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"(Alabama Blood) plays to Ross' strengths of gritty, southern scorched melodies. Tunes like Alabama Blood, Carnival Wife and Truck jump out at you." Ben Monaghan, Portland Press Herald 10/03/02.
Genre:
Country: Country Folk
Release Date:
2002
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Blues: Acoustic Blues
Elizabeth Ross
One of A Kind
Folk: Folk Pop
Alabama Blood
© Copyright-Elizabeth Ross
(786851985429)
Record Label: Rosco Records
SPECIAL: 20% discount if you buy more than one copy of it today!
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The album made it's premiere with the local radio (& internet ) waves right here on Us Folk. We've heard it & it's great, ...this one's going to get some national, even international, air for sure!" Chris Darling, WMPG "Us Folk"
Alabama Blood, is a blend of alternative back porch country, gospel, and folk. Her rich voice and stories are accompanied by dobro, harp and the sweet rythyms of Scott Elliot and Richard Hollis of the Boneheads.
"It's a strong step into my roots." says Elizabeth, who has been working with some of Portland's finest roots and country musicians, Haakon Kalweit from Shanna and the Hawk, and Rob Sylvain of Gigaphone Records.
Artist History
I grew up just below Yosemite National Park in California. I began writing when I was 7 or 8.
When I saw Elvis with my mom in 1972, it was a pivotal moment; I just had to keep singing and writing. He was the King...
After a move across the country to Maine, gigging with a country cover band at VFWs and grange halls all over New England, I started writing my own music again with my duo partner and guitarist, Tom O'Brien. We played together for a few years and released One of A Kind in 1995.
Alabama Blood came from a bunch of songs I'd written that were more roots country than folk. Haak Kallweit is a fantastic arranger and writer. We pulled together a wonderful group of guys. Rob Sylvain on dobro and Sean Mencher plays lead guitar on Let Yourself Love her. That tune was written by Judd Strunk (Daisy a Day) - his sons live in Maine.
We also had some of the best rhythym players around - Scott Elliott on bass and Richard Hollis of the Boneheads and Mark Cousins from Cattle Call on drums. My favorite addition is the harp...Joe Bloom sounds like honey on a biscut.
The finest moment recording this was a hot summer day in July and we all stood outside the barn studio in a field to record Happiness. It was beautiful and warm and it absolutely smelled like summer with everything buzzing around. We couldn't nail a take outside with a steady stream of trucks buzzing along too... we had to finsh back in the barn. Andrea Re is the sweet voice you hear on that tune.
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Peace and Love,
Elizabeth
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Very different from first CD
author: emross78
I liked this CD but not nearly as much as her first. I drive to work or the store and I hit repeat consistently for track 10...you would always know. I found both CD's on accident and so glad that I had. Worth the $!
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You feel good when you listen to Alabama Blood.
author: The Beer Guy Speaks - Face Magazine Jan 2003
Alabama Blood
Elizabeth Ross
Here’s how I see it: Ross and a few friends wrote some great songs, called some great musicians, one of whom doubles as a great producer (Haakon Kallweit co-produced the record with Ross) and made a great record. I’m obligated to—and, of course, will—say more, but ultimately, that’s the whole truth and nothing but...
Ross writes with an optimism that’s a welcomed relief in contemporary music. You feel good when you listen to Alabama Blood. “Singing songs and making up words” she repeats in “Jackass Meadow,” a nostalgic romp through a child’s world. This is not to say that Ross completely shies away from the debilitating inevitabilities of life. “You Would Always Know” tells of the decay of a once blossoming love where marriage is considered only out of obligation to the child. But Ross, even when wrestling with the most serious subject matter, manages to voice it in a positive light. Alabama Blood is nothing short of uplifting and for this Ross should be commended.
But maybe the greatest accomplishment of this record is the musicianship. The boys on this album can play. Ross assembled a kind of all star crew of mostly Maine musicians from notable bands such as The Boneheads. The arrangements weigh heavy on the bluegrass side of the musical spectrum with a prevalent dobro (Rob Sylvain), upright bass (Scott Elliot and Haakon Kallweit) and acoustic guitar (Sean Mencher and Haakon Kallweit). The playing is delicate, understated and often brushes up against perfection. I can’t praise this one enough.
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