"Them Crooked Vultures, A Modern Day Recurrent “Power” Trio"

Envision a rock power trio with any combination of gifted musicians since the 1960’s. With your three prodigies in mind, anticipate the excitement of your dreams becoming reality. Lastly, embrace for the fact that 2009 has given uprising to a freshly kindled power trio of more than exuberant delight. Them Crooked Vultures, as they are sordidly titled, are the epitomic rebirth to the concept of the “power” trio. With a lineup of musicians distinctively renowned for their prolific contributions to the progression of rock music as a whole, rock fans are running the streets in ecstatic joy exclaiming this new presence. With Josh Homme (Queens of the Stone Age) filling as lead vocals and guitar, Dave Grohl (Nirvana, Foo Fighters) returning to his old companion: the drums, and John Paul Jones (Led Zeppelin) as the inevitable bassist, Them Crooked Vultures are a creative and monumental force to be reckoned with. Their self-titled debut has already arisen to 12th on the Billboard Hot 200 Album List, breaking 70,000 copies sold in The United States. However, numerous critics describe the band as dull, unimaginative, and utterly disappointing considering the previous work of each member. Some also pronounce Them Crooked Vultures as a drab Queens of The Stone Age clone. The Queens of The Stone Age sound is evident; however this collaboration has produced a more melodic and upbeat sound in comparison to most of The Queens of The Stone Age work. Homme, Grohl, and Jones work well together, in a formal harmony of regressed blues with a darker and more progressive, newer sound in synchronization. Grohl’s uprise to fame is accredited to his fury as percussionist in Nirvana. Jones will forever be on a pedestal of bassist stardom with his vital contributions to Led Zeppelin. Homme brings his trivial, freely- spoken, opaque lyricism to the microphone; an analogy to his work in Queens of The Stone Age. Single “Mind Eraser, No Chaser” is an upbeat and freely flowing song of satirical madness. We see more soloing here from Homme as well, as opposed to his precedential band, broken solos are brought to the forefront. Possibly, Jones unleashes Homme’s inner Page. Another single “New Fang” formulates with a crash ride intro, succeeded by a loosely distinctive riff. Hooky song “Scumbag Blues” is a fusion of Led Zeppelin’s “The Immigrant Song” played at half time, Nirvana’s “Lounge Act”, performed with more demand, and Queen’s of The Stone Age’s “3’s and 7’s”, laced with more sadism and less carnival bounce. Homme exhibits his underlying love for the blues. Jones continues to impress us with his musical versatility in songs like “Spinning in Daffodils”, that which contains an eloquent piano instrumental and intro. “Them Crooked Vultures” will undoubtedly find cleared spaces on the shelves of avid listeners and collectors just by the big names alone, but a closer listen will reveal an album which has articulated elements of mysticism, poetical thought, revelation and supreme talent.

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