Roxanne radio silence songs
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You put out the self-titled debut in 1988. We almost had a punk rock attitude during our shows. Our name made it sound like we were (part of the Strip scene), but we were desert rats. We wrote some songs, found a manager who lived in L.A., did a few showcases, and signed a deal with Scotti Brothers. So they won - thanks to us - and then they joined our band. We were on the judging panel, and we liked one of the bands. How did Roxanne get rolling initially? Joe and I were in the market for a new guitar player and drummer, and there was a local Battle of the Bands in Riverside, California.
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I actually had a full scholarship to the Pasadena College or Art and Design that I bailed on to do music instead. I got interested in it as a kid, we made little movies, and any money I could scrape together, I would buy better camera equipment. What was it about filmmaking that intrigued you? I don’t know. (laughs)Īnything in particular that tilted you in that direction? Females and laziness.
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I was also playing in bands, though, so I had to choose more school or more rock n’ roll, and I took the rock n’ roll route. But I actually got into filmmaking, and I was supposed to go to college for that. ListenIowa caught up with Brown recently to discuss the new album, and the long road that led to “Radio Silence” and the harmonies that lie within.ĭid you grow up wanting to front a rock band? I have two older brothers, and my whole family was into music and singing and playing it was always around the house. With “Radio Silence,” it truly is better late than never. The band’s brand of blues-based music, with its no-frills muscle and Queen-esque vocal harmonies is not only still there on “Radio Silence,” it’s there in spades, aged like a fine wine as is evidenced by the album’s uber-catchy “Someone To Kill” and “Broken Chandeliers,” as well as the closer, “First Mistake,” a winding 7-minute montage of 4-part vocal harmonies set amongst a classic Bad Company/Aerosmith-tinged riff before breaking into a beautiful acoustic guitar part and outro. Roxanne was sleeping, but she wasn’t dead.Īnd now, three decades later, the time is right for a reawakening. He was right, and soon thereafter Roxanne went into a self-imposed 30-year slumber exactly one record in.īrown kept himself and his bandmates busy, however, by putting together his Perfect World Entertainment company, a world leader in the production of musical-era tributes. “There were things popping up, and you could see on the horizon that it was going to be over for Sunset Strip metal.” “Our record came out in ’88, and it was on the chopping block by then,” said Brown of the West Coast music scene in a phone interview. But the cracks in an already-overcrowded scene were beginning to show. It’s been a few years (30, to be exact) since frontman Jamie Brown and bandmates Joe Infante (bass), John Butler (guitar) and Dave Landry (drums) delivered their self-titled debut album to an eager listening public at the apex of Sunset Strip-era hard rock. 26 on Rat Pak Records) is an unadulterated sonic confirmation that good things do indeed come to those who wait Roxanne’s new album, “Radio Silence,” (released Oct.