Lullabies To Paralyze (Explicit Version)

March 22, 2005 | Format: MP3

$9.49
Song Title
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30
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1:22
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1:54
30
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4:14
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4:13
30
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3:35
30
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4:01
30
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2:54
30
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4:48
30
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7:15
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6:37
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11
3:42
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3:02
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4:56
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14
6:53
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Product Details

  • Original Release Date: March 21, 2005
  • Release Date: March 22, 2005
  • Label: Interscope
  • Copyright: (C) 2005 Interscope Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 59:26
  • Genres:
  • ASIN: B000W01ZE8
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (213 customer reviews)
  • Amazon Best Sellers Rank: #8,098 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.2 out of 5 stars

Most Helpful Customer Reviews

82 of 91 people found the following review helpful By EA Solinas HALL OF FAMETOP 500 REVIEWERVINE VOICE on March 22, 2005
Format: Audio CD
The last album by the Queens of the Stone Age was "Songs for the Deaf," a frenetic collection of the hardest kind of rock. It was a thrilling, visceral experience, not one soon forgotten. Then nude bassist Nick Oliveri departed from the band, taking the wilder edge of the band with him. Oh, what would become of the Queens of the Stone Age?

Well, if "Lullabies to Paralyze" is any indication, then they are doing fine. This album relies on Josh Homme, and it's stripped down to... well, not down to the bare bones, but some very strong, lean sinew. The albums opens with a little acoustic ballad, "Lullaby," which starts things off on a strong footing.

From there on, things get stranger -- fast paced songs that just keep speeding up, ominous buildups, and nightmarish undertones.There are moments of quieter catchiness -- "Little Sister" seems perfect for the album's first single. And a few tracks feel a bit like filler. But overall, "Lullabies" is very much in the flavour of the Queens' second album, "Rated R." Only darker and somehow more whimsical.

Singer/songwriter/guitarist Josh Homme gets to rule in this one. Truth be told, he ruled all through the Desert Sessions, Kyuss, and now he sits in the middle of the Queens of the Stone Age, like a sinister-but-not-evil mastermind. Oliveri's manic style and gimmicks are gone, and in their place is steady, dark rock'n'roll that takes strange and unexpected twists.

It's not a concept album, but it feels that way -- the mood gets generally creepier as "Lullabies" goes on. Fuzzy guitars, dark metallic riffs, and eerie harmonies get a few unusual flourishes, such as that broken music box. And Homme's vocals blend into the songs like another instrument -- great stuff.
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52 of 57 people found the following review helpful By G P Padillo VINE VOICE on March 28, 2005
Format: Audio CD
Whoever was concerned what a post-Oliveri "QOTSA" would sound like need fear no more: the future is here and it's solid. There is a deceptive "easy" quality to the work, but trust me it is deceptive. Repeated listenings of "Lullabies" reveal a growing "adult" quality to the Queens work, but the intensity that attracted so many fans is still at work here and Homme and Company give everything they have to the project with the ensuing result being: one of the best rock albums to come out this year. (Granted, the year is still young, but my comment about "Lullabies" will be just as valid come December.)

Even more, unlike other "QOTSA" that held (in my humble opinion) a few misses as well as hits, there isn't a single bad moment on "Lullabies."

Although everyone is saying this isn't a concept album, "Lullabies to Paralyze" has a strong feeling all the way through it that make it nearly impossible not to want to listen to the entire thing. Over and over. A+ Effort!
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10 of 10 people found the following review helpful By Tim Alexander on March 22, 2005
Format: Audio CD
This album is great. It grows on you the more you listen to it. In my opinion, it's better than Songs for the Deaf, and much much better than R (which I thought only had a few good songs). This album however is a great overall album - good songs the whole way through. Especially tracks like 'Everybody Knows That You Are Insane', 'I Never Came', 'Medication', and 'Someones In The Wolf' for which there's a film clip on the bonus dvd (in Australia). I think this album is a little darker and more melodic, which is a good thing in my book. It's also sounds more like their classic self-titled album (I need to listen to this new one a bit more before saying it's better than their first album, as it one of my all-time favourites). The absense of Nick Oliveri seems it will now prove what Kyuss fans have known all along that Josh is a very talented musician, as the first QOTSA album also proved (I'm not saying that Nick isn't very talented himself).
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10 of 11 people found the following review helpful By Wheelchair Assassin on March 26, 2005
Format: Audio CD
By now it's no secret that you can always rely on Queens of the Stone Age to deliver your fix if you're jonesing for some intelligent, interesting hard rock, and their latest album shouldn't do anything to tarnish their already lofty reputation in the rock world. That said, there are some pretty big changes to be absorbed here, starting with the personnel: after the commercial breakthrough of Songs for the Deaf, bassist and co-founder Nick Oliveri left and took the band's punkish edge with him, while Dave Grohl departed with his legendary drumming skills and his star power in tow. However, Josh Homme apparently wasn't going down that easy, as he quickly regrouped, took the helm himself, and churned out Lullabies to Paralyze with a reconstituted lineup. There are some other changes to absorb, as well, as the band's recent tumult is reflected in a rather modified sound. For those accustomed to the catchy, at times even radio-friendly stylings of Songs for the Deaf or its predecessor Rated R, this album will surely come as something of a surprise. And even those who are familiar with Josh's larger body of work going back to his days with stoner rock pioneers Kyuss are likely be taken somewhat aback by what's on display here.

Whatever you may think of him, you've got to give Josh Homme credit for at least one thing: for a guy who just experienced an unlikely commercial breakthrough less than three years ago, he's not playing it safe and cranking out singles for the local corp-rock station on this album. Lullabies to Paralyze is notably less accessible and immediately gratifying than the album that came before it (and the album that came before that, for that matter), as it's marked throughout by a twisted guitar sound and an overall disaffected mood that only intensifies as it goes on.
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