SINGER BRINGS BAND OUT OF THE SHADOWS

There’s a lot going on in this world that Robert Vaughn doesn’t like: political oppression in Central America, rampant warfare in the Middle East, apartheid in South Africa.

So instead of tackling such themes as first loves and growing pains, Vaughn, 27, tends to write songs about the problems of the world and what to do about them.

“Music without a message is basically vain,” he said. “Music is a powerful vehicle, and that vehicle can be used to bless or curse, to build up or destroy.

“I choose to use it to bless and build up. I want to sing about things that count. I believe anyone can make a difference, as long as the message is good--and that message is shared with enough people.”

After six years of trying, mostly by sending out demonstration tapes from a Point Loma garage, singer-songwriter-guitarist Vaughn and his rock band, the Shadows, finally have the chance to share their message with more than enough people.

They’re the latest San Diego success story to be signed by a major international record company. The last week in June, Island Records--the same label that made stars out of U2--released Robert Vaughn and the Shadows’ debut album, “Love and War.”

Already, the nine-song album has been picked up by more than 65 major radio stations around the country and a national tour is expected to get under way by the end of summer.

“After years of beating our heads against the wall, it feels great,” Vaughn said. “There’s just one way to get across that mythical marker that separates local bands from national ones: perseverance.

“You’ve got to pay your dues, you’ve got to constantly accept criticism and take risks and refine your talents, because that’s the only way you’re going to succeed.”

And they are succeeding.

“Sales have been good, right out of the box,” said Joyce Rooks, a buyer for Tower Records on Sports Arena Boulevard.

“I’d say we’re moving about 30-50 records a week, and that puts it in our top 15 as far as LP sales.”

Like their celebrated label-mates, U2, Robert Vaughn and the Shadows consider it their duty to act as the social conscience of rock ‘n’ roll.

Or, as Billboard magazine said, “Vaughn has a penchant for songs that go deeper than the puppy-love themes that saturate the field. (The) expressive vocalist sings of life, even religion, without getting too heavy-handed to rock.”

Floating atop haunting melodies and moody instrumentation, Vaughn’s throaty voice delivers topical commentaries with equal parts authority and compassion, indignation and optimism.

On “Justice,” he sympathizes with the innocent victims of Central American political strife:

Closing down the churches

They’ve opened up the jails

They sold us out for money

To gain what only fails.

And on “Love and War,” he talks about the folly of warfare:

You know they told me when I was young

You gotta die for freedom, my son . . .

Sister Moon has went and turned blood red

Sheltered life went running through my head.

“I’m not out to change the world,” Vaughn said. “I’m just out to sing what I believe to be true. And if just one person is inspired by what I have to say, by my successes or by my failures, then I’ve done my job.”

Vaughn, a San Diego native, formed the band six years ago as R.V. and the Hubcaps. The group performed mostly at private parties, choosing to stick with original music instead of the Top 40 covers that would have landed them considerably more lucrative nightclub jobs.

Early last year, Vaughn said, the band’s line-up stabilized with Anthony DaLuz on lead guitar, Greg LaRocco on drums, Doug Boone on bass, John Nau on piano and Steve Kocherhans on saxophone and keyboards.

By summer, one of the many demo tapes the band had regularly been sending out to record companies netted them a deal with Island.

And for the last year, they’ve been hard at work on their debut album, which was recorded locally at Western Audio and engineered and remixed in New York.

Their producer is T.J. Tindall, whose credits include Michael Jackson, Robert Palmer and the “Saturday Night Fever” sound track; their engineer, Eric Calvi, best known for his work with George Benson and Cameo.

The album cover, with a sad-eyed Latino woman on one side and a rifle on the other, was painted by Marty Gessler, famous for designing Santana’s “Abraxas” cover.

“The latest news I’ve heard is that our first single has been added by more radio stations than U2’s new one, which really blows me away ,” Vaughn said.

“Ideally, I would like this record to be a big success. But music is a way of life for me and I’ll still be writing and playing no matter what happens.”