Home. Immediate and undeniable, it is one of QOTSA’s most perfectly-realised songs and later received a well-earned Grammy nomination. from Queens of the Stone Age (1998; Loosegroove/Roadrunner). A one chord song with a laundry list of intoxicants, “Feel Good Hit of the Summer” is dangerously close to being a novelty song, but somehow Homme and company turn it into the most kickass way to open a record. Queens of the Stone Age Recruit Mark Ronson for Rugged “The Way You Used To Do”, 2005 Comments & Lists: Artists' Best of 2005. Villains isn’t the best album QOTSA album, but it’s at least their most immediately lovable since Songs For The Deaf. While his various projects are often described as “stoner rock,” the magic of Homme’s work with Queens of the Stone Age lies in taking the textural richness of metal’s sludgier cousin and sharpening it to a knife’s edge–QOTSA is undeniably brutal music that’s still as tightly wound as pop radio. Keep that in mind. And in the time after that, Oliveri went through some major issues with drug use and the law, including a pretty intense standoff with a SWAT team. “Feel Good Hit of the Summer” (2:45) Powered by the best jagged riff the Cars never wrote, propelled by spirited, staccato piano plunks and swirling counter-melodies, “In My Head” remains one of the band’s greatest triumphs, even more than its cowbell-centric lead single “Little Sister.” Why? Josh Homme and wunderkind producer Mark Ronson (Amy Winehouse, Lady Gaga, Adele) both rank among modern rock and pop’s most inventive artists, so it’s no surprise that their collaboration on QOTSA’s 2017 album, Villains, produced a record with all the hallmarks of a keeper. With the band’s new album Villains out this week, I took the opportunity to select 16 of the band’s best songs, assembled in a playlist, greatest-hits style, intended to be played in order. First of all: Take it easy, it’s all radio-friendly music. This abundance of fresh blood, coupled with Homme’s willingness to subvert hard-rock orthodoxy through melody and wit, has paid off in commercial and critical dividends throughout the Queens’ three-decade existence, which can be divided, roughly, into three main periods: their primordial, Kyuss-y days (1998’s Queens Of The Stone Age, 2000’s R, 2002’s Songs For The Deaf); their melodic uptick in the mid-aughts, spawned by Oliveri’s 2004 departure (2005’s Lullabies To Paralyze, 2007’s Era Vulgaris); and the band’s present period of pop-leaning maximalism, which began with 2013’s …Like Clockwork LP and continued last week with the excellent Villains. However, as their subversive name suggests, Homme’s true aims with Queens Of The Stone Age lay in challenging the stylistic and thematic trappings of their chosen genre, rather than kowtowing to them. It felt so right to dance to the songs. Blast off with “Feel Good Hit of the Summer,” then make some questionable decisions and hope that your friends have not “Lost the Art of Keeping a Secret,” …continue on down the path of fear and loathing on “Auto Pilot” until you wake up Tuesday of the following week saying “I Think I Lost My Headache.” Every single track is just awesome in its own right, but one of my favorite encore performances of all time was QOTSA in Oakland when they laced the crowd with “Better Living Through Chemistry” during a SECOND ENCORE! If QOTSA’s debut album illustrated Homme’s longstanding kinship with doom metal. It’s a haunting collection of nocturnal headbangers that gets to the heart of what Queens of the Stone Age has been about all along. (Andrew), The Classics: No One Knows; First It Giveth; Go with the Flow, The Deeper Must Listens: You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire; Song for the Dead. The group played it in the suitably glamorous setting of The Palms Casino Hotel at the 2007 MTV Video Music Awards: a performance for which QOTSA were joined by special guests CeeLo Green and Dave Grohl. The song’s intrinsic radio-friendly quality stood it in good stead as a standalone single, which went on to crack the Top 40 of Billboard’s Mainstream Rock and Alternative Songs charts. Little Sister Queens Of The Stone Age-Lullabies To Paralyze: 2:54. However steeped in controversy, Oliveri remains one of the band’s most memorable assets, armed with a throat that could shatter glass and a penchant for fiery bass runs. If QOTSA’s debut album illustrated Homme’s longstanding kinship with doom metal, Rated R is where he finally cut the cord to seek greener pastures. Though in truth there isn’t a bad Queens of the Stone Age album, we’ve all got our power rankings to abide by. Look up any press Josh Homme did regarding the latest Queens of the Stone Age album, Lullabies to Paralyze, and ... © 2018 Condé Nast. It’s not exactly going against tradition in rock ‘n’ roll to air some dirty laundry in a song, after all, but regardless of the backstory, the tune itself is excellent. Queens of the Stone Age est fondé en 1996 à la suite de la dissolution du groupe Kyuss.Parfois classé comme stoner rock ou hard rock, Queens of the Stone Age (parfois abrégé QotSA ou QOTSA) connaît de … Josh Homme has described the record as “dark, hard and electrical, sort of like a construction worker”, and that’s a fitting image for ‘3’s and 7’s’: an ode to telling white lies, driven by robotic riffs which pull no punches whatsoever. Just suitably badass. The core songs on the album (“Sick, Sick, Sick”, “Battery Acid”, “I’m Designer”, “Misfit Love”) are some of QOTSA’s hardest ever and are borderline industrial. Apparently, however, Homme wrote it for wife Brody Dalle, which is kind of sweet actually. Homme and company took a break from sweeping melodrama, doubling down on the robotic riffage instead. This one is meant to get the adrenaline pumping, and wouldn’t you know it, it sure as hell works. ‘Feel Good Hit Of The Summer’ got by on hedonistic thrills, but its Rated R colleague ‘The Lost Art Of Keeping A Secret’ proved categorically that Josh Homme’s team were rapidly becoming a force to be reckoned with. Features Best Queen Of The Stone Age Songs: 20 Feel Good Hits For All Seasons. “The Evil Has Landed” (6:30) It was well worth the wait, too, as Homme’s strutting riffs, Nick Oliveri’s nimble basslines and Dave Grohl’s kinetic drumming locked in with a precision that’s almost supernatural on this track, which is about as sublime as guitar-based rock’n’roll gets. A desert-rock origin story masquerading as Led Zep boogie machine, the opening track from Queens Of The Stone Age’s new Mark Ronson-produced album, Villains, offers the perfect introduction to the band’s carnivalesque insanity and, perhaps more importantly, the devilish impresario calling all the shots. “Regular John” (4:35) And man, is it marvelous. Play it from beginning to end, and enjoy the ride. A concept album of sorts, it is replete with radio DJ intros, simulating a crazy, distorted ride from LA into the desert…or oblivion. The album is an allegory for the plasticity and oh so sexy superficiality that lures the beautiful to the City of Angels. This is rock and roll captured in four and a half minutes. (That temper, and the incendiary conduct which frequently accompanied it, ultimately prompted Homme to kick him out of the band in 2004.) But part of it is also the fact that Queens of the Stone Age is unapologetic about being fun. QOTSA took a step back from the sweeping melodrama of 2005’s Lullabies To Paralyze  with 2007’s hard-edged, guitar-driven Era Vulgaris. Sometimes the best QOTSA songs are the simplest. One of the legendary bands and we are living right in the middle of it. It was previewed by the urgent ‘My God Is The Sun’, which also picked up a Grammy nomination. Your email address will not be published. We’ve been there since the beginning with Queens, all the way back to the earliest days of Kyuss, shows at the Fillmore when Josh had barely one healthy leg to stand on, and of course that one time in 2005 when they made it snow inside of The Wiltern. Let us know in the comments section, below. “Turnin On the Screw” (5:20) The latter originally co-wrote the brooding ‘Hanging Tree’ with Homme for one of Homme’s offshoot Desert Sessions albums (Volume 7: Gypsy Marches), but QOTSA laid down the definitive version, with Lanegan’s dark croon ideally suited to deliver the song’s forbidding, murder-related lyric. It’s been 20 years since Josh Homme breathed new life into the ashes of his old band, the seminal stoner metal outfit Kyuss, thereby conceiving Queens Of The Stone Age: one of the most successful, forward-thinking (not to mention badass) hard-rock groups of the new millennium. Tight-knit singles like “Little Sister” and “In My Head” sit beside sprawling behemoths like “Someone’s In The Wolf” and “Everybody Knows That You Are Insane,” while the slithering “Tangled Up in Plaid” may be the most sinister song Homme has ever written, with its ambiguous tale of freedom and self-harm. A desert-rock origin story masquerading as Led Zep boogie machine, the opening track from Queens Of The Stone Age’s new Mark Ronson-produced album, Villains, offers the perfect introduction to the band’s carnivalesque insanity and, perhaps more importantly, the devilish impresario calling all the shots. Influenced by Grimm’s Fairy Tales, the brilliant driving rock riffs we know and love from Queens’ still run strong in Lullabies, but gorgeously infused with haunting howls to create a dark and cinematic album (exemplified in “Someone’s In the Wolf”, “The Blood is Love” and  “This Lullaby”). Fans have long since speculated whether the song’s bitter, sneering lyric (“You want to know why you’re so hollow?/Because you are”) is aimed at QOTSA’s former bassist Nick Oliveri, but whatever the truth of the matter, ‘Everybody Knows That You’re Insane’ is visceral, blistering rock’n’roll. 1. up to that point was built on unstoppable strength. Please review our complete Privacy Policy for more information. It’s no secret that rock music has taken a bit of a backseat in pop culture as we’ve waded into the new millennium, but that’s never stopped Josh Homme from riding that motorcycle into the sunset. For a band whose roots are in the ultra heavy stoner rock of Kyuss, Queens of the Stone Age have rarely indulged in much that resembled contemporary metal. In the early aughts, Josh Homme was at the end of his rope. QOTSA’s 5th studio album is their Hollywood album (baby!). from Songs for the Deaf (2002; Interscope). We’ve got him to thank for the pedal-to-the-metal bloodlust coursing through Songs For The Deaf opener “You Think I Ain’t Worth A Dollar, But I Feel Like A Millionaire;” when he begs the “toto” to “give him some more,” you better get out of the way — the storm’s coming. Cower in fear before Oliveri’s deliriously mucky bass riff, which stomps out of the speakers like a cross-faded Godzilla, or Homme’s ominous, thunderstruck tremolos, aural toxins deeply embedded with song’s interstitial spaces. Giving modern rock a much-needed edge, the best Queens Of The Stone Age songs have seen Josh Homme and co redefine the notion of “rock music”. As such, fans might have expected something dashed off, but instead they got a stunning, Mariachi-flavoured workout centred upon Josh Homme’s acoustic guitar and his emotive, close-mic’ed vocal. In a discography full of pummeling riffs and unchecked aggression, it turns out that QOTSA’s most powerful music is the kind that creeps slowly into your head, shaking your body from the inside out. Further intensifying the experience is drummer Dave Grohl, who hitches his percussive rampage to song’s anxious, incessant pianos, giving rise to a bona fide hard-rock hurricane. That being said, this is the strongest song in the band’s catalog to feature his vocals, a bluesy and laid-back groover that never escalates to the level of the band’s most roaring numbers, but still carries quite a punch. from Rated R (2000; Interscope). “No One Knows” (4:39) It’s a hard-rocking track that’s by no means complicated or intricate, but does everything you’d possibly want a rock song to do. Rabbits Black presents a comprehensive ranking of every Queens of the Stone Age album from best to disappointingly very good. Beginning with pattering tablas, it’s anchored by Oliveri’s insistent bass motif, which is gradually usurped by Homme’s squealing guitars, before looming hums of feedback straight out of Lou Reed’s Metal Machine Music eventually give way to a breathtaking improvisational wig-out.

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