Have you ever played that game with your friends where you cherry-pick musicians from various bands to create your own hypothetical supergroup? Them Crooked Vultures come right out of those rock and roll fantasies to knock you on your ass, teabag you into submission, and leave you begging for more. The combination of Josh Homme, Dave Grohl, and John Paul Jones sounds just like you’d expect, if what you expect is the sound of those blurry moments between last call and first orgasm. It’s dark, dirty, tastes like sweat, and smells like cigarettes. It’s sex you know you shouldn’t be having, somewhere you shouldn’t be having it.
Them Crooked Vultures is all about the rhythm, which makes the 13 tracks on their debut perfect for those late night after-bar booty calls, cruising with the windows down and the subwoofer cranked, or even just a night at home with bong rips and headphones. Homme has always been at his best working in riffs, and with this dream team rhythm section behind him, the trio locks into a groove and dares you to try to hang on. I wish I was a rapper, because I’d be sampling the shit out of this album, especially the beginning of “Elephants” or the moment in album opener “Nobody Loves Me & Neither Do I” when it seems like they kick everything up to 11 and march the song into a different realm for the second half before turning things over to Grohl to finish it all off with an insane John Bonham-esque finale. The Hammer of the Gods references are inevitable with Jones on board, but T.C.V. isn’t your momma’s Led Zeppelin, unless your momma likes to mix shrooms with her 8 balls and whiskey, take off her top, and dance way too fast to “No Quarter.” (more…)


Chicago, Illinois, April 1977 — I knew what I was in for ten seconds after Guitar Player said to me: “We want you to interview Led Zeppelin.” My head filled with the clarion call of screaming guitars and in a moment of epiphany I saw it all: Jimmy Page would be my touchstone. Every story I’d ever written or ever would write would be measured against this one.
Ever since George Clooney lip-synched his way through Dan Tyminski’s version of “I am a Man of Constant Sorrow” in the Coen Brothers’ 