Many heads turned last summer, as Spinnerette frontwoman, Brody Dalle, reinvigorated hopes for one of the most anticipated collaborations in the history of music. “I’m not at liberty to talk about it [...] but I think [the project] is pretty fucking amazing. Just beats and sounds like you’ve never heard before” she said to Antiquiet, as she turned what seemed like fantasy when Dave Grohl last mentioned it in 2005 (in an interview with Mojo), to a seeming reality. Them Crooked Vultures is hardly a supergroup – more along the lines of the supergroup, with Josh Homme, John Paul Jones, and Dave Grohl on board.

The Vultures continue from where Homme’s Queens of the Stone Age left off with Era Vulgaris, but with Zeppelin-esque groove, due to their impeccable rhythm section. Yes, even Grohl – though everyone knows what violence he is capable of on his kit due to his career in Nirvana, he takes a funkier, Bonham-driven approach, as can be seen on tracks such as “Gunman” and “Scumbag Blues”. Homme gives the album its sugar and spice, with his sexy-heavy riffing on tracks like “Elephants”, that have one banging their head whilst dancing. But the album’s most significant contributions are easily JPJ’s work, as he gives it technicality, rhythm, and melody, in more ways than the average bassist would ever imagine.

Not only does he have experience, but as a session musician and Zep’s greatest musical talent, he can bend, twist, and turn your time signatures, without risking integrity to the sound, like many a musician do. “No One Loves Me & Neither Do I” goes into a seemingly simple bridge, but teases the brain just enough for one to crack an understanding smile, while “Bandoliers” adds Kashmir-esque touches to the melody, with the help of JPJ’s keys. As talented as he is, it is definitely smarts that JPJ has over other musicians; and if musical history has told us anything, it’s that musical intelligence doesn’t necessarily come with experience, as few aged rockers could contribute such quality musicianship.

Aside from the details, however, the Vultures’ debut stands out as an impressive collective song-writing effort – a feat truly remarkable from a “supergroup”, as one will rarely see such consistency in music, with a group of seasoned and distinguished musicians. If anything, such a project is just an opportunity to rake in tons of money, while each musician wanks all over the art in their own style, but with the Vultures it’s just not the case. Is it even worth mentioning that the album is a self-produced effort? There’s already enough to drool off of.

Equal contributions from each member and a true passion for what they’re playing gives the debut a truly unique identity, and sparks hope within a stale and dying music industry. Homme and Grohl are already in the spotlight, but maybe for once Page and Plant will be in the shadows, because Mr. Jones sure as hell deserves more recognition.

(9.3/10)