Best known as front man and main man of the original purist ‘60s garage revivalists, Greg Prevost has always been one contrary mofo. If it wasn’t enough to go all ‘1966’ in the height of the immediate post-punk era (the Chesterfield Kings first started in ’78), then going Dolls/Hollywood Brats-style glam just as 1966 was back in style – as the Chesterfield Kings did with their mighty ‘Berlin Wall of Sound’ album at the height of the garage revival in the late ‘80s – should tell you plenty about Greg’s desire to go against the grain, even if that grain was the so-called alternative in the first place.
 In fact, Greg was operating under the underground even before the Chesterfield Kings got going, doing (unrecorded) solo folk-blues stuff in the original glam days, and doing an hysterical pysch-Stooges things in pre-punk days with his bands  Mr Electro & The Void (also unrecorded),  the Tar Babies and the Distorted Levels, whose ‘Hey Mister ‘ single was one of the early American independent 45’s. Of course all this stuff is just different pages of the same book, but Greg likes to jump from page to page in a seemingly more random order than most.
    So it should come as no surprise that Greg has now turned to another new page – one perfectly in keeping with the range of styles previously explored – and become Greg “Stackhouse” Prevost, bluesman extraordinaire, on his new record ‘Mississippi Murderer ‘, out now on Spain’s Mean Disposition Records.
    Revisiting a primitive blues style the Chesterfield Kings themselves touched on with their  ‘Drunk On Muddy Water’ before heading back to the garage,  and picking up the slide skills he picked up in the early ‘70s from heavy Stones immersion and a pre-teen Son House sighting (the legendary Delta bluesman was rediscovered in Greg’s hometown of Rochester, New York in the ‘60s), ‘Mississippi Murderer’ finds Greg still bizarrely (and fabulously) looking like he’s on call for Hanoi Rocks  and cranking out some of the greatest rockin’ white blues in decades (or at least since the last time Charlie Pickett or Kenny Brown recorded).
    Former Inner Mystique & Black To Comm scribe Bill Shute has described the album as  “a primal blues blast that sounds like the blues album the 1971 Iggy and the Stooges might have recorded had they been from Chicago and roadie-ing for J.B. Hutto“, and I couldn’t put it better myself. Indeed it’s the album you’ve wanted the Stones to make for the last 40 years, and maybe the album the Dolls or the Stooges should’ve made when they came back. 
    Whilst he’s always worked so far under the radar that he’s never had a career in music as such, Greg Prevost is one of those guys who’s in it for life – like Jeremy Gluck from the Barracudas, like Mike Spenser of the Cannibals, like Kim Kane of the Slickee Boys, like all those Boston guys like Kenne Highland, Billy Borgiolli, John Felice, JJ Rassler, Frank Rowe, like our own Deniz Tek and Rob Younger even. Guys who just keep on doing it because it’s what they do.  Like a lot of those guys, Greg has built up an impressive body of work over the decades, throughout which he’s maintained a constant contrary vision and found his own authentic voice, even if, in Greg’s case, the one that comes out of his mouth still sounds like a cross between Jagger and Iggy. 
    I reckon “Mississippi Murderer’ could well be Greg Prevost’s finest work yet.  I dig the blues and I’ve been a fan of Greg’s stuff since the Chesterfield Kings first LP, so the album is a big deal for me. If you’re a fan too, you’ll love it.


Record Collector, June 2013:
  "It's one of the best things he's ever done, steeped in the blues, New York Dolls and Exile On Main      Street-era Stones; this is Jagger-times-100 with a hot poker up his ass." 

-Feature/Interview-SPAIN-JUNE 17, 2013-IN SPANISH (Can get English Translation on Google)-Full Online review: 
Sonic Wave Magazine ·
Greg Prevost has certified the death of Chesterfield Kings but that does not mean his career is over, on the contrary, he continues with a new solo venture. His first album, "Mississippi Murderer" is a remarkable demonstration of how this veteran musician knows perfectly how to handle styles such as blues and rock and roll. We are excited to announce that we are facing one of the best albums of 2013 without a doubt.    



The terrific debut solo album from the lead singer of the Chesterfield Kings is an all-blues affair, and a very much welcome one at that. Greg Prevost, of course, has shown an affinity for the blues and blues rock throughout his career, but especially on the limited edition release of the Chesterfield Kings’ Drunk On Muddy Water album in 1990. Prevost handles all of the vocals, along with the guitars here — something he hasn’t been known for in his prior band — as well as his usual harmonica, maracas and tambourine. He sounds refreshed and fired up on Mississippi Murderer (Mean Disposition Records), with a sense of new-found freedom. An excellent example of that is the crunchy album opener “Death Rides With The Morning Sun,” which strides along in the blues-rock saddle quite confidently — taking no prisoners along the way. Greg is superbly assisted by a multi-talented duo: Drums and tambourine are by Zachary Koch of St. Phillip’s Escalator, while Alex Patrick of the Absolutes is on bass. Patrick also doubles as the album’s co-producer, with “Stackhouse.” Keenan Bartlett guests on honky-tonk piano on four tracks. The delightful shuffle beat of the Skip James song “Hard Time Killing Floor Blues” sounds like the original Rolling Stones — had Brian Jones lived — as it’s done with some choice slide guitar by Greg. An inspired bluesier cover of Donovan’s Bo Diddley-ish, “Hey Gyp (Dig the Slowness)” rivals not only the author’s but Eric Burdon and the Animals’ version, too. The full-tilt rocker “Too Much Junk” is a cautionary tale of the late great New York Dolls lead guitarist Johnny Thunders’ self-destructive ways, and is perhaps the most Chesterfield Kings-like tune on the album. It wouldn’t have sounded out of place on one of their mid-period albums.“Stoned To Death” draws on the old let’s-go-get-stoned adage. Greg distances himself from the more famous Son House version of “John The Revelator,” with an abrasive, stomping, minimalist approach that sounds something like what would happen if the Velvet Underground attempted to sing the blues with Mick Jagger on lead vocals. The hard boogie of “Get Myself Home” features a spinning top-like guitar that will grab at you until you’re dizzy in a blues haze.Then there’s the Exile on Main Street outtake “I Ain’t Signifying,” aka “I’m Not Signifying,” transformed the Jagger-Richards cut into a straight blues tune — versus the Stones’ more straight forward, New Orleans honky-tonk piano version. “Downstate New Yawk Blues” is a jump n’ shout, traveling roadside blues raver to the Big Apple. Greg also takes “Ramblin’ On My Mind” back from Eric Clapton, moving it toward its purest acoustic blues roots.

VANITY FAIR blog--SPAIN! REVIEW-May 17, 2013:

It could be a New York Doll, with colored streaks, their platforms and their pint of glam star. A lost brother of Johnny Thunders. But is the leader of my favorite garage band, The Chesterfield Kings, and just recorded a delicious classic blues album alone. So is Greg 'Stackhouse' Prevost, a box of surprises ...After more than 30 years together, the Kings are over and done. "Mississippi Murderer" is the first solo album by Greg 'Stackhouse' Prevost. Twelve songs of R & B and blues originals, with some garage but many more roots of Delta. It is the Kinks and the Yardbirds, but reign Muddy Waters and Son House. A hard rough, authentic, wild, primitive album...


REVIEW OF 'Mississippi Murderer' May 21st, 2013--translated from Spanish to English (can translate on Google) is weird, but you can get the vibe:
Excerpt from the ROCKLAND review:
" ... present in this new collection of songs the classic references to The Stooges, New York Dolls, MC5, Delta blues of the 30s and of course the Stones."


Greg ' Stackhouse ' Prevost - Mississippi Murderer .
Finally I have in my hands the solo debut of former vocalist of the Chesterfield Kings, Greg "Stackhouse" Prevost. And what about the album? Mr. Prevost returns to kick ass in the music business with an extremely authentic and incisive disk. Topics that smell and taste of pure Rock & Roll all four sides (Greg is one of the front man final and an amazing musician). "Death Rides With The Morning Sun", "Get Myself Home", " Downstate New Yawk Blooze ", "Too Much Junk" or "Never Trust The Devil" are songs with vintage flavor, a Mississippi Delta Blues mixed with some Raw Power and lots of Johnny Thunders , NY Dolls and The Rolling Stones. And what about their successful covers " I Ain’t Signifying " from sessions "Exile On Main Street" , " John The Revelator " Willie Johnson , including " Ramblin 'On My Mind" the legendary blues man Robert Johnson, all sound as if the protagonist was doing a wild jam with musicians and the devil himself. Produced by the artist himself with Alex Patrick (bass, engineer on the album) and with Zachary Koch on drums and piano by Keenan Bartlett, everything in this album is 10. Fans of the Chesterfield Kings enjoy a lot with people and discover all wearing Rock & Roll in their veins this man with this record will have the opportunity to become a musical career rummaging real luxury in the past of his band.

"Greg "Stackhouse" Prevost turns the sound of the dirty water that rushes down the mighty Genesee River into music: Powerful, uncompromising, brutally honest, and's muddy, too"
'MISSISSIPPI MURDERER' #1 on Mike Murray's 'Whole Lotta Shakin'' MARCH 2013 BOSS 20 COUNTDOWN!! :

"Mississippi Murderer" slices through the gritty black and white cities of raw blues & rock and roll - switchblade style. Take a night drive with 'Stackhouse' through the back alleys and graveyards of Main Street, USA.

Left: Article by Marco Sestito, '20 Minuti', Switzerland, March 5, 2013- ('Prevost, The Natural Essence of Rock & Roll') for full readable version:


Excerpt from the above (Reverend Keith A. Gordon) review:
" ... Mississippi Murderer sounds a lot like what you'd expect from a lifelong Stones fan who saw Son House play when he was ten years old...raw, primal, highly-electrified, and thoroughly houserocking blues-rock tunes. Call it "garage blues" if you will, but it's not the White Stripes or the Black Keys, but rather a contemporary interpretation of the form that evinces a 1960s-era attitude with a 1970s-era rock 'n' roll heart."
The Reverend's Bottom Line: "Mississippi Murderer ain't your daddy's "Cadillac blues," but rather a highly-personal take on the blues-rock form, Prevost bringing his garage-tested influences to bear on a mostly-original set of songs that bring the blues into the 21st century. If the Black Keys are a sip of aged whiskey at the end of a hard day, Greg "Stackhouse" Prevost is a shot of adrenalin-seeped, throat-burning pure white lightnin', Mississippi Murderer offering up wicked cool back-alley blues from the mean side of the street."


" ... Mississippi Murderer , one of 2013's best blues-rock collections." Reverend Keith A. Gordon
PASQUALE WALLY BOFFOLI'S REVIEW OF 'MISSISSIPPI MURDERER' -March 17th, 2013 /Distorsioni, Italy (In Italian):
Excerpt from the above review (in English, translates jagged):
" … the songs are based on the blues, but  sound glam, garage and outrageous … "


Seems to me that someone has been down to Rosedale with his rider by his side. Uh-huh. Bigtime. I’m here to tell you that since the Chesterfield Kings’ breakup after 2009’s Live Onstage … If You Want It frontman Greg Prevost has stood at the crossroads at midnight and shook Old Scratch’s hand – or something like that. I mean, Prevost has long been a serious rocker who knew how to raunch ‘n’ roll his way through the blues … but the Stackhouse Prevost we find on Mississippi Murderer is a total gee-tar-picking, harp-blowing, drawling/growling/roaring bluesman. Oh, don’t worry – Prevost still rocks as hard as he ever did: “Too Much Junk” ricochets off both sides of the doorway as it slams into the room like Johnny Thunders in his prime; “Never Trust The Devil” is chock full of Page/Plant-style bumps and grinds (though it’s a Prevost original, as are 7 of the album’s 12 cuts); and “Get Myself Home” is a full-throttle-and-the-headlights-are-blown-but-who-gives-a-rat’s-ass boogie that John Lee Hooker would’ve loved. But the Greg Prevost of Mississippi Murderer isn’t playing a role to fit with a band – he’s playing his music, which is soaked, steeped, and sozzled in the blues; and if you don’t like it, baby, you best get out of the way. This son of a bitch is here to play. As mentioned, Prevost returns to his guitar-playing roots on Mississippi Murderer – something his frontman post in the Kings took him away from. Electric or acoustic; crunchy rhythm work; wailing slide; greasy picking – Prevost can do it all, along with some ballsy blues harp. And then there are Prevost’s Jagger/Johansen-style vocals that have always come naturally rather than sounding like the work of a talented impressionist. The Kings in their prime captured the Stones’ vibe, but they were far more than a Stones cover band. On Mississippi Murderer, Prevost tackles “I Ain’t Signifying” – an outtake from the Exile On Main Street sessions that didn’t see the official light of day until 2010’s Deluxe Exile package. Prevost’s version mixes just the right amount of recklessness and swagger with a tight arrangement loaded with nuts-on stop-and-go’s. At the risk of sounding blasphemous, one has to think that if the Stones had played “Signifying” this nasty in the basement of Nellcôte, it would have made the first-round cut. Prevost’s partners in crime for Mississippi Murderer are bassist Alex Patrick (who co-produced the album with Prevost) and drummer Zachary Koch. The pair pull off everything from Bo Diddley butt grind (“Hey Gyp”) to Yardbirds-style rave-up (“Downstate New Yawk Blooze”) to the hungover Sunday morning countrified hoodoo of the aforementioned “I Ain’t Signifying”. Also on hand for a number of cuts is piano man Keenan Bartlett, who doles out Ian Stewart-style barrelhouse or Scott Thurston-style Stooge keys as duty calls. Overall, Mississippi Murderer is a cool and fun listen – the soundtrack of a seasoned rock ‘n’ roll vet free to wear his own skin and play his own music. Deals with the devil aside, Greg Prevost has never sounded better.

April 2013; Readable version (SHINDIG!) below:
Greg 'Stackhouse' Prevost - 'Mississippi Murderer' - Mean Disposition Records-2013 by Dave Swanson
As lead singer of the legendary Chesterfield Kings, Greg Prevost helped usher in the cult of forgotten mid '60s garage bands. The one criticism usually leveled at the Kings was, 'too retro', hence they were never taken 'seriously'  the way bands such as the Strokes or White Stripes were. The band went through a variety of incarnations, incorporating garage, blues, glam, folk rock, surf and psychedelia over the years to varying effect, from the late '70s right up until a couple years ago when Prevost split, and the band fizzled out. With his debut solo LP,' Mississippi Murderer,' Prevost delivers perhaps the most solid batch of songs he's ever put his name to. This ain't no retro party, this is blues drenched rock and roll! The torch he carries for all things Rolling Stones, New York Dolls and Yardbirds still burns bright, but with it, a sense of urgency missing from his old band for some time. Backed by a simple bass and drums line up, he handles all the guitar work, and though 'virtuoso' probably won't be in bold print, his raw and raunchy style more than suits the songs here.  The songs range from dirty rock and roll ('Death Rides With The Morning Sun', Too Much Junk') to the country blues groove of 'I Ain't Signifying' (a Stones Exile era outtake) and 'Ain't Nothin Here To Change My Mind,' which comes off like a lost Neil Young song by way of the Glimmer Twins. Skip James' 'Hard Times Killing Floor Blues' slides in seamlessly, as does the Blind Willie Johnson's classic 'John The Revelator' which is given a bludgeoning, feedback ladden reading. The Prevost originals that make up the bulk of the disc are all top shelf. 'Downstate New Yawk Blooze' is a Yardbirds styled raver, while 'Get Myself' Home' reeks of the grit of 'Love It To Death' era Alice Cooper and the grime of the Dolls, while giving a wink to John Lee Hooker. Fans of the Jim Jones Revue, Jon Spencer or even the Gun Club shouldn't feel too far from home here.


Excerpt from above review:
The Kings’ main crow, renowned underground rock journalist and champion record collector Greg Prevost, makes his long-overdue debut as a solo act with Mississippi Murderer, unleashing over 35 years of sonic moonshine he’s stashed away under a floorboard for himself, delivering a dirty dozen cuts of rowdy originals (Downstate New Yawk Blooze) and hollerin’ cover versions (Skip James’ Hard Time Killing Floor Blues, Robert Johnson’s Ramblin’ On My Mind) that come across like the original New York Dolls hunkered down in the Hill Country shack of RL Burnside. Fans of either the Kings or any of Prevost’s prefab outfits like Tar Babies or Distorted Levels will definitely want to seek out this collection of quality electric mud. (RH)

Prevost’s passion for blues is well known and publicly explained with Chesterfield Kings’ records, also his obsession for Stones and street rock ‘n roll of their American lookalikes New York Dolls and Johnny Thunders.
These infatuations live side by side in this record, disclosing the good qualities of Greg as author, blues guitarist and harmonica player.

BILL SHUTE'S REVIEW-From above Blog-January 13, 2013:
I applaud artists who know what they excel at and what they have a passion for…and then work over the years, over the decades refining and distilling that vision, applying it into new contexts and new situations, extending it and stretching it, but retaining that pure white-hot core and never letting the fire go out. Greg Prevost is such a man. Like many people, I first heard his work when the Chesterfield Kings exploded on the scene circa 1979 with their incredible single “I Ain’t No Miracle Worker” (pictured below–that’s a scan of my personal copy, which I’ve treasured and played over and over for decades). Greg had recorded before that, in the mid-70's, but that single distilled everything he was about into three minutes of pure psych-punk rock’n'roll ecstasy. He was doing to Chocolate Watchband vocalist Dave Aguilar what Aguilar himself had done w/ Mick Jagger ten years earlier…and what every Texas garage band who tried to out-Yardbirds The Yardbirds did…taking the ball that had been passed to him and running with it trying to score. And score he did. With The Chesterfield Kings, Greg and crew continued to make great singles and great albums, full of well-chosen garage-punk-psych covers and fine originals in the same tradition. But from that base, they went into many different areas, collaborating with folks as diverse as Kim Fowley and Mark Lindsey, totally unconcerned with what was the trend of the day and digging deeper and deeper into the core of what Greg must have heard in his mind when he first encountered Them or The Chocolate Watchband or “1523 Blair.” Catching lightning in a bottle…or maybe, “Lightnin’” is more like it! At the base of Greg’s work—as with Dave Aguilar of the Watchband—has always been The Blues. With so few “original” Blues artists of the post-war era still alive, we might forget how pure REAL blues can be. Many years ago, The Chesterfield Kings recorded a blues album called “Drunk On Muddy Water,” and I remember reviewing it for Black To Comm (or was it so long ago, we still called it “Pfudd”?) and saying that the album captured the drunken trashiness of the blues and the trashy drunkenness of the blues. No disrespect was meant there. No one is a bigger blues fan than I am. But with the fetish-izing of the blues and blues culture, we seem to forget how so many classic moments of the blues came about from the pure joy of guys with a few drinks in them LETTING GO. Tapping into that primal scream. Escaping the drudgery of the minimum-wage work world through their music. Think Hound Dog Taylor. Think Jimmy Reed. The great blues-drenched second-generation white 60's players, whether it be Rod Piazza or Glenn Ross Campbell or Tony McPhee,  or later folks like Kent “Omar” Dykes here in Texas, understood that. Those who did not understand it just aped the moves and eventually wound up dressing like Stevie Ray. Look at the cover of the “Drunk” album, pictured below, with the drums in imitation of the famous photo of Rice “Sonny Boy #2? Miller. Clearly, these guys know what they are doing. The blues revivalists would never have accepted an album like this…it was too raw and too real. Like the Texas garage band who wanted to out-do the Yardbirds at their own game, The Chesterfield Kings took the ball handed to them by Snooky Pryor or Homesick James or Eddie Taylor and RAN WITH IT. The result was an album that’s never been equalled…until now.
          Greg Prevost has now issued a new blues album, and it’s a killer. With Greg on vocals, guitars (lots of slide), and harp, and ably assisted by Zachary Koch on drums and Alex Patrick on bass (with occasional piano from Keenan Bartlett), he delivers a primal blues blast that sounds like the blues album the 1971 Iggy and the Stooges might have recorded had they been from Chicago and roadie-ing for J.B. Hutto. This is the album that everyone who ever thrilled to The Rolling Stones  version of  ”I Wanna Be Your Man” or the b-side “Who’s Driving Your Plane” always hoped that the Stones would record, but they never did. If you wore the grooves off of  ”Exile On Main St” and dreamed that the next album would go even deeper and rawer, but then got the shaft with “Angie,” then this album is for you. Greg Prevost uses Jagger as his template, but he then goes back into the blues soil from which Jagger emerged and does it right in the way our hero Mick never got around to doing much after 1972.
         The simple trio format (w/ added piano on some tracks) and the shrill amped-up sound and smeared guitar lines and smeared vocals (that would put a smile on Dave Aguilar’s face, I’m sure) also remind me of the bluesier side of the New York Dolls (and how one wishes THEY would have recorded a blues album!). And let’s not forget that Greg handles acoustic blues on the album too, beautifully…but the album is rooted in The Watchband’s  ”Sitting Here Standing,” and is there a better model? I think not…
           It’s great that Greg Prevost is still at it, still working in a pure form. There are so many posers today, so many who coast on attitude and talk the talk, but can’t deliver the goods. Everything is so pretentious. An album like this comes out of left field and reminds me of how I once sat in front of the record player playing early Stones 45's over and over, of why I once peroxided my hair as a child in a failed attempt to be more like Brian Jones. This album reminds me of why I love The Misunderstood, why I love Rod Piazza, why I love The Litter’s cover of “I’m A Man.” Greg “Stackhouse” Prevost has stepped up to the plate and hit it out of the park. The Blues is the animating force behind so much of the music we love….as I listen to the album closer, “John The Revelator,” I’m reminded of how blues-drenched David Johansen and Johnny Thunders and the Dolls were, for instance. If you’re the kind of person who feels that John Mayall on an off-day will ALWAYS be hipper than whatever is being pushed by Pitchfork and the like, then this album is for you. Be glad that SOMEONE is still pure today in this world of style over substance. Surely, this will be near the top of my “Best of 2013? list. Get your copy soon.
         And I did not miss the irony of such a 110% AMERICAN album as this being issued….in SPAIN!  Well, at least some Europeans still appreciate our culture, even if most Americans don’t…man, I feel like cracking open a beer and taking the day off work, that’s how excited this album makes me feel.

Planet Trash Review (In Dutch):
Excerpt (In English, translation is sort of bizarre) from the above 'PLANET TRASH' Review:
“Greg 'Stackhouse' Prevost looks like a New York Doll that halfway through a lift and after delivering some sexual services, is discarded and the car is turned off. Since then he has continued to hit lower shore. So he sounds indeed. Someone in the spirit of Johnny Thunders the necessary resources to its responsibilities, and a guitar in hand. Besides the Dolls, The Rolling Stones are never far away. On “I Ain’t Signifying” he sounds exactly like the Stones on Exile On Main St… “

Excerpt from above (In English, translation is jagged but you get the idea):
“… his record is dazzling.  A truly great rock record … A big and very pleasant surprise of this year.”    

New Underground Music: Review: Greg 'Stackhouse' Prevost ...
Excerpt from above Review (in English, again translation comes off jagged):
“After hearing the music and especially the vocals, I know right away that Greg is a huge fan of the Rolling Stones, because his voice is not only that of Mick Jagger, but the music also resembles that of the Stones. The opening cut, “Death Rides With The Morning Sun” is a mix of blues and rock, with the Stones sound unmistakably present, and if I didn’t know better, I'd think ‘here's a new Stones song’…”

GREG 'Stackhouse' PREVOST : " Mississippi Murderer " CD/LP ( PENNIMAN Records / 2013)
It's a wonderful solo full-lenght wax featurin' 12 blast Rock 'nd Roll songs. "Hey Gyp" (Donovan), "John The Revelator", "Ramblin' On My Mind", "Hard Time Killing Floor Blues" & "I Ain't Signifying", covers 're totally great Blues songs dedicated to U.S. roots like Robert Johnson among other Bluesmen! I like also "Ain't Nothin' Here To Change My Mind", which reminds me of the Rollin' Stones at their best in the late 6T's. Tons of felicitations & just know if U like the Yardbirds or New York Dolls you must love it ... Stoned Again! ...  Patryck Soubielle - Radio 103.1 -FRANCE


  ABOVE: Articles by Marco Sestito, '20 Minuti', Switzerland, 2012

ABOVE: Recent article from the great & Ultracoolest Spanish Rock N' Roll Magazine 'RUTA 66' (#301; February 2013)-text in Spanish. As soon as the article is posted online a link will be supplied. 
Greg "Stackhouse" Prevost-MISSISSIPPI MURDERER LP (Mean Disposition, Spain, available via Forced Esposure)
I must admit that I didn't quite know quite what to expect from Greg Prevost's latest...after all, the man has taken us on many a staggering musical trip through Sonics screams and Chocolate Watchband mysticism, Southern Californian surf raves and psychedelic Stonesianisms...but I decided to gamble my twelve bucks on this and boy am I glad! Glad because this ain't some cheap-o toss out whitebread phony guy with facial hair and leather jacket with Southside Johnny badges splattered all over but something that I can really osmose into not only now, but in a good twenty to thirty year's time before my mind snaps for all practical purposes!
        It's more'n obvious that Prevost has "evolved" over the years and has dabbled in a variety of rock-related realms that would stagger an average chump such as I, but whatever the guy does and whoever he does it with you can bet that it a full-force realism to it that really puts alla them late-seventies white college students play the hard blues attempts I've come across to shame. Prevost and band rip through two sides of originals (with titles like "Death Rides With The Morning Sun," "Too Much Junk" and "Downstate New Yawk Blues") mixed with hoary (and perhaps even whore-y) old blues numbers written by Robert Johnson, Blind Willie Johnson and perhaps a few more Johnsons we don't even know about) that comes off like the best 1971 Flamin' Groovies album recorded by the Rolling Stones in Loose Gravel's outhouse. And it's really a believable release as well, nothing like the patented tee-vee/radio blues takes we've been inundated with time after time which I must say turned me off of the form faster than you can say "Robert Cray rhymes with gay!"
         I personally (as if that ever did matter) hear an early-seventies vibe to this which is probably why I've dropped the Groovies/Stones/Gravel comparisons, but who but Helen Keller could deny that this platter does have that raw groove to it that seemed to signify the Stones ca. STICKY FINGERS not to mention the entire Kama Sutra reason for the Groovies' entire being*. Prevost growls and snarls in the best post-Jagger filtered through Dave Aguilar's larynx way (maybe with a tad of Sky Saxon or perhaps even some Iggy thrown in) and not only that but the ol' fanabla plays guitar (and not just electric but acoustic and dobro) really snat like! Yeah, we always knew him as an out-front-there singer in the Jagger vein, but the man can really plunk a guit-box in a way that'd make most self-proclaimed hotshots blush! And coupled with the backing of drummer Zachary Koch and bass guitarist Alex Patrick (and a Keenan Bartlett on piano, selected tracks only) Prevost has made way for a front running in the SWEEPSTAKES OF 2013 with this wild messterpiece! I only wish that some mighty name in the business woulda written the liner notes to just so's people would notice it the same way they did when Muddy Waters lent pen to sing the praises of A SPOON FULL OF SEEDY BLUES!!!
        And hey, I didn't even mention how Prevost's originals are literally as good as the covers showing a marked maturity in composition and execution of said musical forms (ecch!), or how you KNOW this is gonna be a real mover in the world of blues because all of the aforementioned whiteboy blooze choozers will probably LOATHE it, but whatever can be said only a mentally challenged idiot would deny that MISSISSIPPI MURDERER ain't the first exhilarating, life-reaffirming get up and shed your inhibitions album of the year! And if you don't like it then you can't be my pal...I mean, it's so good that Prevost could take a turdley Donovan number (mainly "Hey Gyp") and kick out jams galore with it, and even the Yardbirds couldn't do that on their LAST RAVE UP IN LA triple-header!

ABOVE: Frank De Blase's Feature in the Rochester 'CITY' Newspaper, May 1-7, 2013, Vol. 2, #34 (Photo by Frank De Blase)
***Link to 'CITY' Newspaper for readable version:
BELOW: Excerpt from Frank's above article:
Anticipation ran high amongst the glitterati and the black-clad hoi polloi as Rochester rocker Greg Prevost mounted the Skylark Lounge stage in his high-heeled shoes. A few in the joint had laid ears on his new bluesy solo disc, "Mississippi Murderer," but most were in the dark, not knowing what to expect on this chilly late March evening. That included Prevost, who felt slightly out of his element. "I hadn't performed in four years," he says. "It was a full house, I was sitting down, I was kind of scared. But I just started ripping into it." What followed was an eardrum-shattering, soul-shaking battle between Prevost's Jagger swagger and wail and his guitar's primal scream. It physically hurt. Audience members could feel it in their molars. But nobody left. That's because, beneath the cacophony and ensuing nose bleeds lurked some incredibly bodacious gut-bucket blues. It was just the right amount of too much, not enough, and just right. But you've got to hear the record. "Mississippi Murderer" is Prevost's new solo venture. It's a lowdown, menacing thrill ride that grinds like a lap dance from a fat girl.

Staff Pick from our own human Rock N' Roll Encyclopedia Michael (Pictured above). He's diggin on the new Greg "Stackhouse" Prevost. 
Michael says... "it's a refreshing blast of blooze rock from Mr Chesterfield Kings. Great originals with some kick ass covers of Donovan's Hey Gyp & Blind Willie Johnson's John The Revelator (with excellent National Steel Guitar work). Yes there's Rambling On My Mind that will have you end up with hard Time Killing Floor Blues. Pure & Inspired."

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Greg 'Stackhouse’ Prevost – ‘Mr. Charlie’ b/w ‘Rolling Stone’ (Mean Disposition Records)
Both sides of this non-album vinyl only Mono single preceded Greg Prevost’s excellent, ‘Mississippi Murderer’ debut solo album. It finds Prevost in a stripped to the bone solo acoustic Traditional Blues mode. Naked without a band it’s an authentic Blues workout on these obscure old Blues numbers. The down-home, gutbucket Blues of Lightnin’ Hopkins’ ‘Mr. Charlie’ tells a tale having no place to go which, sounds like Greg’s right there on the front porch with his National guitar. This really reminds me of the old Blues field recordings of the 1930’s. Now, the tune, ‘Rolling Stone’ here is not the famed Muddy Waters song which, a certain World famous band took its’ said name from. It’s a totally different song here (originally by Reverend Robert Wilkins) but, similar in theme with its’ ramblin’ get on down that road feeling. A nice prelude and slight diversion from the full length album.
 It has taken him 35 years to make a comeback (of sorts) not related to the Kings, in the shape of an acoustic blues 7” released six months ago and published by this company. Going solo proved to be an exciting experience, and the single was so well received that Prevost decided to wax some personal compositions with the addition of bass and drums. After a few rehearsals with a couple of good friends, he finally entered the studio. The result –cooked throughout several weeks of inspiration—is the album you have in your hands. 
     "Mississippi Murderer" is a true R’n’R artifact in which the artist seems to be settling scores with his recent past. A three-chord assault with plenty of excellent songs -the kind of numbers that most bands can only aspire to cover- sung by a truly unique voice, featuring plenty of attitude, splendid arrangements and slide guitar a go go. Influences? They come from Prevost’s personal obsessions: the Delta blues, a sound which lies midway between the Yardbirds and the NY Dolls, and, naturally, the Rolling Stones at their best. And these references are not a simple list of R'n'R greats nor the usual hype aimed at potential buyers but exactly what you will get in this record.
    Prevost’s career is closely linked to the Chesterfield Kings, but his story does not begin nor end with this band. His beginnings took place in the early to mid-seventies as a singer and guitarist in combos such as Dr Electro & His Psychedelic Retards, Tar Babies, Distorted Levels, Cutdowns, etc, all of them abundantly recorded but minimally released in vinyl.

FUZZINE (FRANCE) interview with Louis Hauguel 
  12/10/13--(In English on the FUZZINE Facebook site)
 The charismatic and now former frontman of the famous garage band the Chesterfield Kings is back with a solo album, "Mississippi Murderer", a trip to the blues roots of the talented multi-instrumentalist. This is difficult to do more, almost everything has already been said, but I urge you to look at his record. The music is for life. We will never abandon. It is a story of rebirth, to feel alive. Is to bring meaning to his life. Greg is totally devoted to his music, his art, he revisits the blues with talent and strength. This is not a journey to the past, not really. It is about what is happening now. Getting drunk in the studio, on stage is free. I hope you enjoy.

Above Left: Dig It-no. 58-june 26, 2013-France-STACKHOUSE INTERVIEW in French:-- This is too small to read-and in French-I will include a link when the article is uploaded online-usually there are language translations on Google/Bing etc...if you scroll down there is a link on this page to DIG IT fanzine. ABOVE Right: Dave Swanson's review in SHINDIG! Magazine #32.

Excerpt from Jeff Spevak's review (below) Democrat & Chronicle-February 6, 2013:
"For this project, Prevost has acquired a nickname, “Stackhouse,” and a forgotten talent from his pre-Kings nights: playing guitar. The new album features him on electric, electric slide, National steel and acoustic, delivered with ragged devotion. In some respects,Mississippi Murderer is not too far from The Kings in their rawest moments."