Corb lund biography of rory

Oh, no! Do not, EVER, take a look at the Talk pages. There resides insanity, of the most nerdly type. I find judicious utilization of the edit history most instructive. That is where I found the Thanksgiving Weekend Bloodbath of 09, when a lot of players got deleted. The recurring argument is that this is not a list of occasional mandolinists. The following were on the list before then:

(Removed all the people that are not notable for playing the mandolin. Many aren't even notable musicians,and most of them were singers/guitar players that played the mandolin once or twice for 1 track.)


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Eric Bazilian of The Hooters
Willie P. Bennett
Kix Brooks of Brooks & Dunn
Peter Buck of R.E.M.
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Steve Earle
Chris Funk of The Decemberists
Rory Gallagher
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Michael Kang of The String Cheese Incident
David Patrick Kelly
Cheyenne Kimball of Gloriana
Edward Larrikin
Marit Larsen
Bernie Leadon formerly of The Eagles
Alex Lifeson of Rush
Steve Lukather of Toto
Corb Lund of Corb Lund and the Hurtin' Albertans
Martie Maguire of The Dixie Chic

Corb Lund has always kept one scuffed, dust-covered cowboy boot in the twangy sounds of traditional country-western music, and the other in, well, the weird.

His output is decidedly retro in style, channeling the country story songs of yore, but there's also a sense of modern adventurousness to it. What might be most surprising, though, is that he's also got a fondness for straight-ahead rock 'n' roll, having played in a metal band called the Smalls in the '90s.

"It was a real indie, underground thing, and in that world, you're encouraged to be as unique and different as you can," Lund tells the Inlander. "That's kind of how my songwriting was forged. I think my musical style is ... really deep family history mixed with indie-rock quirkiness."

Regardless of how you'd describe it, one thing's certain: Lund's music is a far cry from the impersonal, assembly line country-pop you hear on mainstream radio, and he surely couldn't see himself ever working out of the songwriting factories of Nashville.

Based in Alberta, Canada, Lund comes from a long line of cattle ranchers, and that background is baked into his work. His first exposure to country music was through the Old West ballads his grandfathers used to sing to him, which led to an obsession with singing cowboys like Marty Robbins, who was able to distill an entire narrative arc into a matter of minutes.

"I'm a story-song nut, guys like Kenny Rogers and Johnny Horton and Jerry Reed," Lund says. "I'm all over that stuff."

He also points to the work of singer-songwriter Bobbie Gentry, whose music often possessed a playful sense of experimentation and a morbid sense of humor. Lund brings up her 1968 song "Casket Vignette," in which a woman is picking out a coffin for her recently deceased husband.

"The funeral director is consoling her and

Corb Lund
Cabin Fever
(New West Records)
4 / 5 stars

Roots songwriters who specialize in novelty numbers don’t have it so easy, which wasn’t always the case – not by a long shot. Going on a century ago, Jimmie Rodgers established the model for a repertoire encompassing silly diversions, sentimental numbers and sobering autobiography, and as recently as the early 1990s – three full decades after “Ahab, The Arab” – Ray Stevens was still getting plenty of mileage out of albums that placed hokey absurdities alongside the occasional smooth ballad.

But the Americana audience that emerged that same decade has pretty much always preferred its singer-songwriters to be serious, authentic artists – “authentic” in the sense that they take care to reveal who they are, what they’re going through and what they think and feel about all of it – and that those singer-songwriters leave it to musically inclined comics-by trade to play around with parody and get into character.

Roots country troubadour Hayes Carll has found success, over the course of several albums, by leavening wry punch lines with gritty storytelling; in other words, he’s signaled loud and clear that he’s a Texas songwriter’s Texas songwriter. His Canadian buddy – rodeo riding kid-turned punk rocker-turned wisecracking honky tonker Corb Lund – is pursuing a similar route here in the States after a decade and a half of putting out albums in his native land; two already went gold there and one earned him a JUNO (a Canadian Grammy). 2009’s Losin’ Lately Gambler was the first album of Lund’s to receive an official American release (on New West Records), and his brand new one, Cabin Fever, is the second.

Cabin Fever is, by far, the more gregarious of the two, and it makes a strong argument for the compatibility of novelty and depth, even – or perhaps especially – in contemporary roots music. At a moment when people are shaken up by the precariousness of their economic situation