Wayward Sons – The Truth Ain’t What it Used to Be
Wayward Sons front man Toby Jepson has called The Truth Ain’t What it Used to Be a protest album.
Which would be fine, dandy but pretty throwaway if it was just a lyrical shouting match set to music but Jepson and his Wayward brothers Sam Wood (guitars), Nic Wastell (bass), Phil Martini (drums) and Jepson’s musical wing-man since their Little Angel days, Dave Kemp (keys), have seriously delivered in musical support to the sharp and observational lyricism, which flits from cynical and scathing to the intentionally humorous.
Anyone who heard 'As Black as Sin,' the first new number to be featured in Wayward Sons shows and set-lists last year, would have been aware there was a lyrical edge (a rallying cry against Machiavellian politics and the self-serving) to the song’s punkier, Foo Fighters musicality, pointing to a potentially angrier and weightier follow-up to debut album Ghosts of Yet to Come.
And that’s exactly what The Truth Ain’t What it Used to Be is, an album whose title tells you precisely where Toby Jepson and the boys be heading with offering number two, a conceptually themed release where the question of what, exactly, is the truth, is central to its thematic core.
Opening track, the punchy rock and drum rolling 'Any Other Way,' lulls the listener in to a false sense of Wayward Sons business as usual security (the song is a wouldn’t have it any other way celebration of playing rock ‘n’ roll) before the album’s theme is unveiled on the aforementioned 'As Black as Sin.'
But it isn't all angry or edgy – as with the debut album Toby Jepson’s songwriting styles and influences, along with contributions from the band, have allowed for some seriously good heavy pop, infectious hooks and bloody big slabs of melodically rocking passages, conjuring up musical nods to the likes of Mott the Hoople and mid-70s Queen.
Indeed the bright and well-placed keyboard work on the 'Joke’s On You' (lyrically a cathartic release from a damaging relationship but also fitting the thematic what’s the truth profile) is Wayward Sons rock and roll meets Mott the Hoople.
Following number 'Little White Lies' mixes the 90s power-pop of Jellyfish with some Queen tricks ‘n’ Brian May licks (some great six-string work from Sam Wood here).
'Feel Good Hit,' a clever mix of punky attitude and hook-choruses, lyrically describes a back in the school days summer that wasn’t as feel good for a young Toby Jepson as it was for others.
Jepson’s "we’re fading away!" end of song cries sets up following number, 'Fade Away,' a "hoping for somewhere better" rock ballad that’s a little more Mott than Ian Hunter’s Hoople.
'Have it Your Own Way,' built on a simple but incredibly effective riff, returns to the punkier, angrier sound of the album before the melodically pop-rocking and new wavish 'Long Line of Pretenders' takes centre, calling out the leaders stage (it also carries a chorus that’s the half-brother to the verses of Russ Ballard’s 'Since You’ve Been Gone').
The heaviest song on the album is also one of the angriest – but then with a song entitled '(If only) God Was Real' Toby Jepson isn’t missing and hitting the church wall.
While it's guaranteed to raise a few eyebrows it’s a song that isn’t so much challenging faith as questioning what we are told, or expected, to believe while pointing a finger at those that control such faith for their own gain ("dripping in fool’s gold, in your robes of finery"). Amen to that, Brother Toby.
Carrying the same sort of sonic punch but at a slightly slower tempo is the title track.
A wickedly humorous number that plays on the notion the longer and harder you sell a lie as fact it becomes the truth (or a version of the truth), it’s one of Toby Jepson’s best ever songs.
It also features one of Jepson's best lines – "I used to know about my onions, my story slowly revealed; but now I'm not so sure if it's an onion or an apple I've peeled!”
Equally impressive is the humorously framed 'Punchline.'
Musically it’s a punky ‘n’ pacey, new wave meets the Stranglers romp; lyrically the song seems to be asking if the joke is actually on us.
'Us Against The World' could only be the album closer, lyrically, musically and thematically.
Unlike any other Wayward Sons song, the are-we-already-too late? number is skewed and twisted alternative Beatles that then rises to a heavier, not overly positive, conclusion.
It also, perhaps perversely, stands proud as the most interesting song on the album.
Given the more sombre tone of the closing track it’s perhaps fitting that a secret track, 'Totally Screwed,' bursts out one minute later in all its post-punk, new wave glory.
Set in the same younger Toby Jepson time-frame of 'Feel Good Hit' (Thatcher’s Britain), it’s a song that shouldn’t be as much fun as it absolutely is – and best of luck not shouting along with "totally screwed!" at the song’s finale.
With another fine production from Toby Jepson and some mighty fine playing from the band, Mr Jepson has delivered an album that is as thoroughly entertaining and enjoyable as it is thematic.
And any rock fan who doesn’t buy in to the Wayward Sons truth... well, the joke’s on you.
Ross Muir
FabricationsHQ
Which would be fine, dandy but pretty throwaway if it was just a lyrical shouting match set to music but Jepson and his Wayward brothers Sam Wood (guitars), Nic Wastell (bass), Phil Martini (drums) and Jepson’s musical wing-man since their Little Angel days, Dave Kemp (keys), have seriously delivered in musical support to the sharp and observational lyricism, which flits from cynical and scathing to the intentionally humorous.
Anyone who heard 'As Black as Sin,' the first new number to be featured in Wayward Sons shows and set-lists last year, would have been aware there was a lyrical edge (a rallying cry against Machiavellian politics and the self-serving) to the song’s punkier, Foo Fighters musicality, pointing to a potentially angrier and weightier follow-up to debut album Ghosts of Yet to Come.
And that’s exactly what The Truth Ain’t What it Used to Be is, an album whose title tells you precisely where Toby Jepson and the boys be heading with offering number two, a conceptually themed release where the question of what, exactly, is the truth, is central to its thematic core.
Opening track, the punchy rock and drum rolling 'Any Other Way,' lulls the listener in to a false sense of Wayward Sons business as usual security (the song is a wouldn’t have it any other way celebration of playing rock ‘n’ roll) before the album’s theme is unveiled on the aforementioned 'As Black as Sin.'
But it isn't all angry or edgy – as with the debut album Toby Jepson’s songwriting styles and influences, along with contributions from the band, have allowed for some seriously good heavy pop, infectious hooks and bloody big slabs of melodically rocking passages, conjuring up musical nods to the likes of Mott the Hoople and mid-70s Queen.
Indeed the bright and well-placed keyboard work on the 'Joke’s On You' (lyrically a cathartic release from a damaging relationship but also fitting the thematic what’s the truth profile) is Wayward Sons rock and roll meets Mott the Hoople.
Following number 'Little White Lies' mixes the 90s power-pop of Jellyfish with some Queen tricks ‘n’ Brian May licks (some great six-string work from Sam Wood here).
'Feel Good Hit,' a clever mix of punky attitude and hook-choruses, lyrically describes a back in the school days summer that wasn’t as feel good for a young Toby Jepson as it was for others.
Jepson’s "we’re fading away!" end of song cries sets up following number, 'Fade Away,' a "hoping for somewhere better" rock ballad that’s a little more Mott than Ian Hunter’s Hoople.
'Have it Your Own Way,' built on a simple but incredibly effective riff, returns to the punkier, angrier sound of the album before the melodically pop-rocking and new wavish 'Long Line of Pretenders' takes centre, calling out the leaders stage (it also carries a chorus that’s the half-brother to the verses of Russ Ballard’s 'Since You’ve Been Gone').
The heaviest song on the album is also one of the angriest – but then with a song entitled '(If only) God Was Real' Toby Jepson isn’t missing and hitting the church wall.
While it's guaranteed to raise a few eyebrows it’s a song that isn’t so much challenging faith as questioning what we are told, or expected, to believe while pointing a finger at those that control such faith for their own gain ("dripping in fool’s gold, in your robes of finery"). Amen to that, Brother Toby.
Carrying the same sort of sonic punch but at a slightly slower tempo is the title track.
A wickedly humorous number that plays on the notion the longer and harder you sell a lie as fact it becomes the truth (or a version of the truth), it’s one of Toby Jepson’s best ever songs.
It also features one of Jepson's best lines – "I used to know about my onions, my story slowly revealed; but now I'm not so sure if it's an onion or an apple I've peeled!”
Equally impressive is the humorously framed 'Punchline.'
Musically it’s a punky ‘n’ pacey, new wave meets the Stranglers romp; lyrically the song seems to be asking if the joke is actually on us.
'Us Against The World' could only be the album closer, lyrically, musically and thematically.
Unlike any other Wayward Sons song, the are-we-already-too late? number is skewed and twisted alternative Beatles that then rises to a heavier, not overly positive, conclusion.
It also, perhaps perversely, stands proud as the most interesting song on the album.
Given the more sombre tone of the closing track it’s perhaps fitting that a secret track, 'Totally Screwed,' bursts out one minute later in all its post-punk, new wave glory.
Set in the same younger Toby Jepson time-frame of 'Feel Good Hit' (Thatcher’s Britain), it’s a song that shouldn’t be as much fun as it absolutely is – and best of luck not shouting along with "totally screwed!" at the song’s finale.
With another fine production from Toby Jepson and some mighty fine playing from the band, Mr Jepson has delivered an album that is as thoroughly entertaining and enjoyable as it is thematic.
And any rock fan who doesn’t buy in to the Wayward Sons truth... well, the joke’s on you.
Ross Muir
FabricationsHQ