VWMusic

Feature image courtesy of Paul Monroe

By Andrew Daly
andrew@vinylwriter.com

In the history of hard rock and heavy metal drumming, as it pertains to the 80s, few were able to catapult the sound of their respective band in the way that skinthrasher Paul Monroe was able to.

From assuming East Coast origins, Monroe cut his teeth on the Jersey club scene before making his way to the West Coast to take his shot at grandeur through rock ‘n’ roll. After an unexpected call from bassist Pat Fontaine and a successful audition, Monroe found himself the new drummer for up-and-coming act, XYZ.

With Monore now on drums, the late 80s version of XYZ, which many feel to be its “classic lineup,” consisted of Pat Fontaine on bass, Terry Ilous on vocals, and Marc Diglio on guitar. It was this same lineup, through its cult Sunset Strip following, that garnered a major label deal with Enigma Records.

By 1989, XYZ was one of the hottest tickets in Hollywood, and its self-titled debut record was thought to be an early harbinger of continued success to come. No one could have known the storm that was coming in the form of alternative music, and being that XYZ was one of the last bands signed off The Strip, unfortunately, its reign was short.

The early 90s brought forth a new album in the form of Hungry (1991), a sleaze-ridden affair capable of shaking the saliva off unsuspecting observes agape mouths, as they gazed at the record’s campy cover, and lent their auditory systems to the album’s lead single “Face Down In The Gutter.”

In the wake of the chaos brought forth by Hungry and general label indifference, Monroe departed XYZ, giving way to his replacement, Joey Shapiro. Facing extinction, XYZ eventually petered out in 1992 after the touring cycle for Hungry had ended. As for Monroe, he forged on, still playing drums, and still making music with his band 7%, a true cult act that unfortunately faced bad luck, and never got off the ground.

As the 2000s dawned, Monroe would surface once again, this time duking it out with Vinny Appice to decide who would ultimately lay down the drum tracks for XYZ’s comeback record, Letter To God (2003), a battle which Monroe ultimately won when Ilous chose Monroe’s tracks over Appice’s.

I recently caught up with 80s rock warrior, and general bringer of drum-related thunder, Paul Monroe. Among other things, we touch on his early East Coast origins, what drew him to the drums, joining XYZ, his integral role in the band throughout its history, where things stand today, and a whole lot more.

Andrew:
Thanks for carving out some time, Paul. What was the moment which first gravitated you toward the drums?

Paul:
Ahhhh. It was when I saw Buddy Rich play on TV. I was five years old, and I knew right from the start that I had to play the drums. Sure, my mom tried getting me into wind instruments and the sax and stuff, and I was like, “NO! I ain’t blowin’ nothin’! I’ll stick to the drums.” So, I did. [Laughs].

Andrew:
What were some of your early gigs where you first cut your teeth?

Paul:
The first gig I ever did was at a place called The Playhouse in New Jersey. It was an arcade. I was in a band called Prowler. It was me, the local guitar and bass player that were the best in the school at the time, some old dude Manny on guitar – who was like twenty-eight, and we were fifteen – and finally, Matt Fallon who sang. He was one of my best friends at the time and lived around the corner. Matt used to sing for Anthrax and Skid Row. Fun times, man. It was a sold-out show. Probably because there was nothing for all the other kids to do. [Laughs]. No, we were actually pretty good. We played all the covers, Scorpions, Maiden, Van Halen, Judas Priest, you get the idea. 

Andrew:
Both yourself and Marc had very different backgrounds than that of Terry and Pat, right? How did you first meet Terry and Pat leading up to joining XYZ?

Paul:
Great question. I was working at P.I.T. (Musicians Institute) in CA. I just graduated from there and I was on the hunt for a band, so every night I would go out to the Sunset Strip, and hand out my business cards with my long hair to hot babes. [Laughs]. My logic was that all the hot babes know the cool band guys and it worked. One day, I get a call from the front office at work, and the guy told me, “Pat from XYZ just called and he wants to meet you.” The funny thing is, I was jamming with another band at the time, and the bass player had just gone to see XYZ at The Whiskey. He said, “They were really good, but I’d like to see you up there with them.” XYZ was the house band there at the time before we got signed. It was said jokingly. I told him, “If XYZ is ever looking for a drummer, I’ll audition,” and a week later, I got the call to meet Pat.

Andrew:
My understanding is you both signed on just before the sessions for the band’s debut began. Is that right? Given that, how much of a tangible impact did you have on XYZ’s self-titled album in terms of writing?

Paul:
Marc was in the band a bit before I was, and once I joined the band, it was about a year later that we got signed. I believe that it was the chemistry and sound of all four of us together that brought some magic at the time. The sound really changed once Marc and I were involved, and I feel that we filled the missing pieces that the band needed. We were a tight band and brothers for sure. As far as the writing goes, I was involved and relied upon to come up with cool endings, and sometimes beginnings, or the rhythm section for some solos and parts. I wasn’t involved too much with riffs or lyrics, it was more just helping with arrangements and transitions.

Andrew:
Diggings into the sessions now. Don Dokken was enlisted to produce XYZ’s debut. What was your relationship with Don like, and what impact did he have on the overall side and vibe of the album’s drum tracks?

Paul:
I absolutely love Don. We got along really well, and he was one funny mofo. [Laughs]. He always had me laughing. He’s a good dude with a great vibe. Don pulled me out of production one day to go be in a movie with him. We were the band in Tommy Chong’s Far Out Man, with Martin Mull. We did a scene with Martin and Tommy. The rest of the XYZ guys had to stay back at the studio. They just need a drummer.  Lucky me! So, how did Don influence the drum tracks on the album? Wow! Life-changing is all I can say. I can really go on about this, but Don taught me how to create a story with my grooves and transitions, and how the bass drum pattern heavily affects how you transition into other sections. There must be a “pattern” that makes sense, and then build a beginning, middle, and then an ending. It’s really deep but has changed the way I structure songs ever since meeting him for the first time. He didn’t write any drum parts for me. He rather opened my mind to creative possibilities. Deep, man. Deep!

Andrew:
XYZ experienced a certain modicum of success with “Inside Out,” and “What Keeps Me Loving You” garnering airplay. Speak on the band’s trajectory at that time.

Paul:
Ya know, at that time, we were transferred to Capitol Records from our original label which was Enigma (a small branch of Capitol). A lot of music was changing at the time. Rap and grunge were becoming very popular, and our new record company was really the ones pulling the strings as to what songs were going to be released. I think “Inside Out” was a good choice, and the timing wasn’t bad, but there was more demand later for different types of music that we had but our record company went in a different direction instead of listening to the demand. That in my opinion along with the timing of everything is what hurt us.

Andrew:
Hungry was a stout follow-up, but it didn’t seem to hit as well as the band’s first record. To what do you attribute the lack of success?

Paul:
Again, going back to what was happening at that time, I think that we had a good record, but the music scene was changing and rock and heavy metal were becoming a thing of the past. We had to move over to let the other genres in. XYZ was a really good, and fun band, with a lot of potential, good-looking dudes, and a good variety of songs. It seemed that we had all the elements needed to get to the next level, but the timing from the beginning was never good. We just slipped through the window of opportunity as the last rock band in LA to get signed for a long time, and we had a few years of good times, so I am grateful for that! If it wasn’t for those grunge mother fuckers. Just kidding, I actually like some of that shit. [Laughs].

Andrew:
What was your label support like as the 90s dawned and more alternative styles began to creep into the music?

Paul:
The label support was good. The problem is that they really did not make very good decisions. If you are a candy maker, and you ask a crowd of one-thousand people what flavor lollipop, they like best, “Is it cherry or is it chocolate?” And you hear an overwhelming roar of, “CHERRY!!!,” that should tell you to spend more money on cherry lollipops, and market that Instead, our record company chose to put all their money on the chocolate ones. Weird analogy, but without getting into the details of it, you understand.

Andrew;
Ultimately, what led you to depart XYZ in the wake of Hungry?

Paul:
So, you can see how my story here comes together and how it all makes sense. As the music scene changed, we eventually lost our record deal with Capitol, and the band wanted to go from touring in a beautiful tour bus to touring in a cargo van and self-finance it. In other words, living like band bums.  Marc and I said, “Uh…No,” and we left. I felt the rock era coming to an end, and I thought we had a good run for a few years, but I wasn’t about to live like that, so I left on good terms.

Andrew:
The 90s proved to be something of a bloodbath for rockers. Walk me through the inception of 7%.

Paul:
Yeah man, so when I was in XYZ, we were just coming back from a tour, and we played at The Palace in Hollywood as one of our last shows. Don Dokken showed up and removed all my cymbals on stage during the last song. Mother fucker! I tried to smack his fingers with my stick in between beats, but he was too quick. He obviously had done this before. [Laughs]. Anyway, Mitch Perry (Cher, Edgar Winter, Michael Schenker) and Sean McNabb (Quiet Riot, Dokken, Lynch Mob) were at the show and liked my playing, so they decided to reach out to me after hearing I left XYZ. If anyone doesn’t know, 7% was me, Mitch, Sean, and Michel Starr of Steel Panther. Now, this was in my opinion the next Van Halen. You had this amazing frontman that girls were drooling over and three other cool young dudes, with tons of hair that could play. This was a really good band musically, and the songs were also good. We had a decent following in a short amount of time because of the members in the band, and what they have done before. Michael was also playing in Atomic Punks (Van Halen Tribute), and they were really hot at the time. They eventually became Metal Shop and then Steel Panther. The problem for 7% at that time? Bad timing, as the music scene had already been taken over by grunge. We had no chance.

Andrew:
Despite its talent, 7% never released an album. What was the reasoning there?

Paul:
Same story, basically. At the end of the run – which was short – we were like, “Why waste our time? Rock is pretty much out for now.” We all went our separate ways and never got to that point of making that album. There are a few YouTube videos online of us at The Whiskey though. Pretty cool, man. Look up “Paul Monroe 7% Solution.” It was a good band.

Andrew:
Do you look back on 7% as a missed opportunity?

Paul:
Absolutely. In my opinion, every person in that band had all the elements of being a young Rock Star. We were an extremely tight band. I enjoyed playing with those guys so much. I looked forward to rehearsals.  Man, it was just good shit. But the window of opportunity closed on us. It’s all good though. Again, another moment in my life to be grateful for, and always remember.

Andrew:
Walk me through the conversations leading up to the reunion with Terry as XYZ.

Paul:
Terry and I have been “brothers” for a very long time. We had some life-changing times together and did things that a lot of people only dream of. I cherish my relationship with Terry, and we have always kept in touch. He has been calling me lately to kind of fill in for some gigs playing all XYZ songs. Terry is also using a different guitar player, and bass player because some COVID issues are going on with the other band members from what I understand. I played the M3 festival with him, and one other small show here in L.A. He has asked me again to do another XYZ show with him next month in Pennsylvania with George Lynch. So, I’ll do that and see what happens. XYZ is a complicated unit but at this point, I am just along for the ride helping out if I can.

Andrew;
You recorded the drums for 2003’s Letter to God, right? I believe there is some murkiness involving Vinny Appice. Can you clear that up for us?

Paul:
Oh, man! Vinny is one amazing drummer. I can go on and on about your question, but to make this somewhat short, Terry decided after the band broke up for a while to do the third album. He didn’t know what to call it, so I guess he started tracking songs with Vinny Appice, and Pat wrote some too. Jeff Northrup was the guitar player and was also involved with the writing. Sean McNabb played bass. So, somewhere along the way, Terry calls me and asks me, “Can you play a song or two on the album?” He told me Vinny was on the other tracks, and I was like, “Yeah!”  I mean, shit. I just wanted to meet Vinny. [Laughs]. I was a huge fan. So, I got down there the next day, and Vinny was still recording, and tuning his drums. I walk in there to introduce myself and he spit in my face, and then licked my cheek and said, “Do you like that?” Shit no, I’m kidding! [Laughs]. That would have been a good story though, right? [Laughs]. Anyway, I meet Vinny and he is of course the nicest guy ever. I am now watching this monster hit those drums so hard like no one I had ever seen. I’m like, “Damn! This is epic.” He seriously hot those drums so fucking hard. OK, now to make a long story short, I played and recorded my track, and then Terry kept asking me to record another one, and then another one. He compared the tracks and decided to go with mine which were better fitted for those types of tunes. Now, the song “Letter To God,” was played and recorded by Vinny, because I told Terry I wasn’t even going to attempt to play that tune. Vinny crushed it so hard, and I wasn’t going to touch that. It’s such a great track and his “Vinny Signature Style” is all over it. So, in the end, Vinny played on one tune and I am on the rest.

Andrew:
Aside from you being a good fit, why did Terry have Vinny record the tracks initially, only to bring you in?

Paul:
I am really not sure, but I do know that initially it was not going to be labeled an XYZ album. In fact, I talk to Marc Diglio (original guitar player) regularly, and in a conversation, I said, “Yeah, and on our third album,” and he stopped me and said, “Wait! XYZ had a third album?”  I guess, since Terry and I were two original members, he decided to call it an XYZ album. Terry does know a lot of people, and Vinny was a big name at the time. I wasn’t talking to Terry regularly, so he was just doing his thing until he decided to call me. What led to his decision?  I think you would have to ask Terry that but, in my opinion, I have been playing with Terry for a very long time, and I know the kind of things he likes in drum orchestration, so for Terry, my tracks were a better fit for what he was looking for. That is in no way to take away from the genius of Vinny Appice, as I am a huge fan, was honored to learn from him, and have the opportunity to hang with him for a few days. That was a real treat, and as I said before, Vinny Appice is one cool cat. It’s like acting, it’s not that one actor gets the gig because he’s better than the other actor, it’s because the director wanted someone shorter, someone taller, or someone with blonde hair not black, etc. I learned long ago that it’s not always the “best” guy that gets the gig, it’s the one that fits the part.

Andrew:
Although things seem to be in flux now, what led to the end of your second stint in XYZ?

Paul:
At one point, I just wanted to chill out a bit and enjoy my family. I wanted to build a business, and make some money since I knew that the music industry was on hold for me for a while. I was just thinking ahead and wanted to make sure that I could provide for myself and my family. That took longer than I expected but all is good now. [Laughs].

Andrew:
My understanding is XYZ is recording its long-awaited fourth record. Will you be involved at all? Have you been contacted?

Paul:
At one point a while back, Pat contacted me and asked me, “Would you be interested in being involved with the album?” I told him “Yes,” but I haven’t heard much about it since, which is all good. So, at this point, unless something changes, I am not involved with the new album, but if they asked me to play on a track, I would certainly do it.

Andrew:
Last one. What’s next for you in all lanes, Paul?

Paul:
Right now, I am in a Judas Priest tribute band called The Priest.” I have been with them for a few years now. I also fill in sometimes for two L.A.-based Foreigner tribute bands. I play drums every day. I’ve got my own studio or “Man Cave,” as you would say. I have a few recording projects that I am in the middle of, including some recordings with Terry that I did from my studio. I have a YouTube channel called “Paul Monroe Drumming.” I started out all gung-ho but then got lazy about it, so I will upload videos, just not as many as I used to. I have some shows coming up with the Judas Priest Band, some Vegas shows with the Foreigner band, and then opening for George Lynch in PA in July. I try to keep it simple, but it never works. [Laughs]. So, I just live each day, work on my shit, network, and just keep plugging away. As long as I am able to play every day, it’s all good.

– Andrew Daly (@vwmusicrocks) is the Editor-in-Chief for www.vwmusicrocks.com and may be reached at andrew@vinylwriter.com