My topic for today had been aesthetics, but it looks like
the release of Fear Inoculum, the fifth and latest TOOL album, and my
receipt thereof as normally scheduled for 8/30 (thank God!), has provided me with
a compelling topic. In particular, the
behavior of TOOL fans in the days leading up to the release brought to mind
another fan base, that of the Grateful Dead.
Both bands have a fairly rabid base of fans who often behave
irrationally, sometimes to the point of fanaticism. With Jerry Garcia’s passing in 1995 the
fervor over the older band has subsided.
With the exception of bassist Phil Lesh, the oldest surviving
member, who is apparently too old to tour these days, the remaining members Bobby
Weir (guitar and vocals), Bill Kreutzmann (drums) and Mickey Hart
(percussion) accompanied by John Mayer, continue to tour without releasing new
material. I’ve seen a few shows and the
fan base appears to be 70% old enough to have seen the band back with Jerry
Garcia in 1995 or earlier. Myself, I
managed to see the band in 1992 and 1995, catching the very tail end of the original
era, then a few more times more recently after the band reunited after Garcia’s
death to play again.
TOOL don’t have cursed keyboardists (Ron “Pigpen” McKiernan,
Keith Godchaux, or Brent Mydland) and only one personnel change, original bassist
Paul D’Amour replaced by current bassist Justin Chancellor around the
time of the second album, Aenima.
The remainder of the band is charismatic frontman Maynard James Keenan
(aka “MJK”), guitarist Adam Jones, and drummer Danny Carey. Albums #1, 3 and 4 are Undertow, Lateralus,
and 10,000 Days, plus EPs Salival and Opiate, partially
live. As my meme notes, TOOL do not have
a proper live album as such. By way of
comparison, Clutch, who have been around the same length of time as TOOL, have
put out 12 studio albums between Transnational Speedway League (1993)
and Book of Bad Decisions (2018).
Both bands give a unique live experience. The Dead play two full 90 minute sets with a
30 minute intermission, and its famous “Drums/Space” jam with Kreutzmann and
Hart is in the second set. Every set is completely
different, and you might even hear covers.
The light show is nice but not as impressive as TOOL’s.
TOOL sets are 80% the same night by night with 2-3 slots
changing up. With only 4 albums to
choose from, and a principled objection to playing covers, the repertoire is
limited. The Dead had 13 studio albums
from 1967 (self-titled) to 1990 (Without a Net), some of them
effectively live albums, and a fair amount of covers thrown in.
Maynard affects weird stage costumes which are mostly wasted
as he sings in back of the stage, next to Carey, in darkness. The band are overshadowed by their elaborate
Alex Grey imagery behind them, which melts sound and vision together into an
organic whole. Both bands are strongly
associated with not merely cannabis but also Hofmann/Sandoz inspired psychedelics,
but such substances are helpful but not necessary to enjoy the experience of the
live spectacle or the music itself.
Musically I’d describe the Grateful Dead as country music
made by hippies with an infinite supply of LSD.
Oddly, country music fans don’t seem to like the Dead and vice
versa. Thanks to lyricist Robert Hunter,
the words are more along the lines of Blue Oyster Cult than Blake Shelton. TOOL are more like Pink Floyd morphed into as
heavy as they could possibly be – David Gilmour pumped with steroids. But unlike many of their peers, TOOL have a singer,
Maynard, who ACTUALLY SINGS. Yes, Cookie
Monster is not in this band.
Sadly, the fans of each can, as noted above, be somewhat
obtuse. With TOOL currently touring and
putting out new material – as glacial as that now seems to be, with 13 years separating
10k Days and Fear Inoculum – the TOOL crowd is far more front and
center than the Dead fans are.
Maynard vs. Jerry.
Garcia was really non-objectionable.
Both had side projects: MJK has
A Perfect Circle and Puscifer, both of which go in one ear and out the other. Garcia had the Jerry Garcia Band, who I saw
in 1991 before even seeing the Dead themselves.
Maynard can be somewhat arrogant at times. He runs a vineyard, produces a wine – Caduceus,
which I haven’t bothered to overpay for as I’m not a wine fanatic – and loves
guns, which doesn’t bother me. To hear
TOOL fans talk, though, Jones, Chancellor and Carey are session musicians who
guest on TOOL albums to help out Maynard.
I’d say the #1 fault of Deadheads is only listening to the
Dead. I was at a Dark Star Orchestra
(DSO – one of the top Dead tribute bands) show at the 9:30 Club in DC wearing a
Pink Floyd shirt and got a dirty look. At
the very least, Dead fans should listen to Pink Floyd. Beyond that I can’t say that Deadheads are
annoying enough to draw too much negative attention to the band itself. Actually, Garcia himself said in a Playboy
interview that the band is apolitical by nature and Republicans can listen and
come to the shows. Can’t imagine Trump at a Dead & Company show. Or at a TOOL show, for that matter.
Revision 9/1/19. As of now I’ve been able to listen to Fear Inoculum
in its entirety three times, though as yet not the video itself; prior to that I
heard “Descending” at the Fairfax concert (5/24/17) and “Descending”, “Invincible”
and “Chocolate Chip Trip” at the Hampton show (5/10/19). My assessment? Excellent quality, comparable in quality to the
prior four albums. Six major songs ranging
from 10:05 to 15:44 in length: “Fear Inoculum”, “Pneuma”, “Invincible”, “Descending”,
“Culling Voices”, and “7empest”. It’s TOOL
people.
The Facebook Reaction from the TOOL CULT appears to vary
as follows:
1. Best album ever,
naming my next child “Fear”
2. Good, but not
better than [prior album] – instigating massive debate on relative merits of
the 5 albums
3. Good, but
breaking up the Fibonacci spiral of quality improvement and year intervals of
1/3/5/5/13 from Opiate to the current album. Sorry.
4. Good, but not
worth the 13 year wait.
5. Good, but not
worth $40 for that damn CD packaging
6. Sounds too much
like TOOL
7. Sounds too much
like A Perfect Circle
8. Not enough Maynard