Mark Radcliffe “The Sea Before Us”
Mark Radcliffe is an undeniable talent, a singer/songwriter in the mold of Duncan Shiek, David Grey or Kenny Loggins. Starting with the upbeat “In The Sun,” its compelling guitar chords hold your attention, and the hook in the chorus keeps you there. The strong, descriptive lyrics in “Other Side Of The Pillow” and “Tumbleweed” shares plenty in common with the Finn brothers or Bruce Hornsby. The emotional pull of these songs are strong, especially on “Tumbleweed” where the ache of the road is clear, when he sings “I don’t want to be another tumbleweed/ rolling down the road. Never knowing which way is home.” One of the catchiest songs here is “Miss Hard To Forget” a flirty, white-boy-soul pop tune that lightens the mood instantly.  Every song has a strong composition, sparse rhythms and well crafted melodies, so even though the energy level tones down at the album’s mid point, it never gets predictable. The acoustic guitar is the primary focus and even on ballads like “No Time To Lose,” the songs resonate. A hidden gem for sure.

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Moonjellies “Inner Anger Feather”
French power pop artists Moonjellies hits the spot on a hot day with their gentle melodies and harmonies similar to late-era Beatles and solo John Lennon. The music isn’t so hard edged and favors subtlety in place of jangle theatrics.  The Fab affection is truly sincere with the opener “The Meeting Place,” a melodic anthem punctuated by light horns and soft guitar riffs. “Come Across Your Shade” is a bit more White Album-like, with a mantra-like repeating rhythm and smooth backing harmonies. “No Better Side Of the Road” adds a folk element to the sound and “Man In A Crowd” is similar to Neil Young’s earliest material. The attempts at a retro folk sound are okay, but the Beatlesque sound is what will attract most listeners. Unfortunately the lack of energy becomes wearying over the course of the album, but the band seems to excel at creating a soothing vibe overall.  A hypnotic guitar epic “Sunrise” sounds like an out-take from George Harrison’s “All Things Must Pass” and the wonderful ending track “Black Cloud” is beautiful a Lennon lullaby. A good album for those with Fab obsessions, others may find it tedious.

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The Britannicas “s/t”
The enviable talent of Herb Eimerman (Nerk Twins) returns and is joined by Swede Magnus Karlsson (Happydeadmen) on guitar and Aussie Joe Algeri (Jack & The Beanstalk) on drums to form a truly international pop band called The Britannicas (despite the fact that no one here is British). The irony here is that these musicians have a common love of merseybeat and classic British pop. The gentle jangle of “Those Good Vibrations” is supported by some bright harmonies in the songs second half. “Baby Say Yeah Yeah” has that classic pop beat, Herb’s vocals are very reminiscent of Chad & Jeremy, but with more of an edge. “Friday Night Alright (Come Out And Play)” is a guitar gem with an Eddie Cochran styled rhythm.  Another favorite here is “Don’t Go Back,” chock full of Byrdsian jangle and a solid melody. The group harmonies work fine throughout – if anything, the band is a bit too tame in it’s choice of tempo and mood. Still, fans of The Byrds, Moody Blues, Gerry & The Pacemakers and British styled pop will enjoy this one immensely.

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Pearl Aday “Little Immaculate White Fox”
Pearl Aday first started singing in her father’s (Meat Loaf) band, and worked on five of his tours. She quickly became a crowd favorite with her wonderful backing vocals. She continued to make a name for herself as a backup vocalist for Motley Crue. Her impressive voice is similar to Alannah Myles or Melissa Etheridge and grabs you right away. As someone who grew up in the business and is named after Janis Joplin, she’s more than ready to release her first LP. The autobiographical “Rock Child” opens with guitar stabs and rolling drums that’s part Led Zepplin, part AC/DC, but all Pearl. She takes on the Tina Turner signature tune “Nutbush City Limits” and makes it all her own. The impressive “Broken White” has a very dark and disturbing tale, and Ted Nugent adds his sinister licks to “Check Out Charlie,” but the signature tune here is “Mama.” Like Grace Potter, Pearl has a ragged soulful approach to heavy rock that overflows with authenticity and conviction. The albums second half doesn’t quite live up to those opening tunes, but it still connects with the listener on a visceral level. An impressive debut for sure.

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