The Dead Daisies PTY LTD / SPV
Out Now
The Dead Daisies are a band with a constantly evolving lineup.
Since starting in 2013 they have welcomed and farewelled musicians such as John Corabi, Marco Mendoza, Dizzy Reed and Jon Stevens to name a few, placing emphasis on the quality of their music rather than the credentials of their members.
After ushering in Glenn Hughes (vocals, bass, Deep Purple, Black Country Communion) in 2019 to join Doug Aldrich (guitar) David Lowy (guitar) and Brian Tichy (drums), The Dead Daisies released Holy Ground in 2020 and recently released the next chapter in their musical journey titled Radiance.
The album opens with a stuttering guitar lick for Face Your Fear before the rest of the instruments kick in and leave no doubt that this is going to be a rock album of excellence.
The moment Hughes adds his vocals to the mix, you are instantly transported to a smoke-filled dive bar of sorts where music is the King.
With enough balls and grunt to raise the Titanic, Face Your Fear can only be described as a classic rock number that draws from every one of the countless years of musical influence afforded by the members of The Dead Daisies.
It drips with sleaze and swagger, a ripping guitar solo almost setting an unattainably high barometer for the remaining nine tracks to at least equalize.
The next track Hypnotise Yourself is quite poignant seeing as how I not long finished interviewing Cosentino, but if he is the master of illusion then The Dead Daisies are the masters of creation.
Hypnotise Yourself takes that option out of your hands with a well-constructed rock number that is as hypnotizing as it mesmerizing.
It has an undeniably old-school swagger that commands respect, Hughes’ soulful vocals elevating the song from a blues-type number into a hard rock spectacular with consummate ease.
Categorising The Dead Daisies into one genre is impossible, and with the combined talents of each member flowing through its DNA, you can hear why.
The beauty of this album so far is everyone seems to playing within themselves to their own strengths rather than vying for attention, which many ‘supergroups’ find themselves doing subconsciously.
Which is how it should be.
Shine On rumbles to life courtesy of a massive bass bottom end before Hughes throws his distinctive stamp on the track and off we go back down rock memory lane once more.
I may sound like I am repeating myself a bit here, but that’s exactly what listening to Radiance is. A welcome trip into the nostalgic days of rock, where bands lived and died by their musical output rather than public perception and popularity.
A time when the music was placed above all else and was so much better for it.
A wicked guitar solo pierces Shine On at numerous junctures without carried away in its own self-importance, building things up nicely before pulling back just before the peak to allow room for not only air, but the essence of the song to shine through.
The title track eases its way into life next, a slow, measured track that grooves along at a nice pace. You wouldn’t call it a ballad, but it is infinitely more so than anything else so far on the album.
It chuggs along at a steady pace without fully hitting its straps – until a beautifully unhinged, blues-like guitar solo midway through gives the track impetus – before the song speeds up considerably towards the back end then fades into the background as Born To Fly springs to life courtesy of a solid drum intro that is countered perfectly by nice guitar work.
This is classic rock at its best, drums, guitar, bass and rock-drenched vocals combining to provide toe-tapping, head-rocking music that is impossible to resist.
This track seems like one of those songs written with radio in mind, including the hazy guitar solo that threatens to bust into a full-blown assault before pulling back into the mix to allow Hughes to croon once more.
Kiss The Sun sounds like it could be a hot number and delivers early with a stagnated and stuttering intro that adds a touch more urgency to proceedings.
Hughes is on point here (not that he isn’t on every song), but he sings this with a swagger that suggests he has invested a bit extra into Kiss The Sun.
Again, the musical precision stands out, with well-placed guitar solos enhancing the music rather than dominating. But with the caliber of musicians here, would you expect anything less?
Courageous shoots from the blocks with a cool guitar lick that allows Hughes to slide into vocal duties before utilizing differing techniques to control the momentum of the song. He lowers his voice, stops, pauses, screams and soothes when the moment calls for it, highlighting the fact that a singer’s voice can, and in the right hands is, an important instrument in the overall sound of a band.
Probably the stand-out track for me so far.
As if to prove me a liar straight up, Cascade breathes fire up next, a beautifully structured number carried by an awesome guitar riff that intertwines with Hughes vocals in an almost battle against each other before they decide they can co-exist, which they do to awesome effect.
This is basic meat and potatoes rock stuff, but done by a band who feel their music rather than simply play it.
And believe me, there is a huge difference. My new favourite song…
Heavy guitars pave the way for Not Human before Hughes swaggers in and steers the track back into rock territory.
Which is a good point.
Musically, Radiance is heavy as fuck, but the vocal prowess of Hughes is enough to deliver each song in a fresher, more rock-orientated light. So, it is a heavy/hard rock album in essence, but one which also sits easily alongside classic rock albums of the past. If you get my drift.
Once more guitar solos provide a highlight with Not Human, but this time it seems like they are given greater freedom to roam – but not too much. The beauty of the solos on Radiance is none of them seem overplayed. You could imagine they would get an extended workout live on stage – well hopefully anyway – but on the album they are there merely for effect, which a lot of bands out there could take note of.
Just when I thought we would be spared the obligatory ballad, the album’s last track Roll On appears as if to laugh directly in my face.
It’s actually not a bad song – how could anything with Glenn Hughes on vocals not be awesome – but it feels like more of the-track-that-had-to-be-included rather than a fitting finale to the album.
As I type this, a beautifully soulful guitar solo catches my ear, so it’s not all doom and gloom.
Although personally, I would prefer things to go out on a punchier note, there is no denying that The Dead Daisies have once more produced an outstanding collection of rock tunes that transcend many a decade.
Keep it coming guys!
