Josh Homme formed Queens of the Stone Age from the ashes of the heavier stoner rock band, Kyuss, which broke up in the mid-1990s. The Kyuss/Queens of the Stone Age Split EP contained the final studio recordings of his former group but also introduced the world to his new act with, most notably, “If Only Everything” (included on their 1998 self-titled debut as simply “If Only”).
Diehard fans would later claim that Queens of the Stone Age was too polished or that it was the most authentic the band would ever sound. For the rest of us, while the debut had all the elements that we have come to appreciate over the following decades—not to mention, one of their most ripping hits in “Regular John”—Queens of the Stone Age would raise the stakes with each successive release.
Homme and company refused to look back. Over the next few years, they offered listeners the phenomenal Rated R (2000) and Songs for the Deaf (2002). The latter was not just exceptional because it finally found some commercial appeal; it brought Dave Grohl on board to pulverize on drums and arguably saw them reach their peak with “A Song for the Dead” (which closes shows, just like “Killing in the Name” did for Rage Against the Machine).
Following Songs for the Deaf, Queens of the Stone Age had finally amassed a solid fanbase that extended beyond the southwest and included more than just metalheads. Yet something cultish about Homme and company still warranted further investigation.
Who were this group founded in Seattle but engrained in the Palm Desert music scene? This tightly knit configuration of musicians innately connected to Joshua Tree boasted a leader with the same namesake, this guru whose amorphous, hallucinogen-fueled jams came to be called “The Desert Sessions”. What exactly is stoner rock? Especially when stoner rock feels so much more abrasive than our cultural understanding of being stoned. How does this all relate to anything else going on in alternative music?
Now that Queens of the Stone Age had cracked the mainstream, some of those questions were finally being answered, and many more people were digging back into Rated R if not Homme’s earlier work. In other words, the band had some unlikely momentum and a place in pop culture (one that, in hindsight, seemed tenuous at best). The natural instinct would be to double down on their good fortune and release another Songs for the Deaf, right? The reality proved much more challenging, to say nothing about Homme’s integrity as an artist, widely regarded as a musician’s musician.
Thus, Homme faced a daunting task leading up to Lullabies to Paralyze (2005). The challenge was how to extend the strong start to their tenure. Historically, very few acts could brag about a near perfect run from the outset (your Bob Dylan, Velvet Underground, Led Zeppelin, and Bruce Springsteen types), and that pressure can weigh on a group. So Homme did what any band leader would do. He waited three years until their next release, fired a founding member, and cobbled together a lineup that highlighted notable if not surprising guest contributions.
All of this suggests that the result was a mixed bag. The record features a few of the best songs Queens of the Stone Age has ever recorded, but it also contains some forgettable moments. However, suggesting that Lullabies to Paralyze was the average misses the point. The lasting impact was that the band further carved a niche for themselves, while not being beholden to outside influences, a delicate balance they still maintain today.
On Lullabies to Paralyze, Queens of the Stone Age came to terms with how they didn’t naturally fit anywhere. Sure, they were hard rock by some standards (and that is where you will find them on the radio today), but they were also melodic. They maintain connections to grunge and classic rock, but their scene always superseded those designations. They had plenty of devoted fans and other artists that became champions but not necessarily followers (Arctic Monkeys being the surprise exception). Queens of the Stone Age zeroed in on those qualities that made them stand out amongst their peers and celebrate them, offering a purer alternative to alternative rock.
Queens of the Stone Age was never meant to be a permanent ensemble, drawing comparisons to an act like Nine Inch Nails. Despite there being one central figure (Homme, the undisputed leader), bassist and sometimes vocalist Nick Oliveri had been with Homme since their time in Kyuss. The two very much played a part, Homme, the tall ginger in western garb and stylish hair, with Oliveri, his bald, goateed, and shirtless counterpart. Visually it was a sight, and, even if Homme was front and center, Oliveri was always just off to the side. That is until he got kicked out of the group.
Even if rumors about Oliveri’s departure are disputed (whether it be excessive partying, disrespectful behavior toward fans on tour, or possible abuse of his girlfriend, only they will ever know), Queens of the Stone Age were forced to adapt. Oliveri had a unique punk sensibility; he was also the more playful and ornery of the two. For that reason, Lullabies to Paralyze feels like a somber occasion. That mood dovetails with the dark lullaby theme that runs through the work.
Queens of the Stone Age course corrected as best they could. If Songs for the Deaf felt like a left-of-the-dial acid trip down a desert highway, then Lullabies to Paralyze was the flickering fire in a clearing where the car broke down. The album contained plenty of nocturnal elements, not the least of which was “The Blood Is Love”, which would perfectly soundtrack a chase scene in a horror movie. On “You Got a Killer Scene There, Man…”, Homme sings, “I just curse the sun so I can howl at the moon.” Even “Everybody Knows That You’re Insane” imitates a trippy Soundgarden before kicking it into high gear on the same secluded, treacherous road.
Mark Lanegan again makes his presence felt, but it’s more of a bait and switch, as he is the centerpiece of the opener, “This Lullaby”, but only provides backing vocals on “Burn the Witch” and “You Got a Killer Scene There, Man…” (setting aside his contribution on the bonus track cover of “Precious and Grace”).
Related, ZZ Top‘s Billy F. Gibbons offers his signature guitar work on “Burn the Witch”, but it’s more of a diversion than any substantial contribution. Jesse Hughes plays flute elsewhere, and Shirley Manson and Brody Dalle offer backing vocals, but those guest appearances feel more like friends just dropped in, as if this were another desert session.
The impression is that Homme wasn’t sure which direction he wanted to take the music. This wasn’t the same band that had released the twisted and druggy Rated R, but “Medication” is a “Feel Good Hit of the Summer” pinch hitter. The sloppy “Skin on Skin” leaned into libertine theatrics. Homme also explored some eerier sounds and blended those tones with the angular onslaught of “Someone’s in the Wolf”. The plaintive guitar on “Long Slow Goodbye” delivered a melancholic emotional sendoff. What began as a beautifully dark lullaby presented noteworthy twists and turns.
Even if the album remains a conundrum, Lullabies to Paralyze contains some of Queens of the Stone Age’s best work. Moods that Homme captured range from sensitive to scary, and most tracks fan the flames that burn at moderate intensity. For instance, the record contains relatively straightforward songs, like the first two singles “Little Sister” and “In My Head”, which prove memorable, even if they don’t stand out amongst their most lasting efforts.
With the release of “Little Sister”, many fans were underwhelmed if not downright disappointed, but they obviously didn’t stick around for the excellent guitarwork and solo. The track was understated and concealed an intensity held closer to the vest, whereas “In My Head” featured minor chord changes and haunting background vocals.
Other tracks ultimately became more celebrated. The bluesy “Burn the Witch”, brought together Lanegan and Gibbons for some nightmarish imagery and a nihilistic rejoinder: “Ask yourself / Will I burn in Hell? / Then write it down / And cast it in the well.” “I Never Came” became the obvious fan favorite, with Homme’s delicate vocals hovering above the simple guitar strums, sliding bass, and punctuated drums.
Following Queens of the Stone Age’s initial run, asking them to maintain the furious pace felt like too much. Alas, Lullabies to Paralyze would not become their Loaded or Darkness on the Edge of Town. However, Homme’s rock and roll brand could no longer be denied, as he took the helm and doubled down on sounds that better represented this new collective.
Reflecting upon the record at 20 years, Homme didn’t take a big swing and hit or miss; he didn’t play it entirely safe either. Lullabies to Paralyze showed signs that Queens of the Stone Age would become a singular institution. Homme and his band would garner mass appeal, captivating headbangers and hipsters alike by sticking to his guns and playing the long game.