Page 31 - the NOISE August 2015

The Monroes, circa 1982.
THeMonroes.CoM & eArfM.CoM inTerneT ArCHiVes
By Tony BAllz
musicians trying to make it big. Any san Diego band that wanted to get noticed had to head north. no one was sending talent scouts to their little seaside burg.
eric Denton dreamed of the day san Diego would have a real scene, one that was nationally (and maybe internationally) known, like L.A. or san Francisco. If musicians had access to affordable instruments and studio time, the whole thing would explode sooner or later. He knew it. And it just took a few people to get the ball rolling.
Denton learned that Accusound, a small 8 track studio on el Cajon Boulevard, was up for sale. He took this as a sign and bought it. He began advertising cheap rates and soon the studio’s schedule filled up. shortly after, he co-invested in an instrument rental store called Music Power, where he extended credit to locals. slowly, things started happening.
eric was finally in a position to put together his dream band, or at least something close to it. His dream band would meld hard pop with chops, like Big star or Badfinger. His band would only perform originals, yet play to the same audiences the cover bands did. His band would use the raw materials available to come out on top: the best drummer, bass player, guitarist, singer, songwriter, instruments ... the best everything. From his unique corner of the san Diego scene, eric Denton found them one by one.
His first discovery was Bob Davis, a talented bassist, vocalist, and songwriter. Bob was tall, handsome and fashionably cool. He always sported the latest trendy clothes and haircut. Bob was a partier and blew money left and right. He enjoyed the attention from being onstage. He had a bit of an ego and considered himself a ladies’ man. Davis responded enthusiastically to the dream band concept, but Denton nearly didn’t choose him because their characters were so dissimilar. He then realized a successful group needs distinct personalities and a little tension to make it work. Bob Davis was in.
Besides, his songs were pretty good and he did bring the girls around.
As did Rusty Jones, a guitarist and songwriter and one of Davis’s former bandmates. Around this time Jonnie Gilstrap, the drummer of Peter Rabbitt, wandered back into Denton’s life and got on board. The quartet agreed not to play one show until everything was 100% polished and ready. They had top of the line equipment and nearly unlimited studio time. Davis and Jones brought in original compositions and they all went to work. One of Bob Davis’ new songs got everyone excited. They agreed this was the hit single. It was called “what Do All The People Know,” and it would take them places. The four men’s personalities struck a near perfect balance: Jones and Davis were the good looking romantics out front, Denton and Gilstrap were the goofballs in back holding it together. But something was missing: they needed a lead singer and a wild card. He finally arrived in the form of Tony Ortiz.
shortly after joining his first band at 13, Jesus Ortiz began using his middle name professionally. He was still Jesus to his familia, but Tony to his music pals. Over the next decade, Tony Ortiz fronted several cover
bands in Los Angeles and san Francisco. It was a grind, but the money was good and it sure beat pouring asphalt or mopping floors. Tony started a family and enrolled in cooking school with an eye toward a chef ’s career, but he still loved singing over anything else. His current group was playing san Diego when a friend of Denton’s caught them and made a phone call: “I think I’ve found your guy.”
The four musicians went down to the club expectantly. They were a little disappointed at first when the band took the stage. Tony Ortiz cut an unassuming figure: he looked like your average mid-20s Hispanic male living in southern California. He was bearded, a bit stocky, and dressed in slacks and a sweater. He wasn’t exactly David Bowie. But when the music started, he
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