Ryan Beatty, Dreaming of David | Album Review 💿

On his brilliant sophomore album, Dreaming of David, Ryan Beatty is more ambitious, while maintaining incredible authenticity. 

“Come around like the moon, sun / Most of the time you’re on my mind (“Casino”).” Ryan Beatty writes amazing songs about boys, period.  His debut album, Boy in Jeans (2018), was a great album that didn’t get the attention it deserved. Hopefully, his superb sophomore album, Dreaming of David, will give the openly gay pop artist the recognition he deserves. Stylistically, Beatty lies somewhere within pop, R&B, and alternative realm; quite eclectic. Dreaming of David, in particular, finds him exploring more of a left of center approach, with absolutely breathtaking results.

“In the End”

“In the end, I believe in something I can’t see.” Ryan Beatty commences Dreaming of David honestly and moodily with the relatively short but potent “In the End.” Despite looking for attention, love, and stimulation from anywhere at one point in the song (“Pull out the webcam, show off my body /… I want some touch from someone I don’t know / Throw another dollar at a bodybuilder, on me / He’s on me…”), ultimately, there’s only one guy who he truly ‘feels some type of way’ about.  The big takeaway from this tone-setting opener? Beatty continues to be a master at writing gems from the gay perspective. 

✓ “Dark Circles” is hypnotic and unique, exemplifying the alt R&B sound. Expressive, pitch shifted vocals are used throughout. Contributing to the sound is colorful production work by Austin Anderson and Daniel Fox, who also co-write with Beatty. The production consists of unique synths, rhythmic drum programming, and thoughtful harmonic elements.  “Dark Circles” concludes in satisfying fashion thanks to the excellent fade out. Although nearly five minutes in duration, the record is compelling. Songwriting adds to the allure. “I swear, if I could give you up, I would erase you,” Beatty sings on the second verse, continuing, “Get you out of my mind (He is all I think about).” There’s more, of course, such as, “I don’t have the bones to be free / I believe in love when he confesses himself inside me.”

“Patchwork” 

On the excellent single, ✓ “Patchwork,” all eyes seem to be on Ryan Beatty. “There’s some men out there on the floor / Watchin’ me lose myself to disco music,” he sings on the outro, with various vocal effects including pitch shift. Prior to the outro, matters of the heart (“I still don’t know how you feel about us”), fame (“I can feel their eyesights glaring, classic”), and drug and substance abuse (“Taking a dose to make me forget”) all seem to be plaguing the singer on this moody cut.

Beatty doesn’t miss a beat on “Hawkshaw” – at least regarding the quality of the song itself.  A hawkshaw itself is a detective, which certainly fits the context on the chorus:

“You walked all this way to show me signs
It was a hawkshaw song stuck in my mind
I turned my back for a second, I don’t know why
Now you’re a thousand miles out of California.”

Clearly, the relationship was unstable, with Beatty referencing trust issues, long distance between them, and what appears to be a host of barriers. Honestly, it’s a fitting follow-up to “Patchwork” that continues to show the plight of love perfectly.

“Flowers at the Door” 

Sex can be artfully executed within pop music without being profane. ✓ “Flowers at the Door” is a prime example.  Analyze the lyrics closely, and it’s clear that Ryan Beatty delivers a record that isn’t the least bit ‘innocent.’  Key lyrics from the first verse include the brilliant “Our heads connected, I got the message / You had your hands around my skull,” and “I look up to you when I’m below.”  Ponder it, and you’ll realize where Beatty is going.  The chorus extends upon the ‘happening,’ as he sensually asks, “Why don’t you turn me around?” And if you totally miss the sexual innuendo, perhaps the bridge sheds some light, again without being the least bit profane (“What’s so wrong with wanting more? / Rollin’ on the hardwood floor”).

From flowers Beatty moves on to “Evergreen,” where the relationship expands beyond being evergreen to being “on fire.” The lyrics continue to be abstract and poetic as the singer is honest about his feelings and his passion.  That said, he also seems to have questions, specifically about where things go.  “We’re too familiar, we’re too tethered,” he sings on the first verse, continuing, asking the question, “What comes after? What comes after.” With things so lit, Beatty asserts, “I won’t know free ‘til he holds me / And I don’t feel pleasure when I’m up inside.”  That particular lyric really stands out, and as the listener who didn’t write the song, you can make a number of interpretations.

“Genesis”

One of the best songs on a very consistent, highly enjoyable album is ✓ “Genesis.”  Predictably, Ryan Beatty dives into religion – how could he not given the title? That said, it’s absolutely marvelous, as he mentions the fact that he’s “Basically an atheist.” Why? Well, it’s because “He’s all that I believe in right now.” The ‘He’ can’t be God, but rather, ‘David,’ who he’s totally infatuated with. On the pre-chorus, he gets pretty spiritual for the atheist he is, singing, “Ever since Jerusalem, had a change of heart / You went back to Genesis, found God, found God.”  Just for some background, David is a big deal in the Bible, notably considered to be part of the genealogy of Jesus. It’s not all spiritually driven for Beatty of course, even with “Heaven in the room” and notably, “making the rules.”  The second verse is more secular.  Still, the chorus references God, well, a god (“Am I the one you were looking for?”).

Throw the false idols out the door on “Backseat” – “All my idols dead, when I have no one / I look to you for advice, what to do with my life.”  No, Beatty hasn’t suddenly embrace God, but love oh this lush, slow-moving number.  The lyrics remain poetic and romantic, particularly one of the warmest moments: “My back is on the bedroom floor / I like it when I hear you breathin’ (Oh) / Reminds me that I’m not alone.” Again, not GOD.  On “Brother,” Beatty is doing everything that he can to win him over, as well as make him believe in himself, and perhaps, love. “There is a light within your eyes, if only you could see,” he sings thoughtfully at the conclusion of the outro.

“Casino”

✓ “Casino” features excellent songwriting and production, notably featuring rhythmic acoustic guitars. Beatty shines vocally, sounding expressive with lovely falsetto appearing on the pre-chorus.  Besides awesome lead vocals, there are gorgeous vocal harmonies (pre-chorus and bridge). He switches to his full-fledged, dynamic chest voice on the memorable chorus:

“Love me to death or don’t give me anything
Oh yeah, oh yeah.”

“Casino” features numerous, interesting lyrics that find thee singer reflecting on love.  On the first verse, he sings, “The oxygen was choking like death grips around me / I even thought I couldn’t be sadder than that, I am.” Later, he’s perturbed about his lover’s song being played.  Despite the misfortune, he asserts, “I sing along and laugh just in case of the opposite…/ Everything was blurry so I couldn’t see, thankfully…” “Casino” is definitely a worthwhile gamble.  

Penultimate record “Shimmer” continues the authenticity and honesty that characterizes Dreaming of David.  Beatty is reflective, notably referencing his father (“You took me fishing when I was eight… / Those time, so gone, so good”).  Like much of the album, the tempo is slower, while the production is minimalist, blending acoustic and electronic elements, yet expands as it progresses.  ✓ “Dreaming of David” concludes Dreaming of David adventurously, with ripe falsetto, pitch shifted vocals, and various, unpredictably placed vocal samples. The record itself fits the alternative R&B style, incorporating electronic elements.  Even as adventurous as it is, the tempo is relaxed, and the elements of romance and spirituality work superbly together on this dreamy number.

Final Thoughts

Boy in Jeans was an excellent album by Ryan Beatty.  The same can be said about Dreaming of David, which amazingly, manages to separate itself from Boy in Jeans.  Both efforts explore gay love – irresistible songs about boys.  That said, Dreaming of David feels more ambitious and more left of center.  Arguably, nitpicking, Dreaming of David gets a bit too slow, and perhaps at  times one longs for more predictability, but all in all, Beatty outdoes himself.

✓ Gems: “Dark Circles,” “Patchwork,” “Flowers at the Door,” “Genesis,” “Casino” & “Dreaming of David”

Dreaming of David • Boy in Jeans / Mad Love / Interscope • Release: 1.31.20

Photo Credits: Boy in Jeans / Mad Love / Interscope