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Downbeat Magazine (September 2003)
"On his third album, Moss erupts with glowing guitar phrases that honor his heroes Buddy Guy and Jimmy Dawkins without being mired in the past. His singing has a certain naturalness and crispness, too. As a songriter, the young Chicagoan gives his band the Flip Tops and guests (among them, Muddy Waters' drummer Willie 'Big Eyes' Smith and Texas guitarist Anson Funderburgh) a batch of solid originals to latch on to. He also redefines the possibilities of old material from Leroy Carr's 'Barrelhouse Woman' to Floyd Jones’ 'Ain't Times Hard.' Moss is in it for the long haul. 3 1/2 STARS!"
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Vintage Guitar Magazine (August 2003)
"With a strong sense of both Chicago and Texas electric blues styling and a roster of legendary or soon to be legendary bluesmen backing him, how could Nick Moss go wrong? He doesn't!
Nick Moss could be an average guitarist, which he isnt, and this would still be a great release. What separates him from the rest of the pack is the absolutely authentic Memphis Slim-like quality to his voice. Well, okay, somewhere between Slim and Eddie Boyd. Regardless, a good place to be vocally. Instrumentally Moss' guitar chops demonstrate a level of prowess and maturity of a player twice his age. His attention to detail is beyond subtle. Whether it's Federal Freddy, or Luther or Sammy or Jimmy from the great Muddy bands on Chess, Moss has the nuances down... cold!
Joined by a number of blues luminaries that include Anson Funderburgh and "Sweet" Sam Myers along with Muddy alum Willie "Big Eyes" Smith as well as the great Curtis Salgado on harp, this is a session that esthetic-wise could have been recorded 50 years past. If you're a fan of this hard-edged, authentic style of blues, Moss and his less-is-more approach should be just what the indigo doctor ordered."
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Guitar One Magazine (October 2003)
"Classic Chicago blues from a young Windy City cat who apprenticed with Jimmy Rogers, Willie "Big Eyes" Smith, and Jimmy Dawkins. Anson Funderburgh guests on four tracks. Hot Lick: On "Panic Attack" Moss picks hot enough to melt the ice off Lake Michigan in January..."
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Blues Revue Magazine (August/September 2003)
"Nick Moss is one of the best living arguments for learning blues the old-fashioned way—paying one's dues in the service of the masters—that there is. His work with the Legendary Blues Band, Jimmy Rogers, Pinetop Perkins, and other legends have given him solid chops and a musical sensibility that ranks him among artists to watch. With his third album, Count Your Blessings, Moss does nothing to damage that rock-solid reputation. Continuing in a vein similar to Got A New Plan, Moss travels the territory of Chicago blues with skill and flair.
It helps that he has some good companions for his journey, notably pianist Barrelhouse Chuck Goering' you can tell that it's him, but he fits inperfectly as Moss and company serve up a tasty stew of originals and classic blues. At 18 tracks, it's quite a meal, kicking off with a fourish with 'Heavy On My Mind,' which settles into an ambling Chicago groove featuring a tasteful guitar solo, In fact, 'tasteful' is a good word to describe Moss' guitar style—he's neither too restrained nor too exuberant. Moss can rev it up, too, as he does on the title track and Leroy Carr's “Barrelhouse Woman.” He gives his crew plenty of room to shine' on 'Porchlight,' Curtis Salgado takes the fore with his harmonica, and on 'Barrelhouse Woman,' Goering takes the lead with vocals as well as piano. On a stunning rendition of Big Bill Broonzy's 'Hey Hey,' Sam Myers gets a vocal turn.
This ensemble-oriented approach, executed in the best Chicago tradition, adds a depth and texture unheard of on more artist-focused albums. For this, Moss is to be commended; not only is he a more-than-competent musician, he's got the confidence to give his compatriots their turns in the spotlight. Fans of the Chicago sound could do far worse than to pick this one up."
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All Music Guide (June 2003)
"Playing guitar for Chicago blues heavyweights like Jimmy Rogers and Jimmy Dawkins looks good on a resume, but it wouldn't mean as much if Nick Moss hadn't hearned a lot from those experiences. Obviously, Rogers and Dawkins taught him well— very well, in fact. Although Count Your Blessings was recorded in late 2002 and early 2003, this CD has no problem capturing the spirit of electric Chicago blues in the '50s and '60s. Moss' performances aren't slick; the singer/guitarist's tough, rugged, gritty approach recalls the glory days of Chess Records and sometimes brings to mind Magic Sam (who recorded for Delmark, not Chess, but was heavily influenced by the Chess sound). Moss gets his points across and demonstrates that a vocalist doesn't need a mind-blowing range to be expressive. Moss' guitar playing is excellent; when Moss takes an electic guitar solo, no one will accuse him of lacking chops. Nor will Moss be accused of lacking skills as a songwriter—all of the songs that he wrote for Count Your Blessings are memorable. In terms of the tracks' sequence, Moss does something interesting: he sticks to original material during the first half of the CD and focuses on other artists' songs after that. It's as though Moss wants to make sure listeners know what he can do as a composer before he moves on to material by famous bluesmen, which ranges from Big Bill Broonzy's 'Hey Hey' and Leroy Carr's 'Barrelhouse Woman' to the James Cotton instrumental 'Lightnin''. All things considered, Count Your Blessings is a CD that Moss should be proud to have in his catalog."
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Illinois Entertainer (November 2003)
"Nick Moss & the Flip Tops, following up to last year's critically acclaimed Got A New Plan, return with the lively Count Your Blessings (Blue Bella). Among Moss' many blessings in live are the many musical friends he has made over the years. Many of them, including guitarists Anson Funderburgh and his wife Kate, harpist/vocalists Sam Myers, Curtis Salgado, and Lynwood Slim, first-call Chicago bassist Bob Stroger, pianist Barrelhouse Chuck, and drummer Willie 'Big Eyes' Smith, help Moss and band bring this impressive disc home. The CD contains 10 original tunes that showcase Moss' continuing growth as a wordsmith while his guitar expertise is on display throughout, but is especially noteworthy on the two powerful instrumental cuts that grace the album. Chicagoland can consider it a blessing that this uniquely talented group calls our neck of the woods home."
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The Paper (Champaign, IL)
"Nick Moss and the Flip Tops are on top again! Their new release, Count Your Blessings, is their excellent follow-up to the W.C. Handy Award-nominated Got a New Plan. The band has many blessings to count, including Barrelhouse Chuck, torchbearer of the Chicago piano tradition, becoming a full-time member of Moss’ ensemble. Other guests include Sam Myers, Anson Funderburgh, Curtis Salgado, Willie “Big Eyes” Smith and Lynwood Slim.
Count this release’s 18 songs and 77 minutes as a bargain blessing. Nick Moss does Chicago blues right, but in his own style. Check out 'Porchlight' or 'So Tired' (great Slim harmonica), the Elmore James-styled 'Break Bad,' the title tune (with Salgado on harp), and the farfisa-organed instrumental 'Hip Toss.' Other highlights include Sonny Boy Williamson’s 'She Brought Life Back to the Dead' with Sam Myers."
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King Biscuit Time (August 2003)
"Experience an album that makes you feel like you’re in a blackened club watching a man and his band sweat it out under the lights' hot glare. You can practically feel their extraordinary passion for pure expressiion. The blues has always been a grueling profession. Riches are in the cards for only a minute few, many of them bad masqueraders to begin with. Nick Moss & the Flip Tops play traditional Chicago blues with vibrancy and bite. Count Your Blessings is Moss' third album as a leader and its title speaks volumes. He's a young, self-taught guitar player who truly walks the walk, counting the late Muddy Waters guitarist Jimmy Rogers as a friend and mentor. The true-to-form spirit born of their relationship swoops down and embodies songs like the downtrodden 'So Tired,' in which Moss does battle with Barelhouse Chuck on Wurlitzer and Lynwood Slim on harp. The generous platter—18 songs and 76 minutes in length—includes guest spots by drummer Willie 'Big Eyes' Smith, another Muddy alumnus whom Moss refers to as his second father.
Smith keeps time on the galloping title track as well as 'Porchlight,' a swirling, organ-fired piece of rock 'n roll. Curtis Salgado, known primarily for his soul singing, blows a mean harp on that one and several others too. Guitarist Anson Funderburgh and singer Sam Myers of the Rockets also stop by to sweeten the pie. All of 'em, though, merely accent the ferocious beat of the Flip Tops and the keen notes Moss peals out of his guitar. Count your blessings indeed. Visit Nick and the Flip Tops and their label, Blue Bella Records, at www.nickmoss.com. Learn all about this truly entertaining young blues man and buy a disc, a t-shirt, or both. The word on this guy is out and it's spreading rapidly."
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TempleOfBlues.com, BigRoadBlues.com and Blues On Stage
"Following up on his 2001 release, Got A New Plan, wasn't going to be an easy move for Nick Moss and his band, The Flip Tops. The wide-ranging critical acclaim for his last disc landed in blues publications on both sides of the Atlantic Ocean and as far away as Japan and Australia with the general consensus echoing the idea that Moss could well be the future of blues.
With Count Your Blessings, the votes shouldn't sway a peg. Nick Moss & The Flip Tops still consist of harrowing guitar and booming vocals courtesy of Moss, plus the tried-and-tested rhythm section of Andy Lester and Greg Campbell, and there are plenty of guests this time around as well. Nick's recent bride, Kate, handles additional guitar chores and Barrelhouse Chuck has become a full-time member, but adding the talents of Anson Funderburgh, Sam Myers, Lynwood Slim, Curtis Salgado, Johnny Bradley, Willie 'Big Eyes' Smith, and Bob Stroger make the party an even bigger success than most should have expected.
If one thing is immediately evident it's that there's more of a flat-out Chicago feel present on this new release due in part to the material as well as the congregation gathered to spread the gospel. Curtis Salgado's harmonica work is ridiculously good, and while that should come as no big surprise to those familiar with his work, it might cause some to wonder why he doesn't play anywhere near as much on his own discs. Nick's guitar and voice play perfect foil to each other; while his vocals are projected smoothly with plenty of feel, his guitar playing has the dirt and grime of Chicago's tenement neighborhoods, and the inclusion of Barrelhouse Chuck's keyboard abilities complement the outcome with heavy doses of Otis Spann, Sunnyland Slim, and other fallen Windy City heroes.
Highlights over the first half of the CD are far too numerous to list but 'Heavy On My Mind' exudes more Chicago grit than a Southside gutter, 'Do You Know' is astounding with an infectious push-and-pull groove, 'I'm Mad' features broomdusting guitar and two-fisted piano, and 'Porchlight' sports a distinct funkified approach. A little better than the first half of the disc is made up of sharp originals while the second half pulls together Leroy Carr's 'Barrelhouse Woman', Floyd Jones' 'Ain't Times Hard', Big Bill Broonzy's 'Hey, Hey', A.C. Reed's 'This Little Voice', Sonny Boy II's 'She Brought Life Back To The Dead', and more, but there's no discernable difference between the Moss-penned items and the golden gems chosen as covers. Nick Moss & The Flip Tops are the real and raw deal, but don't take some reviewer's word for it, grab Count Your Blessings and find out for yourself! www.nickmoss.com has additional CDs, gigging schedules, t-shirts, gadgets, and all-around fun stuff." Rating: 4 STARS! —Craig Ruskey
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MOJO [UK] (November 2003)
"Singer-guitarist Moss carries the torch of Chicago blues high and blazing... 4 STARS!
EVEN FERVENT followers of Chicago blues must sometimes wonder if those deep wells of precedent and inspiration may eventually go dry; if one day no young musicians will care to read the old books and write new ones of their own. Long before the end of Count Your Blessings, such cares have been blown away. Nick Moss has been playing chicago blues since his teens. He has made two promising albums and now, at 33, his third marks the end of his apprenticeship. Whether backing colleagues like Sam Myers and Lynwood Slim on local standards or delivering original songs rooted in the same soil, he speaks in a voice that's both his own and pungently accented with tradition. Barrelhouse Chuck on keyboards and Curtis Salgado on harmonica, equally steeped in the secrets of the music, dress the set perfectly...
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Twoj Blues [POLAND] (November 2003)
"After two successful albums this versatile musician in his thirties still attempts to mix things up in the blues circle of Chicago. In his career he used to play in the bands of Jimmy Dawkins, Willie 'Big Eyes' Smith and Jimmy Rogers. While recording a new album — except of inviting musicians from his own band The Flip Tops — he approached many prominent blues figures. There are Curtis Salgado, Sam Myers and Lynwood Slim switching with each other on harmonica, Anson Funderburgh on guitar, Bob Stroger on bass and Willie 'Big Eyes' Smith on drums.
The album is dangerously stuffed: 77 minutes of music with 18 numbers including even 5 bonus tracks. Most of recordings are Moss’ compositions, who’s free with his guitar gimmicks of uncommon intensity. Moss’ guitar has a piercing sound with a sharp reverberation and it reminds of the “cold ice” guitar by Albert Collins. In succeeding tracks Moss makes show of a rich catalogue of guitar figures without missing enthusiasm and inventiveness. From a reckless opening in 'Heavy On My Mind', the tempo of tracks oscillates between medium and fast. The instrumental 'Panic Attack' may grow up with time to the leading display of Moss’ guitar vitality. Though listening to Curtis Salgado playing harmonica or hearing stylish, sometimes wild, passages of the pianist Barrelhouse Chuck seems to be a special experience, the greatest 'run to the homeplate' is demonstrated by Nick Moss. Not less exciting is the second (bonus) part of the record consisting of blues standards. The vocal side has been taken over by Barrelhouse Chuck, Sam Myers, Curtis Salgado and Lynwood Slim. After an album like this you can only have one dream: to see it all live or watch DVD. Chicago blues in its best performance sustaining all noble elements, moreover dynamic and cool. Moss is a real 'new kid in town', indeed."
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Blues News [GERMANY] (August/September 2003)
"With his third CD, Nick Moss has achieved a big one. While his debut First Offense was deeply rooted in the classic 50's Chicago style and the successor Got A New Plan more in a 60's style with occasional soul influences, Moss presents on his new CD Chicago blues styles of both decades, but in a traditional and earthy way throughout. While he has always been known as an excellent traditional blues guitarist, Moss has in the meantime also developed into an absolutely convincing singer—powerful, flexible and expressive. His songs are impressive, too: 10 of the 18 songs are self-written, are rooted in the classic Chicago Blues and offer interesting original ideas, especially regarding the lyrics. His "Gold Digger", for example, has all qualities of a true classic. Moss' regular crew include his wife Kate on rhythm guitar who is also responsible for the attractive cover design... The list of session guests is impressive, i.e. Anson Funderburgh, Curtis Salgado, Sam Myers and co-producer Lynwood Slim. A jam-packed CD containing top-quality music virtually throughout. I have seldomly been so enthusiastic about a new production. An excellent CD which is highly recommended for all lovers of Chicago blues."
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Concerto [AUSTRIA] (August/September 2003)
"The development that Nick Moss has taken through his first three records is amazing. For Got A New Plan he was already nominated for a W.C. Handy Award as 'Best New Artist' and now he takes the next step further with Count Your Blessings. Moss´ blues is honest, powerful, 'classic' in the best sense. He´s undeniably influenced by Chicago-Blues but he goes beyond that. Moss has shared the road for years with legends like Jimmy Dawkins, Willie “Big Eyes” Smith or Jimmy Rogers. And for his new record he has recruited a marvellous list of musicians too, like Curtis Salgado, Barrelhouse Chuck, Bob Stroger, Willie 'Big Eyes' Smith, Anson Funderburgh, Lynwood Slim or Sam Myers. Not very common for a 'newcomer'! But moss justifies this 'luxury'. The CD was recorded in a 'jam-atmosphere' and produced with a good studio-live-feeling. The 18 (!) songs show a variety from a more traditional Windy-City-sound to moments of rock and ´60s influenced instrumentals. Along comes Barrelhouse Chuck with some fine barrelhouse piano ('Barrelhouse Woman'). With this mixture Nick Moss is one of the number one contenders for the title 'guardian of the blues'".
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