Them Crooked Vultures - Them Crooked Vultures

Returning from the mists of time, it seems that the time of the supergroup is upon us once more.

Following Jack White’s The Dead Weather (although, really, Alison Mosshart was the only other ‘name’ in that particular team up), we arrive at the main event with rock fans drooling in anticipation about Them Crooked Vultures since the news of the link up spread across the web a scant few months ago (although the project was first mentioned in an interview back in 2005).

First, for those who’ve lived under a rock for the past thirty years, a potted history of the three musicians who make up the band.

On bass and keyboards, John Paul Jones of, most notably, rock behemoths - and the band who perhaps defined rock music more than any other - Led Zeppelin. Already a veteran, in-demand session player by the time he joined Led Zep, he is also a talented arranger, multi instrumentalist and producer.

On drums, the nicest man in rock, Dave Grohl. From replacement tub thumper for Nirvana to frontman and chief songwriter in Foo Fighters, he has made the transition from behind the kit look easy with a polished and very successful back catalogue behind him.

Josh Homme has perhaps the lower profile of the trio but, as vocalist and guitar player here, is the most dominant in Them Crooked Vultures’ sound. Homme is best known as frontman of Queens Of The Stone Age as well as side projects, the collaborative Desert Sessions and Eagles Of Death Metal and producing chunks of the Arctic Monkeys’ ‘Humbug’ album (generally turning them into rock gods in-waiting).

Them Crooked Vultures’ line-up must be a marketing man’s dream, spanning John Paul Jones’ classic rock credentials, Dave Grohl’s FM friendly chart bothering rock, through to Josh Homme’s cooler, credible, end of the spectrum. You’ve got pretty much the whole genre of rock represented, drawing fans of all ages and tastes to the party.

With all three handling production, it’s a testament to their professionalism that we haven’t heard any rumours of mixing bust ups. Imagine those “The drums should be louder” / “No, the bass should be louder” arguments that could’ve taken place.

The album opens with ‘No One Loves Me And Neither Do I’ - its see-sawing riff not an instant classic but certainly enough to perk up the ears. It’s a considered beginning at odds with the expected riff-athon. These guys’ previous and present bands having created the majority of riffs that can be heard being mangled in guitar shops up and down the country on any given Saturday. Even just two, Nirvana’s ‘Smells Like Teen Spirit’ and Led Zeppelin’s ‘Stairway To Heaven’ would probably fulfil that task. Then, just as you’re getting comfortable, a wet flapping monster riff slaps you around the head, signalled by Homme’s suitably strenuous ‘Ugh!’ Okay, this is more like it.

‘Mind Eraser (No Chaser)’ picks up the pace, heading straight for the jugular with turbo charged QOTSA vibe, although that brief marching band coda was certainly unexpected.

Throughout the album, you’ll find yourself ticking off the Led Zep or QOTSA referencing moments. Unavoidable given the nature of the project, but entirely justified and, in a way, spoiling the fun of these three gents who are clearly having the time of their lives.

‘Elephants’ is nearly seven minutes of catch-me-if-you-can riffing, changing speed, mood and tempo with the first real appearance of John Paul Jones’ typically majestic strings during the song’s middle eight.

‘Scumbag Blues’ was one of the songs latched on from the trio’s live debut, in Chicago in August, an appearance that showed the Internet’s power with a notable buzz and every detail making their way across the globe within hours. You can’t help but smile and think of Led Zeppelin’s ‘Trampled Underfoot’ on the clavinet’s appearance. Indeed, throughout the album, Jones’ multi instrumental contributions provide welcome light to the drum/bass/guitar onslaught.

The only track that breaks away from the quickly established template is ‘Interlude With Ludes’, a loungey curio from the deepest ocean that serves as a late period breather and a suitable segue into ‘Warsaw Or The First Breath You Take After You Give Up’, a mid-paced effort that’s maybe the poppiest on display here. Of course, pop here is a relevant term - maybe ‘radio friendly’ would describe it more accurately, with its helter skelter chorus and castrated male choir backing.

‘Caligulove’ is a real gem - the fairground organ amping up the sleaze as Homme does his best louche, rock star drawl. That Led Zep clavinet reappears on ‘Gunman’, adding a funky edge to the album’s closing section, before ‘Spinning In Daffodils’ opening classical piano is defaced by a ghostly guitar squall. It then builds to a multi-layered, interlacing crescendo then drops out to a lonesome slide guitar and campfire band, the ending being one of the quieter parts of this debut.

Despite that crazy equation that goes, ‘three musicians from individually successful bands = a supergroup three times as good’, Them Crooked Vultures have created an album with plenty to recommend it. Rather than chase the obvious stadium-packing hybrid so easily at hand, they’ve strived a lot harder and farther to create a serious piece of work that, while unable to live up to some’s expectations, will do just fine for fans of their respective bands.

7/10

Words by Nick Annan