Most people do not think of bands when they think of

entrepreneurs. This is wrong because bands are risk takers and have

many aspects of business. They must market their product, they must

sell their merchandise, they have managers and contracts like any other

business. In this paper, I will investigate the journey to success of one

band named TOOL.

If facts, lyrics, and guidance are what you are seeking
from Tool, then too bad. Tool advise you to think for yourself, before
somebody does it for you.

"Most people think, 'What are you guys about? Explain yourselves,
your music, your videos,'" Jones says disgustedly. "why do we have to
explain everything? Entertainment can be like going in the woods.
You can see nature; you may understand the basics of it, but you can
still enjoy it, and it can affect you in many ways. That's how we
approach music."

Jones and Keenan formed Tool in 1991, enlisting Paul D'Amour to
play bass and workaholic drummer Danny Carey, who was holding down
a straight nine-to-five job while playing with Carole King, Pygmy Love
Circus and local country bands, as well as with comedy-metallers Green
Jelly.(Incidentally, that's Keenan singing the falsetto phrase "not by
the hair on my chinny-chin-chin" on Jelly's only hit "Three Little
Pigs.") Later that year, Tool signed with Zoo, who released their
cement mixer heavy EP Opiate in 1992. The bands dark style was
welcomed by audiences friendly to the stylistic inversions made to hard
rock by bands such as Soundgarden and Rage Against the Machine.

Tool's full length debut, Undertow, was released in April of '93.
The music inside the album is as dark sounding as the artwork.

Three-and-a-half years in the making, AEnima was released last
fall. Produced by David Bottrill (who’s worked with King Crimson) and
clocking in at 77 minutes, it’s a harrowing collection of atmospheres
and musical tributaries that doesn’t fit into tidy little slots like
“metal” or “alternative,” or the grandfather of all musical categories
used when your songs run over five minutes, “progressive.” AEnima
offers the brooding energy of “Stinkfist”;

The members of Tool don’t owe explanations to anyone, not to the
record company, management, critics or fans. The band will tell you that
they are only there for the music. Jones, who has spent six months in
stop-action animation, creates Tool’s maverick videos which almost never
feature the band. Tool have turned down high profile opportunities like
soundtrack offers and appearances on Saturday Night Live. The band
refuses to do commercial radio-edits of their lengthy singles, despite their
label’s cajoling (“every Pink Floyd record I ever heard, I never once said,
‘Hey, this is a really long song; it’s not radio friendly,’” quips Jones).
After the
compilers of the recent Led Zeppelin tribute album Enconium haggled
with Tool over the length of their projected contribution (a seven
minute version of “No Quarter”), the band walked.

Justin Chancellor was enlisted to replace Paul D’Amour after his
band Peach (not the American classic rock revivalists on Caroline) had
supported Tool on British dates for the Undertow tour. His brother
had turned him on to Tool early on, and Chancellor had been friends
with the band’s members prior to being enlisted. How a band like Tool
figure into a British music scene driven by disposable fashion is a
good place to start.

“It’s all about participating on behalf of the listener. It’s
about digging in and exploring,” Chancellor continues. “(With Tool)
everyone’s perception is different, whereas everyone’s perception of
poppy British bands is pretty much the same. As soon as stuff like ego
and personality come into the picture, the purity of the music isn’t

There are many stories about Maynard Keenan, and you can take
your pick from the ones you want to believe. Keenan is an Ohio native
who did a stint in the army and ended up in Los Angeles. He rigorously
practices jujitsu, has a young son (who makes an appearance on Tool’s
“Cesaro Summability”) and has a profound respect for folk singer Joni
Mitchell and the late comedian Bill Hicks (a portrait of Hicks graces
the inner sleeve of AEnima, with the caption “Another Dead Hero” above

“its easy for a kid to listen to what his older brother is listening to
and say, ‘No. I want to listen to something completely contrary to what
my brothers,