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Dana Gross / Press

““Here’s a helpful signpost: if you see that D. Gross is playing, head in that direction.””

““Best of 2010: After hearing D. Gross play these songs solo for the last year, it is great to hear the full band arrangements. The tablas on "Hummingbird" are a stroke of genius, and "Sunset Mountain" is just about the happiest sounding takedown of religion I've ever heard. The whole album was recorded at Acadia Studios and sounds fantastic throughout.””

““Honest, raw, sincere and most of all realistic. Eleven well-written songs from the heart. Issued on his own label, "We Left the Roadside" D. Gross brings his compositions back to a natural simplicity. An exceptionally beautiful album!””

“Showing extensive delta blues influences, almost every song has an appealing hook that grabs a hold of your foot and gets it tapping. And don’t worry about your head bobbing either. That’s not an involuntary muscle spasm, that’s just Dana Gross’ manipulating of those steel strings getting into your nervous system. (If it persists more than one week, please see a doctor). Each song feels like a piece of classic country. I was half expecting to somehow hear June Carter’s angelic voice chime in on a few tracks. And Gross’ vocals have taken a large step forward with this release. They are an ideal blend of raspiness, heart-warming, regretful, and a slight hint of a southern slur. ”

“There are two types of performers out there. There are the manufacturers, who calculate, create and present something that, according to their specifications, should work as an interesting piece of music. And while we've all fallen prey to this artifice at one point or another, the persona of one of these conjurers crumbles like an old cookie upon closer scrutiny. Not so with the other kind of performer who might be called a vessel, where raw emotion and creation spill out of some wellspring inside. These types can't help themselves. Many Maine ears can tell just by feel that roots alt-country artist D. Gross lands squarely in the latter camp.”

“I’m going to go ahead and say that I think Portland’s extremely fortunate to have one of the Country’s best singer/songwriters living and working here. Dana Gross’ sophomore album We Left The Roadside is some crazy masterpiece. He’s hit a wonderful balance, blending allegory, parable, virtuoso guitar work, deft lyrics and good old American song structures. We Left The Roadside shows remarkable growth since his first album, Pirates. The album as a whole is tighter and the songs show more restraint and artful use of structure.”

““Gross’ voice has a rustic charm that grows on you with each listen. His acoustic fingerpicking beckons to the core of folk music, and his harmonica drawl echoes generations of tradition…Gross carries the folk-roots torch with confidence, showcasing a style that is heartfelt and accessible. The lyrics are thoughtful and poetic, with gentle rhymes about heartbreak and hardship. And, just to spice things up, Gross exchanges his guitar for a banjo on the strikingly eloquent ‘Kick the Chunk.’” Matt Kanner, The Wire, Portsmouth, NH December ’07”

Matt Kanner - The Wire

““Part of Portland’s old-timey roots revival, Gross’s campy title belies a serious effort. With veins of Delta blues, folk revival, and Bob Dylan, Gross works his guitar and harmonica behind a raspy and inviting lead vocal to tell country tales and woo country women. On “Kick the Chunk,” his rambling banjo sounds like it was recorded with the Carter Family in 1933, desolate and haunting. If you’re down with Micah Blue Smaldone and Moses Atwood, this guy is a pretty solid bet.””

Sam Pfiefle - Portland Phoenix

"Be on the lookout for D. GROSS, the newest old-timey roots guy to be awesome around here. He busts a mean harmonica over shuffling acoustic guitar and mixes Appalachia with Mississippi Delta just fine."

Sam Pfiefle - Portland Phoenix

"With an ear for artfulness and a heart for tradition, Dana Gross has been steadily making a name for himself on the Portland roots scene. Gross is a master of simple, soulful blues and folk music. And if his songs sounded simple, gently gliding off his guitar, it was a simplicity hard earned; the Italians call it sprezzatura, the seemingly effortless grace achieved by years of hidden work and sweat. In any case, it is clear that Gross is a force to be reckoned with. Gross seems intent upon moving boulders to find the hope — and strength — that underpins music borne out of sadness. And it looks like he just might succeed."

Rueben Torrey - NorthEast Performer Magazine