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Mockingbird Hill —Songs from the Small Room—Mad Ears
Productions MEPCD020

(www.mockingbirdhill.co.uk)

This is an eclectic release from this UK outfit based around sing-
er/ songwriter Andy Littlewood. The band draws on a wide range
of influences, from out-and-out Americana to the blues, of course.

For Americana, try any of the first few tracks. For the latter, lend
an ear to ‘Words Unsaid’, ‘Devil In My Heart’ - a band perform-
ance but with echoes of Skip James – and, unsurprisingly given
the title, the wonderfully under-stated grooving instrumental, ’Walking To The Crossroads’.
There is an appropriate southern rock tinge too to a few tracks, notably another instrumental,
‘Southern Freeway’.

Country sounds come courtesy of the breezy ‘Driving To The Bright Lights’ and also to a degree
with the ever so slightly psychedelia-tinged bluesy pop-rock of ‘Falling Down’, and an earnest
singer-songwriter piece morphing into outlaw-country, ‘Long Way Back’, the closing item.

OK, so this is not a blues release as such, but there’s no denying that the blues is a strong
influence. And if you’re into Americana, then this CD is most definitely worth checking out.

Norman Darwen

Weezil Malone Band—Desert Drive-in—Independent

(www.weezilmalone.net)

This is a take-no-prisoners, muscular set of mostly blues-rock by
this outfit from East Grand Rapids, Michigan. Led by Larry Fit-
zgerald on vocals and guitar, over a rhythm section of Dave Alves
on bass and Karl Schantz on drums (plus guest sax from Dan

Giacobassi), they power through a dozen original songs from
Larry’s pen.

These are good songs too, often up tempo and rocking (lend an
ear to ‘I Slowed Down’, with its hints of The Rolling Stones musically), or occasionally with a
funky edge – in a similar way to how Jeff Beck used funk – as on ‘On My Porch’ or the title track,
whilst ‘Take It Away’ is a rip-roaring shuffle. Then again, a track like ‘Enough Is Enough’ seems

to be an out-and-out rock/ blues performance, but paying a little more attention reveals that it
is based on a Bo Diddley rhythm and has great sheets of electric slide guitar work. Those kind
of factors also apply to many of the other rockier tracks here.

These guys are good, there is no doubt about that. They are also individual and that doesn’t
always necessarily follow, so check them out if you can.

Norman Darwen