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 that album. 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). Acquired in 2025.

First copy: 1978 Village (LP). Acquired in 2023.  

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).

---4/6/26

And that prophesy from one year ago has come to fruition. Found one in the wilds for pennies. Just about every album that looks like Roadmaster, and is on some small label, is worth at least 50 bucks. Not Roadmaster. Sub $10 every single one of them. Which tells us they sold boatloads in their day. They really did have the perfect sound for the mid 70s. Why, then, were they not the next Boston or Styx? As noted in the subsequent reviews above, they didn't have the songs. Music talent? Yes. That 70's sound? Oh yea, for sure. Hooks? Nope. If there was a band that should have "hedged" - like many 70s private releases did - it was Roadmaster. One side for a proggy suite, or a blistering hard rock attempt, and the rest try for a radio hit song. We'll never know if Roadmaster had the chops for prog, since they never once showed that side of the band (at least all-in prog). But I'm betting they did, as noted in the reviews above. Maybe they have some dusty old tapes with just that - would make for a killer archival release.

So my conclusion for this debut? My initial review captured perfectly what I'm hearing seven years later. Some good material offset by bilge. I'll keep Sweet Music as my representative for Roadmaster.

Source: 1976 Village (LP)

1/1/19 (review); 4/6/26 (update)

1/1/19 (new entry)

The Masters of Deceit ~ USA ~ Indiana

Hensley's Electric Jazz Band & Synthetic Symphonette (1969)

The Masters of Deceit's sole album is yet another wonder from the interior of America, in this case Indiana. When hearing Hensley's Electric Jazz Band & Synthetic Symphonette, the first thought that comes to mind is Soft Machine's debut, an album they must've digested before heading to the studio. As with the origins of Canterbury, The Masters of Deceit are heavily influenced by both jazz and psychedelic, but their music squarely belongs to the early days of progressive rock. Plenty of jazz psych jams and whimsical tunes  featuring clavinet, vintage organ, and electric guitar. The rhythms are distinctly from the jazz school. File alongside The United States of America, Listening, After All, Brimstone, The Spoils of War, and other pioneering American prog groups.

Ownership: 1969 Vanguard (LP). Uni-pak gatefold. 

2003 (acquired); 3/2/24 (review / new entry)

Ethos ~ USA ~ Fort Wayne, Indiana

Open Up (1977)

By 1977, Ethos were facing serious headwinds. Disco, punk, and the rest of them were aiming to destroy whatever fragments of progressive rock that had managed to creep into the American landscape. For a regional group with no presence to speak of, it was nigh impossible for the band to gain any kind of foothold. Lucky for us, Ethos paid no mind to current trends and went about releasing one more solid progressive rock outing before calling it a day. Songwriting is front and center, so it's not an obvious gymnastic styled prog, but close listens reveal quite a bit of complexity. Fantastic production and highly original material as well. This is one of those albums that once you buy the premise, the value goes up considerably.

Incidentally there's only one original LP pressing of Open Up, which tells us the album was anticipated to sell poorly - and it did. It's much rarer than you might initially think.

Ownership: 1977 Capitol (LP). Acquired in 1992.

9/23/92; 2009; 7/3/23 (review)

Relics (1973-1974 / 2000)

Fort Wayne Indiana's Ethos are one of the bellwether bands on my USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. If you've read my reviews long enough, or studied that list, then you know what to expect here. Of course this being an archival release - and it predates their major label debut - then you can probably expect more progressive and less commercial. And that's exactly what you receive. Most of the material here is from 1974, with a couple of rougher demos going back to 1973.

For me, on reflection, it's a bittersweet experience. On the one hand it is truly wonderful to hear such great treasure being mined from the vaults like this. On the other, one inherently knows that there should have been so much more. Countless bands operating in a similar territory, but not unified - disparate groups influenced by the same UK bands, though not learning from each other and pushing the boundaries as you would see in England, Germany, or Italy. Everything was grassroots. One of the primary themes of the Midwest Prog list is that America did not have a national scene like the various European countries did. Not a single enlightened record executive, nor a super wealthy individual stepped up and said "I got this". Where were the patrons of the arts? Not everything has to have a bottom line, if one has the wealth to subsidize. I'm pretty sure those that bankrolled the magnificent church frescoes in Medieval times weren't demanding an "ROI". Sigh.

Ownership: 2000 Black Moon (CD). A great reissue from UMR's good friend Mike O'Neal. Comes with a poster insert filled with historical data. Acquired in 2000.

2000; 9/13/17 (review)

Ardour (1976)

Ft. Wayne's Ethos were like many bands of the Midwest whose obsession with Yes, Genesis, and Gentle Giant are well documented. These English progressive bands would enjoy regular airplay on the local underground, and very popular, FM stations played throughout the region. Concerts were met with great enthusiasm, and any kid that possessed a great talent for musicianship, along with a hyperactive imagination, were quickly assembling together a band and making a go of it for themselves. Most ended up nowhere. Some procured a private release handed out at sparsely attended concerts by local union workers who were more interested in the booze and broads than the music itself. And then a few made the "big time". In this scenario, Ethos were one that made it. Today, they're the kind of band that late middle aged guys whisper quietly about in a game of I-know-more-about-music-than-you-do. As in "I own an album I bet you haven't heard, that's way cool - a band called Ethos. Bet you haven't heard of them!". So popular enough to still be called out by over-aged dorks, yet too obscure for anyone at Corporate America to give a rat's ass about. Pretty much sums up the American progressive rock scene of the 1970s doesn't it?

Today, I'm sure Ethos is held up at corporate meetings as a prime example of "Mistakes from the Past - How to Avoid them, a Seminar".

Ownership: 1976 Capitol (LP). Acquired in 1989.

1989; 1996; 2009 (review)

1/23/10 (new entry)

Amnesty ~ USA ~ Indianapolis, Indiana

Free Your Mind: The 700 West Sessions (1973 / 2007)

What I said about Apple and the Three Oranges can apply here as well, this time though we’re in Indianapolis. However, in this case, I was tipped off to this archival album upon release. I was told it was very much like Funkadelic. There’s some of that here for sure, but this is more serious, and the funk is lighter and scarcer. Again, soul music plays just as much a role, something that I’m embracing more as I get older. Whereas I dismissed the opportunity to buy it originally, today it makes more sense (especially since it’s being sold at a deep discount). And as with the above, Now-Again is to be commended for the excellent historical research.

Ownership: 2007 Now-Again (CD). Poster booklet with liner notes and photos. Acquired in 2023.

2008; 2010; 2015; 3/17/23 (review) 

4/19/23 (new entry)

Goliath ~ USA ~ Indiana

Hot Rock & Thunder (1974)

Like with Alpha Centauri, there's a lot of miscommunication regarding Goliath. If holding the album in your hands, it appears they're from Louisville, Kentucky. But it turns out they're from Indiana. Terre Haute in fact. For some reason we have some geniuses out there talking about being from the sweaty south shores of Lake Michigan, in the Chicago suburbs. They seem to be talking about Gary, not Terre Haute which sits west of Indianapolis on the Illinois border. These things matter when you realize the micro scenes of music operating in the Midwest during the 70s. One other key fact is this album was recorded in 1972, so it's pretty early in the game.

What is that game? Hard rock, that's what. Almost every review out there sings the praises of  'Dead Drunk Screamin'', and the rest isn't up to snuff. I was also familiar with this track from one of the Wayfarer Strangers comps on Numero. It's a great track, no question. But there's plenty more greatness here, most notably 'Silver Girl' which has a strong progressive rock quotient - and is my personal favorite. Both the opening two songs and the proggy 'The Apocalypse' are also excellent. So yes, the title track and the album closer drift towards boogie rock, so they can be skipped. They're also relatively short and nonconsequential. It appears this album was repackaged by a tax scam label in the 70s, and I'm beginning to wonder if 'Silver Girl' is even presented correctly. I see timings in the three plus minute range, but the song on the original is easily six to seven minutes. Lots of questions regarding this release. The only history of the band I know of is in the Numero booklet, but they didn't go into detail about the album. Really needs a quality reissue to set the record straight, so to speak. Don't listen to the naysayers, see if you can get a copy of the original - or at least a burn of it. Great early 70s hard rock here.

Ownership: 1974 Bridges (LP) 

No reissues as of 3/30/25.

10/19/22 (review / new entry)

Mathematicians - Irrational Numbers. 1994 USA-Indiana

About eight years ago or so, I had a chance to revisit both Mathematicians albums back to back. My recollection was that the sophomore effort Factor of Four was the superior work. A recent listen to that second album confirmed my appreciation for it. But what about this debut? Is it worth keeping too? And I'm happy to say an absolute yes. It's not quite as accomplished, but it grades out about the same. It's jazz fusion with a slightly rawer edge, and a progressive rock streak. Guitarist Larry McCullough is the centerpiece, but it's definitely a band effort. In its short 34 minute LP length, Mathematicians don't try to do too much. This is the kind of music you could reliably find in 1975, but had long disappeared by the 90s. Good stuff.

Ownership: CD: 1994 Aljabr. Jewel case with booklet containing recording details. Picked up sometime in the 90s. Great label name. 

6/16/21 (new entry)

Stencil Forest - Opening Act. 1983 USA-Indiana

Small world time for me. One of the members of Stencil Forest is the older brother of a very good friend of mine who I met through my work in the software industry. When I first visited his brother (who had already relocated to Denver where we all lived), he stuck this album in my face and said "So you're into obscure rock music - bet you haven't heard of Stencil Forest?". He was right - I hadn't (this was back in 1995). They were from that unlikely hotbed of talent - Fort Wayne*, Indiana (Ethos, latter day Happy the Man). For those that are exceptionally perceptive, they did indeed get their name from the Happy The Man tune and apparently hung out with them quite a bit in the early 80's. So fast forward to 2004. They just re-mastered the tapes and privately released their sole album on CD. It sounds absolutely fantastic! Very professionally done throughout. Musically this is Midwest pomp/AOR with a prog twist. Think Styx, Kansas, later period Starcastle, REO Speedwagon, Shooting Star, etc… Oh you know, stuff that comes from this list. Given the progressive leanings, probably the Canadian group Saga would be the most apt comparison. What’s most interesting is how creative some of the instrumental breaks can be. Not in a flashy chops way, but very much like a Happy The Man or Genesis in their prime would do. There’s also the cringe inducing choruses and obvious play for radio, but they really were shooting for the big time, as was everyone else in those days. Had this come out a couple of years earlier, they might have made it too. The only song on here that plays it straight throughout is 'Looking Back', one that can be skipped over quickly. The title track is a Cliff Notes version of what Stencil Forest are all about. You’ll be fumbling for the remote after hearing the starting sequence with its 1980's AOR guitar chord rock and insipid chorus lines. Then, suddenly, the composition shifts to a complex and highly melodic mid-section. And back and forth it goes. This type of adventurism wasn't found on most 1980's arena rock albums. 'Celestial Voices', 'Just a Fantasy' and 'Crossroads' all have this yin / yang quality about them. 'The Pandemonium Shadow Show' is, not surprising with a title like that, the all-in progressive rock track that makes fans of the genre wish they'd just done a whole album of similar. It’s also the longest track clocking in near 9 minutes (again no surprise). The final two tracks, 'Indian Summer' and 'Five Studded Poker Player' are probably the best overall when considering the balance of melodic content and progressive interludes. In fact, the latter track would've been my surprise pick for a single, as it has the type of hook that lasts long after the album has ceased playing. Even the 1992 bonus cut ‘Five by Five’ is similar in construct. For vintage gear heads, it’s the Willy Wonka Chocolate Factory with Mellotron, Hammond B-3, Mini-Moog, and Hohner D-6 Clavinet. Stencil Forest are a six member group so a lot of ideas and synergy can be heard. I can really appreciate the time and place aspect of this kind of music. And this is one of the finest examples I’ve heard – especially for the genre’s late date.

*Some of the band members were from Elkhart, but they set up shop in Fort Wayne.

Ownership: LP: 1983 Realtime. Single sleeve. Online acquisition (2018).

CD: 2004 private. Jewel case release with one bonus track. Acquired as noted above.

9//04; 8/21/16 (new entry)

Raven - Who Do You See... 1976 USA-Indiana

Classic progressive rock from Midwest America. This time from Terre Haute, Indiana, and features none other than the same drummer from the monster psych rock band Micah (1971) - who had relocated to upstate New York from Terre Haute a few years prior. So it takes a Portuguese vinyl only label to release this wonderful archival LP - OK, works for me. Global economy indeed.

This album (recorded 1976) has all the trademarks of a band from the era and region: Straightforward radio friendly tracks are offset by highly complex compositions and serious musical chops. And loads of that wonderful Hammond organ and Moog synthesizer! Perhaps not the greatest sounding recording, but certainly excellent given the circumstances. Other Indiana bands like Yezda Urfa, Ethos, and even Vindication will point the way if needing comparisons.

Ownership: LP: 2013 Golden Pavilion. Single sleeve cover with biographical data "obi". This issue surprisingly lacks historical detail, though you can find more on the internet. The vinyl itself sounds very fine - especially for something that wasn't intended to be issued in the first place. 

As it turns out, drummer Robert Wolff is still going - participating in none other than a progressive rock band from Finland called Corvus Stone, who have a new album coming soon! So we have a drummer from Indiana, who lived in New York, who's first album (Micah) was reissued by a German company (Shadoks), whose next band was released for the first time by a label from Portugal, and who is now a virtual member of a band from Finland. Got that? Wow.

3/16/14 (first listen / review / new entry)

Amulet. 1980 USA-Indiana

If you’re looking for the real deal when talking the late 70s American underground hard rock guitar scene, then Indiana's Amulet is for you. You can’t fake this. There’s nothing flashy, slick, pretentious, or commercial about this release. Just a bunch of guys who gave you an honest dollar’s performance, because they knew their audience didn’t have much scratch to spare. Straight from the mines to the dimly lit tavern for some Falstaff and an evening of rockin' with Amulet. And if the groupie girls were there... well... then... the night was to be remembered forever.

CD: 2000 Monster

Many Bright Things - Many Bright Friends. 2005 USA-Indiana

For my tastes, Many Bright Things' best work is Many Bright Friends, which features [i]the best[/i] cover version of Paul Butterfield Blues Band's 1966 classic 'East West'. All modern bands should revisit this Indo-blues classic on how to lay down a groove and then improvise on top. Guest Nick Salomon (Bevis Frond) lays the studio to waste, only to be immediately followed by Al Simones' incendiary and violent solo, that concludes one of the greatest one-two punches I've ever had the pleasure to hear. The other tracks on the album unfortunately don't stack up, but the 21 minute 'East West' more than makes up for any shortcomings.

Ownership: CD: 2005 Wild Places. Jewel case with small booklet and many details regarding the recording.

3/9/13 (new entry); 6/19/21

Mathematicians - Factor of Four. 1996 USA-Indiana

In the late 1980s through the early 90s, there was a movement for rock / jazz instrumental albums (think mid 70's Jeff Beck here), that brought on a slew of interesting releases, most of which are long forgotten today. The indie label I.R.S. started a series call No Speak, of which the majority of their roster was made up of top level electric guitarists whose commercially viable days were at least 15 years behind them (Jan Akkerman, Robbie Krieger, Wishbone Ash, Ronnie Montrose, etc...). They also had a series of compilation albums called Guitar Speak that were highly revered back in the day. In parallel to this, Relativity Records was pushing out albums by more trendy artists such as Steve Vai, Vinnie Moore, and Joe Satriani, while also signing up the middle generation guys like Steve Howe and Gary Moore.

Indianapolis based Mathematicians were clearly a product of this movement. It's hard edged guitar fronted fusion, with mild complexity, and a few good melodies. Keyboards are there primarily to provide accompaniment to the guitar pyrotechnics. Make no mistake, Mathematicians aren't a "guitar hero" band, as the compositions are fleshed out enough to enjoy in a listening session rather than as a "how to record" for budding guitarists. While the debut is well done, the level of intensity and songwriting improves on Factor of Four, and thus is the recommended place to start.

If you're a "man of a certain age", then this review will most assuredly bring back memories of that era, and you'll probably want to investigate this CD (or at the very least go digging through your closet for the IRS / Relativity albums you own... somewhere). As noted above, I bought this in the 1990s, and it's held the test of time well. In fact, the music has improved with age.

Ownership: CD: 1996 Acme. Basic layout with photos of the band. 

1/11/13 (new entry); 8/6/20 

Windopane - See? 1994 USA-Indiana

In the early 90's there were a few bands from both the Midwest United States and in the UK which featured guitar centric psychedelic groups that revolved around long improvised and frenetic jams. From the UK you had Bevis Frond, Outskirts of Infinity, Ear Candy, Mynd Muzik and the Incredible Expanding Mindfuck. From Ohio and Indiana there was Many Bright Things, Simones, Tombstone Valentine, and... Windopane. The twist here is that Windopane were lead by a husband and wife team of dual guitarists, with an accompanying booklet that implies a heart wrenching story of a child given up to adoption by the female lead when she was only 16. A fairly active drummer rounds out the trio.

There really isn't anything extraordinary about this album, or the compositions within. But if you like a good old fashioned instrumental wah wah guitar extravaganza without ever going to excess, then this is one you should look for in the dollar bin of your local brick and mortar - or favorite auction house.

They released another album a year later, which I recall as not being up to snuff. Don't remember much about it, but I sold it way back when in any case.

Ownership: CD: 1994 Or

9/25/11 (new entry)