the groove wander off.
Then there is “Gonna Raise Hell”. And what a chorus that has. The harmonies are a big part of its appeal, adding colour and making the whole thing feel that little bit more expansive. For all the names involved, it is the straightforward pleasure of a good hook, well delivered, that makes this work.
“Nothing To See Here” eases into something mellower. Funky and classy, it allows Reed’s phrasing to do much of the work, and the change of mood suits the record. These songs have a natural swing to them when everything clicks. “Turn It Up” adds the swagger, its infectious quality coming from the way the band settle into the rhythm.
The familiar opening words of “In The Air Tonight” bring a different sort of recognition. Taking on the Phil Collins song is an ambitious move: everyone knows it, everyone has their own attachment to it, and everyone is waiting for certain things to happen. Shogun Mojo give it a funk rock treatment, making it fit their surroundings. Whether you need another version will depend on your relationship with the original, but it makes sense within this collection.
“Dog Eat Dog” has a little dirt beneath its fingernails. Every dirty dog has his day, apparently, and there is enough attitude here to make you believe it. “Fire With Fire” and “Fight For The Light” keep the emphasis on groove and melody, with the latter bringing that sense of reaching towards something brighter.
There are moments across the record when Reed comes over like some sort of sexy Dalai Lama: a little enlightenment, a lot of groove. That combination of positivity and physical movement remains an appealing part of his musical character.
“Star Rider” thinks big, too. The sound matches the ambition, with that sense of the unavoidable loss of control giving it a welcome edge.
For all its pleasures, the album does not quite maintain the impact of its strongest moments. Some choruses linger longer than others, and the musicians’ easy chemistry occasionally makes more of an impression than the songs themselves. A little more of the bite and excitement found in “Under The Gun” would have pushed it further.
Still, there is plenty to enjoy in hearing these four find common ground. Reed’s personality, Thayer’s solos and a rhythm section that understands exactly where the pocket is make Shogun Mojo an engaging listen.
They have found the funk. There is enough mojo here to make you want another helping.
Rating 7.5/10
