Wayward Sons' 'The Truth Ain't What It Used To Be' - Album Review

Despite being quite a big Little Angels fan, it was not until earlier this year that I finally got around to checking out that band's former frontman's new band. Toby Jepson has been an ever-present face in the British hard rock scene since Little Angels burst into the world in the mid 1980s, and has worked with Fastway, Gun, and even the Dio Disciples around various Little Angels stints and solo activities. I was pleased to get a chance to see Little Angels when they undertook a rare UK tour in 2012, but since the band seemingly called it a day for a good a year later Jepson has largely spent his time working as a solo artist - as well as producing other acts, including big-name bands like Saxon. Wayward Sons are, therefore, Jepson's first real full-time band since Little Angels broke up again - and they have been hard at it on the road since launching in 2017. I am not really sure why I did not jump immediately on board with the band. I remember watching the video for Until the End when it was released, but I remember it leaving me cold at the time. Considering the song is now one of my favourite Wayward Sons tracks I find my earlier views hard to believe, but something about it just turned me off at the time. I think part of the issue could have been that the band were signed to Frontiers Records - a label I have a bit of a love/hate relationship with. They have released a lot of great albums over the years, and have helped a lot of veteran acts out which other labels are no longer interested in, but they have also released a lot of manufactured rubbish that pairs seemingly random groups of musicians together in the studio to record cookie-cutter AOR songs written by one of a handful of their in-house songwriters. Some of these projects have turned out to be enjoyable, such as Revolution Saints, but many sound half-baked and thrown together - which is exactly what they are. I am always therefore suspicious of new bands that Frontiers start to promote, and I think I could have unfairly dismissed Wayward Sons at a time when I was particularly jaded with the label's output. That was to my detriment however, as the band's 2017 debut album Ghosts of Yet to Come is actually really strong. I finally picked up a copy earlier this year and listened to it quite a bit on the run up to seeing the band supporting Black Star Riders in October - which, incidentally, was the day before the release of the band's second album The Truth Ain't What It Used To Be. As I had gotten into the band's debut, I pre-ordered The Truth Ain't What It Used To Be and a shiny signed copy turned up for me not long after the gig. Soundwise, the new album is quite similar to the debut - but does seem to have branched out a little. The debut is more of an in-your-face hard rock album, whereas this one shows more diversity in the songwriting, while still largely maintaining the band's core sound.

The album kicks off with the droning chug of Any Other Way, which sees Jepson singing against a simple guitar backing. It is a fairly low key opening to the album, with Jepson taking centre stage with his guitar rhythms and vocals, although drummer Phil Martini soon joins in with a percussive beat - before the whole band crashes in for a fast-paced, explosive chorus. Wayward Sons' sound generally is quite basic, but still manages to whip up a fair amount of energy - and this track is a great example of that. The chorus is instantly catchy, with Jepson spitting out the lyrics in an almost punky way, while Dave Kemp adds some subtle washings of Hammond organ. The song, like many here, is short and too-the-point, which helps the albums thirteen songs really fly by. As Black as Sin opens in a similar fashion, with a simple guitar rhythm, but lead guitarist Sam Wood soon takes over with a bluesy lead that gives way to a kinetic verse with Jepson's tough guitar rhythms keeping everything moving along with Martini's drumming. Anyone familiar with Little Angels will know of Jepson's ability to craft a catchy chorus, and it is the choruses which are usually the high point of each song here. That is the case with As Black as Sin, as catchy wordless vocal harmonies sit just behind Jepson's lyrics to really enhance the overall mood of the chorus - something which helps it to stand out from the crowd somewhat. After the fast-paced assault of the opening two numbers, Joke's On You slows things down a little to present more of a mid-paced hard rock sound. Kemp's keyboards are given greater prominence here, with ringing piano lines during the song's intro, and a piano-led bridge-section part-way through showcasing his skills. Elsewhere, the song is classic Wayward Sons with an AC/D-esque riff backing the simple verse, before a somewhat anthemic chorus showcases some catchy melodies and big vocal harmonies. Wood also gets the chance to shine with some lovely bluesy leads throughout the piece, especially towards the end, with his tasteful playing helping to elevate the album's lead single further. Little White Lies is another of the album's singles, and it opens with a soaring Wood guitar lead that echoes Queen's Brian May a little, before a Beatles-esque verse takes over with plonking piano notes backing up the rhythm guitars and Nic Wastell's bass. This is a track that showcases the diversity in the songwriting that the band have employed here, as this sounds quite different to the vast majority of the material featured on the debut album. A slightly more poppy overall sound is represented throughout the song, but the band's rock roots are still retained with a stomping chorus and the occasional burst of hard rock lead guitar. Despite his talents, Wood's solos throughout the album are usually fairly short so it is always good to hear him injecting leads outside of his traditional solo sections to keep things interesting.

Feel Good Hit returns to the fast-paced hard rock of the album's opening couple of numbers, with a brash opening guitar riff driving everything from the off and a strange keyboard pulse is present to back it up. This is a song made to be heard live, with a chorus that needs a crowd to be singing along with it and some excellent riffing throughout from Wood. There is a bit more of a modern sound utilised throughout here, with Kemp creating some strange synth soundscapes throughout. His keyboard playing is generally quite traditional, with piano and organ making up the bulk of his repertoire, but here there are synths used throughout that add depth and help to drag the song into the modern day at the same time. Fade Away slows things down again, with Kemp's piano opening the song and providing the early basis for Jepson's vocals. Wayward Sons are not really a band for ballads, but this track is a rare slower song for them and it is nice to hear Kemp really dominating. On the first album his keyboards were pretty much always totally buried in the mix, but on this album he seems to have taken on a greater role in the band - and this track features him in a big way. Despite being a ballad, the song is still quite anthemic with a strong hooky chorus and the occasional burst of bluesy lead guitar from Wood. There are more Queen-esque guitar moments here too, with a solo section that really showcases Wood's love of May. It fits in really well with the song, as it comes just before everything drops out again to leave Kemp and Jepson alone - before one final ramp up to a closing chorus. Have It Your Own Way toughens things up again, and opens up with a staccato guitar pattern that is present throughout most of the song, with Wastell's bass taking on a more prominent role to keep things sounding nice and heavy. In my opinion though the song sacrifices some melody for a heavier feel. It is a song that lacks many of the big melodies found elsewhere, with a grinding heavy groove replacing them. This is not necessarily a bad thing, and again showcases the different vibes that the band experimented with here. The chorus is certainly not as catchy as many of the others, but the bass presence throughout creates a strong atmosphere. Towards the end Wood also seems to begin to attack his guitar with a slide, which is another different sound for the band that helps to keep things interesting. Long Line of Pretenders is more typical of the band's core sound, with a great guitar lead opening everything up before a simple verse takes over with a groovy guitar rhythm. This is one of the strongest tracks on the album in my opinion, as it really showcases the best of the entire band throughout. Jepson's vocal performance is great, with his chorus melodies being packed full of hooks, and Kemp once again gets a prominent role with lots of boogie barroom piano throughout. The guitar playing throughout is top notch too, with lots of lovely leads from Wood. This is the sort of track I want to see more of in the future, with an open production that really lets everyone shine. (If Only) God Was Real is a bit more of a chug, with raw-sounding guitar riffs driving everything forward while Wastell's bass rumbles around beneath to add depth. There are catchier songs here, but it is a track that manages to create a strong energy throughout - with the occasional heavy riffs that crop up really giving things a kick up the backside. The pace ensures that the track does not outstay its welcome, and it still positively contributes to the album despite a lack of any big standout melodies.

The album's title track gets back to the band's core sound, and is hung around an anthemic, almost punky, chorus that is extremely repetitive but also extremely catchy. In fact there is a bit of a punky feel throughout the whole song, but it is not prominent enough to divert the band far from their usual sound. Jepson's vocals have a slightly more aggressive feel, and Wood actually gets a chance to cut loose here - with a lengthy shredded solo that is quite different from the more restrained blues-based playing he showcases here. The solo reaches almost metal levels of shredding, and it is great hearing him really cutting loose - and the track is the perfect one for him to do so in. Martini's weighty drumming only reinforces the punky, somewhat heavier, feel of the song too - keeping everything moving with his simple beats. Punchline keeps the pacier feel, with punky influences again rearing their heads. That being said, the chorus sounds like something that could have appeared on the band's debut album - and I wonder if the track is one that was left over from those sessions as overall it does sound more like the material on that album. It is a simple, riff-based rocker that revels in creating a pacy energy and a big chorus. There are not many tricks or deviations from the band's core sound here, and that is actually quite refreshing after the direction that some of the tracks here have taken. Sometimes it is nice just to hear a band kick back and do what they do best, and that is exactly what Wayward Sons do with this song. Us Against the World opens slowly, with some droning guitar chords and Jepson's expressive vocals, but is soon stopped from venturing into ballad territory by Martini's hollow-sounding drumming that soon kicks in. It never becomes an out-and-out rocker however, but instead goes for more of a cinematic sound with some prominent keyboard riffing throughout and a lengthy bluesy guitar solo from Wood that has something of an epic feel. The song is probably the 'biggest' that Wayward Sons have ever sounded, and they have clearly written the song in order to be a big album and concert closer. It feels much grander than anything else they have done, with Kemp creating a big soundscape with his keyboards and Wood often layering guitar leads into the meat of the track which help to add further depth. It is the album's true closing moment, but there is a short hidden track in the form of Totally Screwed which racks the punk influence up a few notches after a short silence following Us Against the World. Hidden tracks are a bit of a rarity these days, so it is nice to hear one on a new album. It is not the album's best moment by any means, but it is a fun release of energy for all involved with Jepson's getting all of his political angst out in the track, with his brash guitar rhythms keeping everything moving. It is a fun coda after the album proper ended with the previous track, and a nice little surprise for new listeners. Overall, The Truth Ain't What It Used To Be is a strong second album from Wayward Sons and is one that sees them branching out from the sound established on their debut. It is great to see Jepson in a proper band again, and I imagine the next year or so will be busy for Wayward Sons as they take these new songs on the road.

The album was released on 11th October 2019 via Frontiers Records. Below is the band's promotional video for Joke's On You.