Adam Jones
Latest about Adam Jones
![Mike Sullivan [left] of Russian Circles plays a Dunable electric guitar. Adam Jones [right] of Tool wears all white as he performs at Lollapalooza in 2009.](https://cdn.mos.cms.futurecdn.net/JzvHLXtiWjphtArnELCxMf-320-80.jpg)
By Jonathan Horsley Published
We've all been there, sweating with a borrowed backline that's not playing ball. Luckily, Mike Sullivan of Russian Circles had a guardian angel looking over him

By Nick Wells Published
With their uncompromising blend of formidable time signatures and distorted guitar riffs, Tool are a band quite unlike any other

By Janelle Borg Published
The 75-second performance may have been short – but it came right after the band’s appearance at Black Sabbath’s Back to the Beginning extravaganza

By Phil Weller Published
K.K. Downing, Rudy Sarzo and Danny Carey joined the trio to perform Judas Priest and Black Sabbath cuts
![Adam Jones [Left] wears sunglasses and plays his signature Gibson Flying V as he performs with Tool; [Right] Tony Iommi of Black Sabbath is pictured in a black leather jacket with his customary SG with cross inlays.](https://cdn.mos.cms.futurecdn.net/X4KLTgVPy829SMjLkpazyW-320-80.jpg)
By Andrew Daly Published
Tool guitarist Adam Jones explains how Tony Iommi's triumph over adversity was every bit as influential as his horror-influenced riffs – and what to expect from his Back to the Beginning collabs with Tom Morello and Billy Corgan

By Janelle Borg Published
In case Tool fans were wondering why the band wasn’t part of the original lineup...

By Matt Owen Published
The Smashing Pumpkins frontman shared near-identical early experiences with two other players close to his local area, but they all ended up going down different avenues – not unlike the Yardbird legends

By Phil Weller Published
Morello remembers how the Tool maestro helped kick-start his career by dragging him to gigs in a lengthy post that recalls the pair’s friendship

By Chris Gill Published
On the eve of the release of 10,000 Days, Tool's tone titan sat down for a chat with GW about the reclusive quartet's creative process, “the Melvins school of writing music,” and why he absolutely, positively, did not use an EBow on the album
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