By Brad Lopez
By Tom Murphy
By Noah Hubbell
By Inkoo Kang
By Dave Herrerra
By Josiah M. Hesse
By Britt Chester
By Noah Hubbell
Kyuss's time was rapidly drawing to a close, however, although the group issued two more albums, Sky Valley and the somberly titled And the Circus Leaves Town, before calling it quits in 1995. As for the breakup, Oliveri says, "There was a lot of political things in terms of business managers. Once everyone was trying to screw the band, Kyuss took a passive-aggressive approach. Instead of trying to rise above it, they said, 'All right, whatever. It's over.' Y'know, just break it up. That was the Kyuss mentality."
Josh Homme moved to Seattle and toured with Screaming Trees for two years. In the interim, he released Kyuss/Queens of the Stone Age, a split EP of unissued tracks from his former band and his new one. Not since the Move "presented" the Electric Light Orchestra has one group so deftly mutated into another.
When the invitation to play with the Queens came up, Oliveri was living in Texas and feeling sorely out of place. "I moved there to check it out," recalls Oliveri. "I don't know why. Living there was kind of weird. If you're from anywhere else, you're considered a transplant, and I'm not too much into the pride of any flag, y'know. And Texas is." Oliveri moved back to Palm Desert, where he'd lived since the early Eighties. "Actually, there was more of a scene then; there really isn't one now," he says.
Among the groups in the current music scene are the Earthlings (which features newest Queens member David Catching), Fatso Jetson, and Uneeda (featuring former Kyuss lead vocalist John Garcia). "Everyone's played with each other, or at least a member or two has played or jammed with somebody," says Oliveri.
This rather incestuous cabal of musicians also seems to revolve around Monkey Recording Studios, co-owned by Goss and engineer Steve Feldman. Up-and-comers like Fu Manchu and the Flys have recorded there in recent months, while countless others have come hoping to capture that elusive desert sound. The Queens recorded their eponymous debut there, returning recently to lay down several new tracks. One song recorded during those sessions, "Infinity," will surface later this year on the soundtrack of the long-awaited sequel to the animated movie Heavy Metal.
Although the first Queens of the Stone Age album features three-fourths of Kyuss's Red Sun lineup, it's hardly a case of Kyuss Mach II. While the emphasis on the band's debut album for the Loosegroove label is still on the act's heavier side, there's an element of pop that would have been unthinkable in the context of the previous group. The track "If Only" features the most tell-tale of all pop signs -- the hand-clap track. Another trait that sets the Queens apart from Kyuss is that Josh Homme decided to start singing.
"I'm a big fan of John Garcia," says Oliveri of Kyuss's powerful wailer. "But to have a guy like John singing, you might as well call it Kyuss. Josh adds a new element. He tried out a bunch of singers until somebody finally told him, "'Dude, nobody else is gonna sing this shit, so you gotta sing it yourself.'"
Compared to Garcia's supercharged voice, Homme's down-to-earth vocal register humanizes the songs and brings a good deal more humor and pathos to them. When he sings "Life is a trip when you're psycho alone," on "You Can't Quit Me Baby," one of the album's standout tracks, it resonates with empathy rather than coming off as a put-down. And while the title and the weird slide tunings are a tip of the hat to Led Zeppelin, the bizarre, low-timbre, humming voices on that track and on "Give the Mule What He Wants" are right out of one of Ennio Morricone's scores. Unlike most guitar heroes whose "talent" depends on how many notes they can cram into a single measure, Homme will bend the same note for two minutes to get a suitable trance-like mood, as he does on "Walkin' on the Sidewalks."
Clearly, the Queens are not afraid of left field. When asked what direction the next album will take, Oliveri laughs. "Up, down, side-to-side, man. It's going in all different directions. I think you'll dig it. Some songs will be heavy, some songs will be trippy. We want to be able to move around with it and keep it new for everybody."
Aware of how playing the same songs all the time can quickly get boring, Oliveri promises surprises on the concert front as well. "We're gonna try tours where we have two drummers, tours where we have two guitar players, add and subtract members. We tour so much, and we plan to stay on the road and make records."
The Queens made good on that promise during their last tour, when they enlisted new member Dave Catching to play electric piano and lap steel as well as rhythm guitar on a couple of songs. "We want to be able to do stuff live that expands on the album. We're not trying to write any hits."
Maybe not, but many of the tracks from the group's first album could easily match the Foo Fighters for catchiness and focused hooks. Cementing their appeal with alternative radio, the Queens recently toured with Smashing Pumpkins. "They played smaller places, for them, so nobody who would have come to see the Queens would have been able to get in, 'cause it was all sold out in however many minutes," says Oliveri. "We really enjoyed that tour, because we wanted to play for the young girls."