Queens Of The Stone Age

March 8, 2011 | Format: MP3

$9.49
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4:37
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3:25
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3:22
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5:01
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4:18
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3:45
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3:31
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4:55
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2:46
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6:36
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3:07
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3:09
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6:26
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5:02


Product Details

  • Original Release Date: March 8, 2011
  • Label: Rekords Rekords
  • Copyright: 2011 Rekords Rekords. Marketed and distributed by Domino Recording Co Ltd
  • Total Length: 1:00:00
  • Genres:
  • ASIN: B004OM2K94
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (133 customer reviews)
  • Amazon Best Sellers Rank: #352 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.7 out of 5 stars
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See all 133 customer reviews
This album is a bridge from the Kyuss session to the new robot rock sound of QOTSA.
Georgios Kanakis
I would definitely recommend this to anyone who's just started listening to this band, this album will suck you right in.
Khalid
This self titled, debut album by Queens of the Stone age is probably one of the best albums I've ever heard.
Jonathon August

Most Helpful Customer Reviews

22 of 23 people found the following review helpful By Sal Nudo VINE VOICE on May 27, 2003
Format: Audio CD
From the explosive opener, "Regular John," to the subtle and soulful closing song, "I Was a Teenage Hand Model," this is one splendid debut album by QOTSA. From the gimmicky Mexican-tinged thematics, to the abstract song titles that have seemingly little to do with the lyrics, to the crushing and tuneful guitars and awesome drum work, this is one of the best rock and roll CDs in my collection. It's like Led Zeppelin meeting the Pixies who meet up with the Stone Temple Pilots. There's lots of muscially pleasing stuff here, riff after riff, gigantic chord after gigantic chord, as the songs breezily sail forward before you even know what hit you, without one plain or unworthy musical moment occuring.

Mastermind Josh Homme, he of the pleasing, purely melodious song structures emanating from his head to his guitar on a 24-hour basis, plays stellar guitars while changing his falsetto voice and mood from mournful to pleading to bored as the album moves along. It's not all Homme, though. Part of this album's charm is its pervading darkness, underneath all the big guitars, crass, indifferent attitude and bravado. Much of this ingratiating darkness comes from the heavy bass sound heard throughout. Mixed with Homme's crush-heavy ax guitar is somber, Soundgarden-like tuning down, which makes for great music. These guys are much more akin to Nirvana than bands like the Foo Fighters, Blink-182 or most radio bands today who are slaves to their record companies. In my mind, QOTSA were undoubtedly so sure of themselves back in 1998 for one reason: Their music was unstoppable. It's notable that QOTSA's original drummer was great on the skins; his drums on this album really enhance the overall sound.

One song of special mention is the somber "You Can't Quit Me Baby.
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16 of 18 people found the following review helpful By M. Justin Fort on May 19, 2003
Format: Audio CD
Finding out about Queens of the Stone Age is like opening that trunk in the basement. The funky one you never really noticed, the one that's been there longer than you can remember, the one that's full of priceless stuff you've always wanted and should've found ages ago.
QOTSA revealed themselves to me on the Heavy Metal 2000 soundtrack which I bought for a one-off Pantera tune, and in the classic form of bad movies having exceptional music attached to them I found the QOTSA sound, playing "Infinity" to the best of their form. About a month later, they were booked for the Winter X Games at Mammoth Mountain. After 3/4 of the floor cleared because their limp aural ethic couldn't handle the QOTSA vibe, it was up to me and twenty devoted friends, by ourselves, to be hit full and complete with a great show that reached well back into QOTSA history. After the show, one of my pals suggested I look into Josh Homme's roots and listen to Kyuss if I like this stuff so much. After you buy this album, go try Kyuss' Blues for the Red Sun and it just gets better. This sound has its own gravity.
The band creates high quality, juicy, sludgy, fat and chewy neo-Sabbath stoner/desert rock without sounding like they're trying very hard at all. Their ability to stick to a groove and play it out is uncanny. "You Would Know" - a weird, jerky phone call-stalker anthem that grows into a exceptionally heavy mini-raga. "Avon" - made for radio but too damn good for people to appreciate. "You Can't Quit Me Baby" - suicide on a stick, a melody rich plea for recognition. None of it's the same - listen and grow into it. All of this sound smacks of garage band production ethics done for the big screen, and the QOTSA sound is uncorruptable. If you like your desert metal big and thick, intelligent and complete but utterly rock & roll with a meaty slab of funky Black Sabbath or Deep Purple-style metal flair, try this on.
jf
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26 of 31 people found the following review helpful By bmw5002 on October 30, 2004
Format: Audio CD
I first bought Songs for the Deaf and was pretty blown away. Being a classic rocker, I usually cringe at the sound of modern music these days. The QOTSA sound was unlike any other ive ever heard before and I instanly fell in love with it. The way the album sounded like a radio was also very cool. Anyways, I just recently decided I'd pick up the other two albums of the collection. Rated R was so-so. However, this album, their self-titled debut is outrageous! It's about 3 times better than songs for the deaf, if that is possible. I like every song on this album. I recommend it to anyone that is looking for something different than the nu-metal sound that so many bands posess today. Considering I usually listen to the Floyd, Zeppelin, Beatles, and The Who, you should take it from me that this is an amazing modern band and an amazing album.
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13 of 15 people found the following review helpful By Luke on May 27, 2011
Format: Audio CD
Finally the long awaited reissue of Queens of the Stone Age's self-titled debut arrives, much to the delight and anticipation of fans yet to snag a high priced original copy of the out of print classic. For the fans yet to acquire a copy of the original pressing this reissue is a no-brainer, BUY, BUY, BUY! So perhaps the more relevant question should be: Is this a good value reissue worth re-buying for the fans that snared an original copy in years past?

After such a long wait and several lengthy delays I can report that this reissue has been carefully put together with some nice new features and a healthy respect to the great, almost cult status of the original pressing. Firstly the tracks themselves have been updated with a remastering job. Now there is good argument that the original album sounds as crisp, fuzzy and vibrant as ever and a remaster is entirely unnecessary. Those who dispute the idea of a remastering have a good point; however, after piecing together a reissue of an album over ten years old why not give it a nice tune-up? Admittedly the results are quite subtle and it took listening to the older pressing and this new update side-by-side to distinctly discern between them. Josh Homme's vocals are a little clearer and more up front while the guitars and general mix offer enhanced clarity and volume.

Perhaps the greatest asset of this reissue is not only the inclusion of three hard-to-find B-sides previously available on their early splits with Kyuss and Beaver, but the fact that Homme sequenced them carefully into his once intended order in the original release. This is refreshing after so many reissues slap the bonus tracks at times haphazardly at the end of the album proper, or on an extra disc.
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