Holy Ground
Glenn Hughes gives Holy Ground a clear center. His voice can rise high above the guitars without losing its soulful character, and his bass playing adds a strong rhythmic identity. The Dead Daisies use those qualities well. The album remains rooted in broad hard-rock riffs, but the performances feel more personal when the melody and groove are tied so closely to one musician's style.
The title track establishes the scale immediately. Its large riff and vocal line are direct, and Hughes makes the chorus feel expressive rather than merely loud. “Like No Other (Bassline)” is more playful, with a funk movement that gives Doug Aldrich's guitar room to cut across the rhythm. The track is effective because the musicians seem to be responding to one another. Deen Castronovo's drums also give “Come Alive” a strong entrance before the guitar takes over.
“My Fate” provides a heavier contrast, then allows Hughes to step back into a more considered melody. That change is one of the album's strengths: a forceful opening does not have to determine the emotional size of every section that follows. “Chosen and Justified” is more conventional as an anthem, while “Saving Grace” makes good use of a direct, driving attack. The cover of Humble Pie's “30 Days in the Hole” fits naturally through the combination of soulful singing and hard rhythmic weight.
The record does rely on a narrow set of gestures, and Hughes' commanding presence can make it feel more like his project than a fully balanced group statement. That is a limitation only when the songs become too predictable. The long closing “Far Away” avoids it, beginning with strings and acoustic guitar before moving toward a strong Aldrich solo. It gives the album a broader final perspective. Holy Ground succeeds through the relationship between a distinctive singer and players who know how to support him. Its best grooves make that partnership sound thoroughly comfortable.
