Wayward Sons - Ghosts of Yet to Come

Wayward Sons Ghosts of Yet to Come cover
Wayward Sons
Ghosts of Yet to Come
Frontiers Music Srl
2017
7.5
Wayward Sons is a new band featuring Little Angels’ Toby Jepson. He’d been out of the game for a while putting on the hat of producer for a variety of well-known bands, but prior to that, he did have some minor success in the UK, back in the late 80s/early 90s along with the likes of Thunder, The Almighty and The Quireboys, the sort of hard rock revival the isles saw before things went to shit in the later part of the 90s.
 
Jepson and the new company he keeps, come across as erstwhile rockers, with a 70s groove, an 80s attitude and a clean but powerful, up-to-date production. The songs are rather simple and to the point and all tend to be driven by nice riffs and honest to good, workmanlike vocals that easily connect with the listener.
 
“Alive” is a quite powerful and rocking opener, wile “Until the End” is more urgent, with a persistent riff and a bit of a Lizzy-esque groove, but also melodic sensibilities of later bands, as it unfurls a quite long winded chorus that hits bullseye.
 
And things don’t get worse “Ghost”, the “title track”, has the same urgency while it pokes fun at people and their first world problems.
 
“I Don’t Wanna Go” is very bass driven, very simple, but the energetic performance makes it sound a bit like AC/DC, but without resorting to what most second rate “doppelganger” bands (Airbourne, Bullet and the likes) tend to do (ie copy and paste the riffs).
 
“Give It Away” is pretty modern compared to the rest and feels like it’s pulling a page from Thunder’s book of melodies, but for inspiration, rather than plagiarism. It’s very vocally driven and the chorus – well it’s sort of unlike anything Thunder have ever done. But it’s nice to see Jepson trying and succeeding in adapting his voice to all the little nuances the songs have.
 
“Killing Time” starts with a nice cascading riff and follows suit with the rest of the songs, without any major surprises.
 
“Crush” is a little bit more adventurous, as it feels quite a bit like Thin Lizzy, but obviously Jepson’s vocals are a lot higher than Phil’s.
 
“Be Still” continues with the Lizzy worship and it has the same sort of narrative-plot as a lot of PL’s songs tend to do. Black Star Rider’s eat your heart out, or hire the boy to do the next album and co-write some material.
 
“Small Talk” is all about being bullied and picked on and given shit and rising above all this shit. It features an awesome persistent riff and the same sort of half spoken-half sung delivery that works here to great effect, with the only qualm I have being about the response vocals in the chorus… a bit bad, methinks.
 
Lastly, “Something Wrong” has a blues rock driven nature that seems to suit it greatly. It’s reminiscent of the way Lizzy may have influenced bands from the other side of the pond. A bit of Skynyrd, a bit of Tallica even in there when good old Het, decided to meddle with that sort of thing or do a cover.
 
Well, “Ghosts of Yet to Come” is an album that draws inspiration from the 70s and 80s rock and dares to sound contemporary production wise, making no apologies for rocking quite hard. If you liked Jepson’s vocals in the past, you’ll probably love it, as both he and the band, as well as the songwriting are pretty much top notch. Recommended.