King of Queens

Josh Homme is on his own.

After a dramatic photo shoot affair and brief romantic episode, Brody Dalle of

The Distillers is out of the picture. Last year, he threw Nick Oliveri, his bassist and fellow creative force in Kyuss and Queens of the Stone Age, out of the group. And Dave Grohl has gone back to being Dave Grohl.

Now Queens of the Stone Age is his. And it shows.

On "Lullabies to Paralyze," the group is not the same fantastic, shape-shifting beast it was on "Songs for the Deaf." Instead, they are a more inventive version of the streamlined "robot rock" group that created "Rated R."

Oliveri's songwriting had as much an apparent influence on "Songs for the Deaf" as Homme's. Without anyone really mixing it up on the low end, "Lullabies to Paralyze" is a guitar-driven record. Homme has more melodic weight on his shoulders both vocally and guitar-wise.

He's made a record begging to be cranked in a drop-top 60's Chevy on Route 66. Shot glass slide guitars abound. This is driving music.

At some points, Homme's guitar work reminds of Jack White's of The White

Stripes in its bluesy approach, especially on "Burn the Witch," his apparent shout-out to Brody. Homme's chunky riff on this track sounds like White's on "The Hardest Button to Button."

The album begins with "This Lullaby," sung by Mark Lanegan of The Screaming

Trees. QOTSA's ability to pull in multiple musicians to vary the mood on their albums is respectable, and really adds to the texture on this album. Lanegan's old leather baritone sounds like the future voice for the chain-smoking Homme's jaunty croons.

After "This Lullaby," the guitars dive into the even strumming, robotically

rhythmic sound they're known for, on "Medication" and the chorus of "Everybody

Knows That You Are Insane."

"Tangled Up in Plaid" is this album's best attempt at recreating the pure sex of "Go with the Flow." It comes close, that's for sure.

"I could keep you all to myself/ I know you gotta be free/ so free yourself," sings Homme, hopefully decked out in his best flannel. It's not deep, but everybody's been through that one, and the hook is the kind you use to reel in The White Whale.

Homme's writing is poetic but not as advanced as it seemed on "Songs for the

Death." His songs are more personal, and a bit thinner. Whether this makes the record better depends on the listener, or maybe even the listener's mood.

Without Oliveri, another thing lacking is the screaming, something that added another dimension to the last record. This absence makes "Lullabies to Paralyze," that much more Homme's baby. He is forced to vary his vocals, and he handles this obligation nicely, particularly on the clever ballad "I Never Came."

Not every song on the album is as fresh, however. "Skin on Skin" is an example of QOTSA's only bad habit: they can get a little too fascinated with one riff and play the living hell out of it. If you've heard their self-titled debut, you knew that already.

"'You Got a Killer Scene There, Man'" brings it back with a Doors-like trip into cool, even blues rock. Homme actually sounds a bit like Morrison when he's chilled enough.

Out of the 14 songs, at least 10 are genuine keepers. It would be unfair to grade this album on the same rubric as "Songs for the Deaf," an impeccable triumph of collaboration between Homme, Oliveri, Lanegan and Dave "I used to be in Nirvana, man" Grohl.

Without Grohl and Oliveri pushing the tunes rhythmically, "Lullabies" doesn't reach the passionate heights "Songs for the Deaf" did, but it may be a more focused effort.

The Queens remain in good hands.

Standout tracks: "Tangled Up in Plaid," "Little Sister," "I Never Came"