Roadmaster ~ USA ~ Indianapolis, Indiana

Fortress (1980) 

The on-a-budget Hipgnosis styled front cover indicates that this final album might bring a bit more artistic acumen to the proceedings. Though to hedge their bet, they still had to have the requisite smiling band photo on the back, though more subdued than prior. All of Side 1 proves they have no intention of doing anything but trying to write a hit song. I feel bad for them, because they just weren't any good at it. I'm sure Mercury realized they had a loser in their ranks and had to cut bait quickly. Seems they gave Roadmaster more artistic freedom for the flip side so B1 and B2 are very good hard-edged AOR tunes. B4 even has a Mercury alum Permanent Waves era Rush feel. In the end, the album is no better or worse than Hey World. What a lost opportunity for the guys from Indianapolis. They could have been legends as they had the right sound and the financial backing. Instead they are $5 record store bin specials with patrons asking "who were Roadmaster?"

Source: 1980 Mercury (LP) 

2/11/25 (review)

Hey World (1979)

As I mentioned on my review for Sweet Music, Roadmaster's ultimate goal (I'm sure) was to get signed to a major label, something they accomplished with Sweet Music. They had the right sound for the era, and one could easily see them challenging the likes of Styx and REO Speedwagon. Mercury seemed to be "all in" with the group from Indianapolis, going so far as to put their logo on the label itself, not even the Scorpions got that treatment! For whatever reason in the late 70s, front or back covers needed to show the band members happy and smiling. No more pensive, menacing, or arty covers from the earlier part of the decade. We see this same phenomena in the soul / disco world too. Anger was out, good times partying was in. Since Roadmaster was all about making the big time, I'm sure they were willing participants in the cover of Hey World. Which today signals a lame album awaits the listener. And there's some truth in judging a book by its cover. The album starts off promising enough with a strong synthesizer presence recalling Styx or even Starcastle. But what becomes apparent quickly is they had the right sound but no songwriting skills to back it up. They try for hooks but they're not memorable and they become a slog to hear after a while. Their proggy side finally comes out on B3 and B4, and there's some mellotron throughout the album. It seems this is where Roadmaster was most comfortable, but never allowed themselves to branch out in fear of losing their corporate status. And I'd guess Mercury felt the same way. They already had Rush to endure, and that was one prog band too many for the executives. If only they knew how history would turn out.

Source: 1979 Mercury (LP)

2/3/25 (review)

Sweet Music (1978)

I find Sweet Music to be more cohesive than the scattered debut. By 1978, the Midwest pomp sound was well defined, and Roadmaster clearly signed up for their shot at the big time. Proggy Mini-Moog synthesizers and mellotron are offset by the hard guitars, with the higher pitched vocals going all-in for the radio charts. Most of the songs are in line with the familiar late 70s FM radio fare. The reference band that becomes clearer on each subsequent listen is most assuredly Styx. A1 and all of side B demonstrate this and prove that Roadmaster had a few good ideas up their sleeve, but without ever leaving a chance to possibly land a hit song. A5 is a disco track, but it's the good kind. A2 is the obligatory JY styled hard rocker. I'm not fond of the boogie rock on A3 but otherwise every song here satisfies on some level. Shooting Star is another reference group. They were professionals through and through, and getting signed to a major label was I'm sure their ultimate goal, which they achieved (this was the album that got them signed to Mercury for a three album run).

AOR music, like the kind Roadmaster peddle, has been fashionable in the collector circuit for many years now. Roadmaster is a bullseye for the type of sound being sought after. So why are they so cheap then? Likely they sold an excellent amount of copy, even as a small label release. You don't see them in the wilds much (at least out here in the west), but there's plenty of inventory online. If you dig that 1977 to 1980 American FM pomp / AOR sound, this album is for certain one to obtain. I consider this the best of their quartet of albums.

Ownership:1978 Mercury (LP); 1978 Village (LP). The latter is sealed. 

4/9/23 (review)

Roadmaster (1976)

Roadmaster were a band from Indianapolis who managed to put out four albums from 1976 to 1980. There's no question that the group had FM radio on their mind when recording these tunes, and I can guess that they were probably quite popular within the regional club circuit. The opening two tracks here are the kind of AOR I think many of us would have been glad to hear during the era - and there's some great melodies, guitar, and synthesizer work at play here. 'AM-PM' is the obligatory blues track that doesn't inspire. 'Who Can Sing Like Fat Boy Do', despite the borderline PC police title, is a nice hard rock track and refreshingly a bit odd. And sure there are throwaways here that are really quite atrocious - and they all have titles that give the game away (hint: They contain the words 'Baby' and 'Love'. Yea, it was 1976 after all). But in aggregate not a bad way to spend 40 minutes, and if you're a "local AOR" collector, then this one goes into the must-have column. (2025 update: I'd like one more go at this. I'm sure I'll find the original vinyl at some point in the wilds).

1/1/19 (review)

1/1/19 (new entry)