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"Because ignorance of your culture is considered uncool"

Tool – Lollapalooza – Des Moines – 1993 – Past Daily Backstage Weekend

• November 30, 2019

Tool in concert this weekend. An early concert by way of the 1993 Lollapalooza Festival at Des Moines Fairgrounds, recorded June 28, 1993.

In case you don’t know – Tool is an American rock band from Los Angeles. Formed in 1990, the group’s line-up includes drummer Danny Carey, guitarist Adam Jones, and vocalist Maynard James Keenan. Justin Chancellor has been the band’s bassist since 1995, replacing their original bassist Paul D’Amour. Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

To date, the band has released five studio albums, one EP and one box set. They emerged with a heavy metal sound on their first studio album, Undertow (1993), and became a dominant act in the alternative metal movement with the release of their follow-up album Ænima in 1996. Their efforts to unify musical experimentation, visual arts, and a message of personal evolution continued with Lateralus (2001) and 10,000 Days (2006), gaining critical acclaim and international commercial success. Their fifth studio album, Fear Inoculum, their first in thirteen years, was released on August 30, 2019 to widespread critical acclaim. Prior to its release, the band had sold over 13 million albums in the US alone.

Due to Tool’s incorporation of visual arts and very long and complex releases, the band is generally described as a style-transcending act and part of progressive rock, psychedelic rock, and art rock. The relationship between the band and today’s music industry is ambivalent, at times marked by censorship, and the band’s insistence on privacy.

Tool released their first full-length album, Undertow (1993). It expressed more diverse dynamics than Opiate and included songs the band had chosen not to publish on their previous release, when they had opted for a heavier sound. The band began touring again as planned, with an exception in May 1993. Tool was scheduled to play at the Garden Pavilion in Hollywood but learned at the last minute that the venue belonged to the Church of Scientology, which was perceived as a clash with “the band’s ethics about how a person should not follow a belief system that constricts their development as a human being.” Keenan “spent most of the show baa-ing like a sheep at the audience.”

A band logo created by longtime collaborator Cam de Leon, this wrench is an example of “phallic hardware” in Tool’s imagery. Tool later played several concerts during the Lollapalooza festival tour, and were moved from the second stage to the main stage by their manager and the festival co-founder Ted Gardner. At the last concert of Lollapalooza in Tool’s hometown Los Angeles, comedian Bill Hicks introduced the band. Hicks had become a friend of the band members and an influence on them after being mentioned in Undertow’s liner notes. He jokingly asked the audience of 10,000 people to stand still and help him look for a lost contact lens. The boost in popularity gained from these concerts helped Undertow to be certified gold by the RIAA in September 1993 and to achieve platinum status in 1995, despite being sold with censored album artwork by distributors such as Wal-Mart. The single “Sober” became a hit single by March 1994 and won the band Billboard’s “Best Video by a New Artist” award for the accompanying stop motion music video.

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List of Tool concert tours

Grammy Award winning American rock band Tool has toured worldwide extensively.

Tour history

As an opening band, as the headlining band, guest musicians, external links.

Tool has performed songs by other artists occasionally in their live sets, including "Spasm" and "You Lied" by Peach , "Stranglehold" by Ted Nugent , "Demon Cleaner" by Kyuss , " No Quarter " by Led Zeppelin , and "Commando" by The Ramones . [1]

The song "Ticks & Leeches" is only rarely performed live due to the immense strain on Keenan's voice. However, they have performed it at least a few times during their 2001 ( Irvine, California ) and 2002 tours including appearances in Sacramento, California , Tacoma, Washington , Fort Lauderdale, Florida , Katowice (Poland), London (England), and Berlin (Germany), with Keenan using heavy vocal effects and distortion. [ citation needed ] Tool added 'Ticks & Leeches' back to the set list for the 2012 North American Winter Tour.

In 1991, Tool played a number of small clubs in the Los Angeles, area and were signed to a major label. The two live tracks of the Opiate EP were recorded during a December 31, 1991, performance. Tool Embarked on a U.S. club tour in 1992, playing only one Canadian and one Mexican date. The band often played on a small stage, with minimal or no lighting, sometimes to only a handful of people. The set list would change from night to night, but would usually include most (if not all) of Opiate and a handful of then unreleased songs from Undertow . Some were performed with working lyrics such as "Undertow" and "Bottom".

Tool toured extensively in 1993. The band found themselves on many European festivals as well as the U.S. Lollapalooza festival. They were drawing such a crowd playing the second stage at Lollapalooza, that they were moved up to the main stage, midway through the tour. The band debuted the songs "Intolerance", " Prison Sex " and "Flood" on January 26, 1993. The set list would vary from night to night, depending on the time slot Tool was allotted, but " Sober " and "Prison Sex" were always played.

Tool Toured Europe and the U.S. again in 1994. The band debuted their cover of Led Zeppelin 's " No Quarter " as well as the songs "Disgustipated", "Pushit" and " Stinkfist ". "No Quarter" often transitioned into "Disgustipated", and "Opiate" would be played back-to-back with "Flood", transitioning smoothly between songs and skipping the lengthy intro to "Flood". During this time, Tool's stage show began to grow and better reflect the band. During a show in London at Shepards Bush, the band had a man dressed as Jesus join them on stage. At the same show, future Tool member (then member of opening band Peach ) Justin Chancellor joined the band for the song "Sober". Around the same time, tensions began between Keenan and D'Amour . As in previous years, the set list would change from night-to-night for most of 1994.

Tool only played a small number of shows during 1995, but it was a very important year for the band. Debuting the songs "Eulogy", "H" and " Ænema ", all in early forms with working lyrics. Tensions were very high between Keenan and D'Amour during this time, and April 14, 1995, would be D'Amour's last live show with the band.

In 1996, Tool began their extensive touring for Ænima in Pomona, California , where they debuted " Forty-Six & 2 ", "Hooker with a Penis", "Jimmy" and "Third Eye". This was also Chancellor's first show with the band. "Die Eier von Satan" was played once on December 19, 1996. They also played South Park 's 'Spirit of Christmas' animated Christmas card during the show. During this year, Tool started extending "Prison Sex" by adding an extra verse — known by fans as "Prison Sex OTRM" ("on the road mix" or "over the rainbow mix") — and the intro to "Sober", which later appeared on Salival as the track "Merkaba". Tool's stage show grew with the addition of two giant projection screens. Keenan would paint himself blue and white for his performances, and Chancellor would also sometimes be painted with spots. Although the band was changing the set list up quite a bit at the beginning of the tour, they fell into a 'comfortable' set list during November which was played for the rest of the year with one or two wild card songs. A typical 1996 set list would look like this:

• " Third Eye "
• " Stinkfist "
• " Forty-Six & 2 "
• " Cold & Ugly "
• " Prison Sex "
• " Merkaba "
• " Ænema "

These musicians have joined Tool on stage.

Related Research Articles

Tool is an American rock band from Los Angeles. Formed in 1990, the group consists of vocalist Maynard James Keenan, guitarist Adam Jones, drummer Danny Carey and bassist Justin Chancellor, the latter of whom replaced founding member Paul D'Amour in 1995. Tool has won four Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

Ænima is the second studio album by the American rock band Tool. It was released in vinyl format on September 17, 1996, and in compact disc format on October 1, 1996, through Zoo Entertainment. The album was recorded and cut at Ocean Way Recording in Hollywood and The Hook in North Hollywood from 1995 to 1996. It is the first album by Tool to feature bassist Justin Chancellor, who replaced original bassist Paul D'Amour the year prior. The album was produced by David Bottrill.

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Melvins are an American rock band formed in 1983 in Montesano, Washington. Their early work was key to the development of both grunge and sludge metal. Primarily a trio, they have also performed as a quartet, with either two drummers or two bassists. Since 1984, vocalist and guitarist Buzz Osborne and drummer Dale Crover have been constant members.

Lateralus is the third studio album by the American rock band Tool. It was released on May 15, 2001, through Volcano Entertainment. The album was recorded at Cello Studios in Hollywood and The Hook, Big Empty Space, and The Lodge, in North Hollywood, between October 2000 and January 2001. David Bottrill, who had produced the band's two previous releases Ænima and Salival , produced the album along with the band, and became the last Tool album produced by Bottrill to date. On August 23, 2005, Lateralus was released as a limited edition two-picture-disc vinyl LP in a holographic gatefold package.

Daniel Edwin Carey is an American musician and songwriter who is the drummer for the progressive metal band Tool. He has also contributed to albums by artists such as Zaum, Green Jellö, Pigface, Skinny Puppy, Adrian Belew, Carole King, Collide, Meat Puppets, Lusk, and the Melvins.

Paul D'Amour is an American musician and was the first bassist for Tool. His bass sound is recognized by the aggressive picked tone he developed with his Chris Squire Signature Rickenbacker 4001CS, which can be heard on Tool's first full-length album, Undertow . Since March 2019, he has been the bassist for industrial metal band Ministry.

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Opiate is an EP by the American rock band Tool. It was produced and engineered by Sylvia Massy and Steve Hansgen. Released in 1992, it was the result of two years of the band playing together after their formation in 1990. Opiate preceded Tool's first full-length release, Undertow , by a year. It is named after a quote by Karl Marx: "religion ... is the opiate of the masses". It was certified platinum by the RIAA. The EP charted on several international charts when Tool released their catalog to online streaming in August 2019.

Salival is a live, outtake, and video album, released as a limited edition box set in CD/VHS and CD/DVD formats in 2000 by American rock band Tool. It includes a 56-page book of photos and stills from their music videos.

A Perfect Circle is an American rock band formed in Los Angeles, California in 1999 by guitarist Billy Howerdel and Tool vocalist Maynard James Keenan. A Perfect Circle released three of their four studio albums in the early 2000s: their debut Mer de Noms in 2000, a follow-up, Thirteenth Step in 2003; and an album of radically re-worked cover songs, Emotive , in 2004. Shortly after Emotive ' s release, the band went on hiatus; Keenan returned to Tool and started up solo work under the band name Puscifer, while Howerdel released a solo album, Keep Telling Myself It's Alright , under the moniker Ashes Divide. Band activity was sporadic in the following years; the band reformed in 2010, and played live shows on and off between 2010 and 2013, but fell into inactivity after the release of their greatest hits album, Three Sixty , and a live album box set, A Perfect Circle Live: Featuring Stone and Echo in late 2013. The band reformed in 2017 to record a fourth album, Eat the Elephant , which was released in 2018. After spending the rest of the year touring in support of the album, the band fell into inactivity until 2024 for a brief tour and one-off song "Kindred".

Maynard James Keenan is an American singer, songwriter, philanthropist, record producer, and winemaker. He is best known as the singer and primary lyricist of the rock bands Tool, A Perfect Circle, and Puscifer.

" Hush " is a song by American rock band Tool from their 1992 debut EP Opiate , recorded by producer Sylvia Massy at Sound City Studios.

"Sober" is a song by American rock band Tool. The song was released as the first single from their debut studio album, Undertow . Tool guitarist Adam Jones has stated in an interview that the song is about a friend of the band whose artistic expression only comes out when he is under the influence. "A lot of people give him shit for that," Jones explains. "If you become addicted and a junkie, well, that's your fault."

" H. " is a song by American rock band Tool. The song was released as the second single from their second album, Ænima on March 19, 1997. "H." reached number 23 on the US Mainstream Rock Tracks chart.

" Prison Sex " is a song by American rock band Tool. Frontman Maynard James Keenan wrote the lyrics. The song was released as the second single from their debut studio album Undertow . The song uses a modified drop-B tuning. The track features an "anti-climax" coda, in which memorable verses and choruses dissolve into an unrelated, quiet final section.

The discography of American rock band Tool consists of five studio albums, one box set, two extended plays, four video albums, fifteen singles and nine music videos.

Adam Thomas Jones is an American musician and visual artist, best known as the guitarist for Tool. Jones has been rated the 75th-greatest guitarist of all time by the Rolling Stone and placed ninth in Guitar World ' s Top 100 Greatest Metal Guitarists. With experience in special effects and set design in the Hollywood film industry, Jones is also the director of the majority of Tool's music videos.

" Opiate " is a song by American rock band Tool and the title track from their debut EP recorded by producer Sylvia Massy at Sound City Studios in 1991. "Opiate" serves as the final track of the Opiate EP and contains the hidden track, "The Gaping Lotus Experience". The song plays as one continuous track with a runtime of 8:32

Children of the Anachronistic Dynasty was an American rock band based in Grand Rapids, Michigan, notable for being one of the early bands of Maynard James Keenan, later of the bands Tool, A Perfect Circle and Puscifer among others.

• 1 2 Kabir Akhtar. "C3" (TXT) . The Tool FAQ . Retrieved March 2, 2006 .
• ↑ "Corrosion Of Conformity" . Metallipromo.com . Retrieved February 19, 2019 .
• ↑ "ABCD" . Metallipromo.com . Retrieved February 19, 2019 .
• ↑ "Tool Announces 2017 North American Shows to Go Alongside Summer Fest Gigs" . billboard.com . Retrieved March 13, 2017 .
• ↑ "COPENHELL" . Facebook.com .
• ↑ Roman Sokal (May 23, 2001). "Excite" (TXT) . Tool – Stepping Out From the Shadows . Retrieved September 17, 2006 .
• ↑ "Popwerk" . Last.fm . Retrieved March 28, 2015 .
• ↑ "Google Translate" . Translate.google.com . Retrieved March 28, 2015 .
• ↑ "The Tool Page: Tour Reviews" . Toolshed.dowen.net . Retrieved March 28, 2015 .
• ↑ "The Tool Page: Tour Reviews" . Toolshed.down.net . Retrieved March 28, 2015 .
• ↑ "The Tool Page: Articles" . Toolshed.down.net . Retrieved March 28, 2015 .
• ↑ Joel McIver (2002). Nu-Metal: The Next Generation of Rock & Punk . Omnibus. p.   137. ISBN   9780711992092 . Retrieved January 27, 2008 .
• ↑ "Tool concert review of sorts" . Interlogue.wordpress.com . May 5, 2002 . Retrieved March 28, 2015 .
• ↑ "The Tool Page: Opinion – 2007/04/28 Las Vegas, Nevada – The Pearl" . Toolnavy.com . Retrieved March 28, 2015 .
• ↑ "TOOL: NEWSLETTER" . Toolband.com . Archived from the original on May 2, 2013 . Retrieved March 28, 2015 .
• ↑ Tool – Triad (Live) . YouTube . April 30, 2006. Archived from the original on December 18, 2021 . Retrieved March 28, 2015 .
• ↑ SONY BMG MUSIC ENTERTAINMENT   :: Australia   :: News Archived September 10, 2007, at the Wayback Machine
• ↑ "The Tool Page: Opinion – 2007/08/22 – London, UK – Brixton Academy" . Toolnavy.com . Retrieved March 28, 2015 .
• ↑ Pat Mastelotto Archived June 14, 2006, at the Wayback Machine
• ↑ "The Tool Page: Tour Reviews" . Toolshed.down.net . Retrieved February 19, 2019 .
• ↑ "Tom Morello Jams With Tool At Bonnaroo Festival – Blabbermouth.net" . BLABBERMOUTH.NET . Archived from the original on June 6, 2011 . Retrieved March 28, 2015 .
• ↑ HIGH BIAS – Tool, Tomahawk – live concert review Archived November 9, 2006, at the Wayback Machine
• ↑ Decibel Magazine Archived October 20, 2006, at the Wayback Machine
• ↑ "Tool Bottom Live With Chris Pitman" . youtube.com . Retrieved September 22, 2023 .
• ↑ "A Review of the Late 1995 Not-a-Tour" . Toolshed.down.net . Retrieved March 28, 2015 .
• ↑ "Metal News - Tool's Keenan 'Near Perfect' for Alice in Chains ( Metal Underground . Com )" . Archived from the original on March 27, 2006 . Retrieved September 17, 2006 .
• ↑ "TOOL: NEWSLETTER" . Toolband.com . Archived from the original on March 21, 2015 . Retrieved March 28, 2015 .
• ↑ [ permanent dead link ]
• ↑ "Tool - Incredible "Bottom" Performance (Grenoble, 1993)" . YouTube . March 28, 2014. Archived from the original on December 18, 2021 . Retrieved February 19, 2019 .
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The Weird, Enduring Appeal of Tool

By Kelefa Sanneh

If you were listening to rock radio in the early nineteen-nineties, you might have heard a song called “Sober,” which reflected the genre’s new mood. In the wake of Nirvana’s success, rock and roll was growing more sullen and more introverted, embracing dark colors and minor keys. “Sober,” which was released in 1993, had a heavy neck-snapping rhythm and a howling, tormented refrain: “Why can’t we not be sober? / I just want to start this over.” The song was a breakthrough hit for a California band called Tool, which played the Lollapalooza tour the same year, and made a sufficiently impressive racket to be elevated from the second stage to the main stage, joining Alice in Chains and Rage Against the Machine.

Back then, bands such as these were often classified as “alternative,” a rather vague and cringeworthy term that nevertheless turned out to be a pretty good description of Tool, which has spent the past three decades building an impressive following, and legacy, by stubbornly refusing to act the way rock bands are supposed to. Maynard James Keenan, the lead singer, is a soft-spoken but prickly presence: in one old interview, broadcast on MTV Europe, he described his life on tour as “one great big crabstick,” or maybe “crapstick,” and extolled a legendary book from the nineteen-forties that was eventually determined, by the band’s monomaniacal fans, to not exist. The Tool discography is austere and sublime: five full-length albums over thirty or so years, full of thunderous, complex riffs that resemble elegant mathematical equations. This past weekend, during the second of two sold-out Tool concerts at Madison Square Garden, just about everyone in the room seemed to be wearing a black Tool T-shirt, creating an ecstatic, insular atmosphere, as immersive as a great d.j. set. “Take the journey with us,” Keenan commanded, early in the night. “Turn your fucking phone off, put it in your pocket, leave it in your pocket—stay here .”

You can’t really sing along at a Tool concert—the lyrics often sound as if they were drawn from the least-read book in a very old library (“Concede suddenly / To the quickened dissolution / Pray we mitigate the ruin”); to his credit, Keenan has a hypnotic way of intoning them that deëmphasizes the words. You can’t really nod along, either, at least not for long, because the band generally eschews anything with a simple beat. “Pneuma,” from Tool’s most recent album, “Fear Inoculum,” has a riff that evokes the lumbering gait of a wounded behemoth. One helpful listener on the band’s Reddit page suggested that the bass line might be thought of as a series of alternating two- and three-beat figures: two-three-three-three-three-two-three-three-three-three-two-three, which adds up to thirty-three, if you’re counting, as some of the fans in Madison Square Garden surely were.

In keeping with Tool tradition, Keenan spent the night tucked into a back corner of the stage, and during longer instrumental passages he sometimes seemed to disappear entirely—in search, perhaps, of someplace less crapstickular. Meanwhile, the band’s absurdly dexterous drummer, Danny Carey, was center stage, under the brightest lights, where anyone counting to thirty-three could keep careful watch as he communed with his multifarious kit. Carey is the band’s most joyful performer and its most flamboyant. There was an intermission followed by a drum solo, and, although some people might consider this sequence of events redundant, in this arena it made perfect sense. As people wandered back to their seats, some of them having enlarged their collections of black Tool T-shirts, they seemed to enjoy watching Carey pattering around the edge of a giant gong.

Is this what concerts used to be like? Sort of. For a few years in the nineteen-seventies, progressive-rock bands filled arenas with music that emphasized grandeur and complication; even in the eighties, casual fans were expected to recognize the instrumental accomplishments of their favorite virtuosos. (The first rock concert I ever saw was by David Lee Roth, in 1988; his band included the guitarist Steve Vai and the bassist Billy Sheehan, both of whom were regularly celebrated in Guitar Player magazine.) The rise of moody “alternative” bands helped change that, although virtuosity didn’t entirely disappear—for instance, Tom Morello, from Rage Against the Machine, soon emerged as a new kind of guitar hero. ( Guitar Player put him on the cover in 2000, with a headline that read, “Sonic Anarchist: Rage Against the Machine’s Tom Morello Strikes Down Tonal Conformity.”) By contrast, music made on computers offers fewer opportunities for showing off, unless you have a microphone, which means that vocalists are even more prominent than they used to be. It is no coincidence that virtually all of today’s top sellers are solo singers or rappers, not bands—with the telling exception of K-pop groups, in which pretty much everyone gets a microphone.

In sensibility, too, Tool is old-fashioned. During one early interview, the members said that they were interested in “political issues,” and the band’s songs often hinted at the esoteric. “Lateralus,” the group’s 2001 magnum opus, ended with a snippet of an AM-radio broadcast about a military coverup of alien activity at Area 51. And “Ænima,” from 1996, came with liner notes that extolled the “dissociative” powers of ketamine, a then obscure intoxicant that was declared a controlled substance in America three years later. (Nowadays, ketamine is much more widely known, although Keenan has come to be more closely associated with a different intoxicant: he lives in Arizona, where he is the proprietor of a wine company that is proud to produce “some of Southwest’s most delicate and refined bottles.”) In the current era, “political” often means “partisan”—even esoteric beliefs tend to be recognizably reddish or blueish. What is striking about a Tool concert in 2023 is how un political it is: for about two hours, members of whatever political tribe are invited to tuck their phones away and try in vain to nod along.

There is a superficial similarity between Tool’s career and that of another nineties band that spiralled out into its own world. Radiohead, after a rock hit of its own (“Creep”), became one of the most celebrated British bands of all time, expanding its palette and ambition while cultivating a hip and highbrow sensibility. By contrast, there is something unpretentious about Tool’s artsy experiments, which have enough snap and snarl to sound terrific coming out of even the tinniest car speakers, and which seem calculated to delight both drug-addled weirdos and hyped-up dudes in skater jeans. (There was clear evidence of one of those demographics at the Garden, and circumstantial evidence of the other.) One way Tool deflates its own pretension is with dumb jokes: “Ænima,” the album title, is both a psychological allusion and a scatological pun; even the band’s name can be said with a smirk, as reflected in an early logo that depicted a wrench with a double box-end at the base of the shaft.

Most Tool songs do sound tooled—that is, painstakingly built, rather than written. And over the decades this process has evidently grown more time-consuming. Thirteen years passed between “10,000 Days,” in 2006, and “Fear Inoculum,” which arrived in 2019 and is a bit more subdued and methodical than its predecessors. But Saturday’s show, which included “Sweat,” a less commonly performed song from 1992, made a convincing argument that Tool’s discography might be considered one long, glorious composition, with Justin Chancellor, the bassist, fortifying Carey’s rhythms and Adam Jones, the guitarist, sometimes joining them and sometimes striking out with solos full of long, mournful notes winding around the clattering rhythms. A few fans were disappointed by the set list, which excluded “Sober” and a number of other favorites, but it was hard to argue with its cumulative effect, which was accurately described, online, by at least one concertgoer as “fucking epic.”

Tool somehow seems more mysterious now than it did in 1993. One gets the sense that even the four members might not be quite sure where these songs come from, or why they reach as far as they do. Last fall, Tool was one of the headliners at the Power Trip festival, which was held on the same California field as Coachella. The band played alongside Iron Maiden, Guns N’ Roses, Judas Priest, AC/DC, and Metallica: five monsters of rock, plus one mutant. Of course, the mutant is a monster, too—it seems as if Tool could entertain crowds this big indefinitely, and maybe that’s the plan. After the set on Saturday night, Keenan gave brisk, businesslike fist and elbow bumps to the other three members, and then disappeared as they took their bows. They had a few days off, and then they had to get back to work: more sold-out concerts, this time in Hollywood, Florida, and doubtless more fans in black, ready to take the journey. ♦

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By Alex Ross

By Amanda Petrusich

By Benjamin Kunkel

Watch Tool troll a bunch of Scientologists with an exotic dancer, crowd surfers and some light spanking

Tool's 1993 show at the Scientology Celebrity Center was their most anarchic gig ever

Tool have never been a band to mince words when it comes to religion. That goes doubly so for Scientology, the Ænima line ' Fuck L. Ron Hubbard and fuck all his clones' pretty open and shut, while many fans speculate Hubbard was the subject of the scathing Eulogy .

The enmity seems to go right back to Tool's early days as a band, when they played two nights at a Scientology Celebrity Centre in Los Angeles in 1993. During their performance of Opiate the band were joined by an exotic dancer, who only added to the surreality of the gig, with the crowd bouncing and crowd-surfing throughout the set. 

Its decidedly more in tune with what you'd expect from a hardcore punk band than Tool's usual fare, but also highlights just how brilliantly subversive they have been right from their early days. 

Tool vocalist Maynard James Keenan later discussed the show with actor and comedian David Cross for Revolver . “The best part of it was The Lounge Lizards opened for us," he says. 

"We were like ‘we’re just going to do our set, we’re not going to adjust what we’re doing to accommodate where we are or who we’re in front of. But the Lounge Lizards were wide open, so we put them in front of us and they pissed the Scientology people off so much that on the second they came up and put their hand over the mics and said ‘you’re done’.”

As for why the band played in the first place, subsequent interviews have suggested that Tool were unaware when the show was originally booked that it was a building owned by the Church of Scientology. When they were made aware, they asked that the Church not try to recruit any fans who attended. 

Keenan expanded some more when talking to Cross, "There was a guy who thought ‘if we get some young blood in here maybe we can help recruit people into Scientology, maybe we can get the Tool guys into Scientology'," he explains. 

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"They took me on the tour, which I was just like ‘come on dude, anyone with a decent high school education is going to go you’re so full of shit’."

Unable to resist a good jab, Maynard even got the crowd to bleat like sheep further into the set. Watch the full show above.

Tool recently released a re-recorded version of Opiate to celebrate the EP's 30th anniversary. The band are due to tour the UK and Europe in April and May 2022. 

Staff writer for Metal Hammer, Rich has never met a feature he didn't fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token. 

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2024 Masters Tournament expert picks, betting rankings and fantasy golf tips

T he 2024 Masters Tournament is here, and we're back with our PGA Tour expert picks and betting tips for the PGA Tour-sanctioned major championship event at Augusta National Golf Club in Augusta, Ga.

Every week, we share our PGA Tour player rankings, and they are agnostic of competition. Whether you're betting on golf, playing in a fantasy golf leagues or competing in a DFS (DraftKings, FanDuel) event, our picks highlight the top players to watch this week.

Here are our 2024 Masters Tournament rankings and expert picks, as we do each week of the PGA Tour season.

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2024 Masters Tournament preview

The Masters Tournament is this week, and the PGA Tour remains in Texas for a two-week run ahead of the Masters Tournament. The TPC San Antonio Oaks Course is a Greg Norman design that ballstrikers tend to like above any kind of player. Length is not a big factor here.

2024 Masters Tournament rankings: Top 10 expert picks

1. Scottie Scheffler: To be clear, there is no better player on the planet right now, and the gap between him and No. 2 is yawning.

2. Jon Rahm: Look, Rahm is the second-best golfer on the planet right now, but by how much, I'm not sure.

3. Wyndham Clark: Clark finished T-31 at Houston nursing some kind of injury, and it seems stange he made the start, but he loves tough competition.

4. Brooks Koepka: Koepka has been pretty bland on LIV this year, but he usually doesn't care about regular events. He loves Augusta.

5. Rory McIlroy: Can Rory complete the career Grand Slam? He won the B flight at the Valero Texas Open last week.

6. Xander Schauffele: Schauffele's best close calls in the majors have been at Augusta and in the US Open, and he's been great this year.

7. Hideki Matsuyama: Matsuyama won at Riviera, which usually portends Masters success, and Matsuyama is a Masters winner.

8. Ludvig Aberg: Augusta isn't typically kind to newbies, but Aberg is a built-different kind of guy.

9. Si Woo Kim: Kim has been playing some of the best strokes-gained golf of his career, and I think he might be due to shock the world.

10. Shane Lowry: There are scant few golfers who have been in the top 25 in the Masters in the last three years, and Shane Lowry is one of them.

The post 2024 Masters Tournament expert picks, betting rankings and fantasy golf tips first appeared on Golf News Net: What you need to know about golf .

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