Posts Tagged ‘Indianapolis’

As Riding Easy Records’ highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50- year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led Riding Easy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radio- ready rock will finally see light of day.

The Ice Age is an exceptional archive of hard edged rock with serious pop hooks akin to something like Grand Funk Railroad meets The Guess Who and The Move. It rocks hard, but is also interlaced with glorious melodic hooks. Had fate been less fickle, this album would’ve long been a classic rock radio staple.

Album opener “Gypsy” is a chiming Byrds-like rocker, with glistening 12-string guitar, organ and somewhat over-zealous vibra-slap. “Satisfy” and “3 O’Clock In The Morning” nicely pair up as the most pop friendly tunes, but with very clever melodies and structures sounding ahead of their time, the latter with an extended entrancing and droning refrain led by shimmering organ run through a Leslie speaker. “Running High” and “Catch You” were the two tracks released in ’72 under a different band name, which received considerable local radio airplay. And, for good reason: Their nice balance of wayward psychedelic pop and troglodyte thunder is exactly what makes The Ice Age so captivating. Album closer “Song of The East” shares the growling glissando and orchestral style that made Vanilla Fudge and The Moody Blues household names.

In the late 1960’s five young men formed a rock & roll band on the west side of Indianapolis, Indiana. They chose the coolest name possible: ICE. The group consisted of vocalist/keyboardist Barry Crawford, lead vocalist/ bassist Jim Lee, drummer Mike Saligoe, lead guitarist John Schaffer and rhythm guitarist/vocalist Richard Strange. They was among the first bands to perform an all original set throughout the Midwest at high schools, colleges & concert venues. They opened for national acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters.


The Ice Age is truly an incredible and unprecedented find, particularly when we’d all thought the glorious history of rock’n’roll had long ago been written and sealed as complete.

available on May 15th, 2020 via Riding Easy Records.

Performing band members on the album are:

Barry Crawford: vocals/organ/electric piano/harpsichord
Jim Lee: lead vocals/Vox sidewinder bass guitar/Gibson Es120 guitar
Mike Saligoe: Ludwig drums/percussion/timpani’s
John Schaffer: Gibson SG lead guitar/Harmony acoustic guitar
Richard Strange: vocals/12 string Rickenbacker & Gibson Les Paul rhythm guitars


Lily and Madeleine Jurkiewicz create candid music with deep emotional and personal resonance. The sisters, who record under the moniker Lily and Madeleine, boldly explore what it means to be women in the 21st century, and aren’t afraid to use their music to call out injustice or double standards. This fearless approach has permeated their three albums, which are full of insightful lyrics and thoughtful indie-pop. But with their fourth studio album, Canterbury Girls – named after Canterbury Park, located in their hometown of Indianapolis – the sisters are coming into their own as women and musicians.

Using an eclectic playlist of songs as sonic inspirations – soul tunes and waltzes, as well as cuts from Midlake, ABBA and Nancy Wilson – Lily and Madeleine worked quickly, recording Canterbury Girls in just 10 days. Although the record contains plenty of Lily and Madeleine’s usual ornate music—including the languid Analog Love, on which twangy guitars curl around like a kite twisting in the wind – the album also finds the siblings exploring new sonic vistas. Supernatural Sadness is an irresistible slice of bubbly, easy-going disco-pop; the urgent Pachinko Song hews toward interstellar synth-pop with driving rhythms, and Can’t Help The Way I Feel is an effervescent, Motown-inflected number. Vocally, the sisters also take giant leaps forward. The dreamy waltz Self Care is a rich, piano-heavy track on which their voices intertwine for soulful harmonies, while the meticulous Just Do It has a throwback, ‘70s R&B vibe.

From the new album ‘Canterbury Girls,’ available February 22nd, 2019:


I wanted to feature Gilman more for what I think he and his band could become rather than where they are now. As the album promises, a lot of these songs are about fights with exes, soon-to-be-exes, and former bandmates.

Grant Gilman, formerly of Films About Penguins, has assembled a mixture of love ballads and musical social commentary with his alternative country solo debut Homewrecker. Through songs that reverberate through the human condition, Gilman’s progressive album reaches the depths of an economic slide as well as the deterioration of the human soul. Songs like “Don’t Want You Gone” display his sentimentality and clever imagery while infused with the everyman quality he so accurately captures. “Younger and Limber” exemplifies the apex of Gilman’s album theme–the absolute necessity for companionship, regardless of the conditions of separation. Homewrecker is an exceptional debut filled with nothing short of promise from this prodigious young musician. –

“Listening to “Homewrecker”, the title track to Gilman’s brand new self-recorded album, is like hearing someone who’s soaked in the beer-haze country-punk attitude of Stranger’s Almanac-era Whiskeytown and the ragged, fiddle-driven “Give Back The Key To My Heart” from Uncle Tupelo’s Anodyne and spit them back out with comparable vigor. The album continues in the same vein – hard living, poor choices, drunken apologies, empty promises, the works. It’s a promising debut from an artist who sports his influences with aplomb…” -From Pop Headwound .. ..

“This winter, singer-songwriter Grant Gilman released Homewrecker, a fourteen track break-up letter that is a perfect companion to all that hurts in the game of love. Straight out of Terre Haute, Indiana, Gilman’s solo debut sounds eerily similar to some of Ryan Adam’s early work by the Patty Duke Syndrome; country music with some serious indie rock sensibilities. What I like about Grant is that he’s not giving us any bullshit. This isn’t a kid singing about how much ass he gets, or how much whiskey he can drink. He’s a guy who’s had some troubles in the game of love and he’s not afraid to spell it out for you. It can be easy for young country singers to write music that isn’t very honest. The genre as a whole celebrates the dustiest of characters, hell-bent on destruction and mayhem. Some young writers overplay the “whole” traveling musician card a bit hard when they first start out, spinning more yarn than a six-year old. Gilman isn’t singing about something he’s not, or hasn’t experienced yet.” 

Members: Truckerspeed is: Grant Gilman- Guitar/Vocals Dave Lawson – Guitar John Zeps – Bass Dustin Carmichael – Drums