Two band names, three studio albums, one EP, a live album, and a change of vocalists. A lot has happened in the last few years for Phil Campbell and the Bastard Sons. From beginning life as a side project for the former Motörhead guitarist, performing covers under the somewhat less than attention-grabbing moniker of Phil Campbell’s All Starr Band, the band announced a much-needed name change the following year and the improvement was both noticeable and immediate.
From ZZ Top, Black Sabbath, Rolling Stones, and obviously Motörhead covers, the addition of original material appeared hand in hand with the rebranding and the band, featuring Campbell’s three sons, Todd, Tyla, and Dane plus singer Joel Peters, has quickly become known for their own songs, quickly garnering an ever-increasing fan base in the process.
On third album, Kings of the Asylum (Nuclear Blast), The Bastard Sons really let loose, the record bristling with riffs and groove, and dripping in attitude. Right from the fast-paced opening blast of “Walking in Circles”, it’s clear your head is going to have a hard time staying still and that the sudden desire to play air drums will quickly become too much, leading to potentially embarrassing situations on public transport or in the street.
With virtually no time to recover, you are quickly set upon by the hard-edged, traditional crunch of “Too Much is Never Enough”, which sticks the boot in hard and gets out before you know what’s going on. “Hammer and Dance” continues the punishment, slapping you back to consciousness only to headbutt you back into blissful oblivion.
“Strike the Match” boasts a simple AC/DC meets Airbourne riff and is almost laid back in comparison, the pace slowing just enough to allow a catchy “woah-oh-oh” backing chorus to become lodged in your brain forever. Another ‘DC-style riff leads the way on “Schizophrenia” but this time with a distinct Motörvibe and a moody middle section.
Taking a beat, the title track slows things down with a sleazy blues crunch and instantly stands as one of the best songs the band have recorded to date, Campbell turning in arguably one of the finest guitar solos you’ll hear this year.
“The Hunt” brings back the aggression while “Show No Mercy” sounds like Status Quo and The Wildhearts having a pissed-up jam session in some squalid East End boozer. “No Guts! No Glory!” does what it says on the tin, while “Ghosts” crawls and lurches with a creepy vibe and a memorable hook before the album climaxes with the hell-raising Motörhead vs The Wildhearts literal fuck you of “Maniac”.
An absolute blast from beginning to end, Kings of the Asylum is an irresistible force of non-stop energy and Rock n’Roll attitude. Joel Peters’ rough and ready vocals suit the band perfectly, the bastard sons do their old man proud and somewhere up there, Lemmy, with a cigarette in one hand a Jack and coke in the other, is grinning from ear to fucking ear.
Buy the album here:
8 / 10
GARY ALCOCK