February 24, 2026 • 31 mins
What does it take to sustain a musical journey for two decades? Join host Buzz Knight as he takes you on a captivating walk with Gordy Quist and Ed Jurdy from the Band of Heathens, celebrating their extraordinary 20-year journey in music. In this episode of takin’ a walk, the trio delves deep into the heart of their craft, sharing stories behind albums, the evolution of their sound, and the powerful themes of their latest release, 'Country Sides'. After achieving platinum success with their hit 'Hurricane', which took 14 years to reach that milestone, Quist and Jurdy reflect on the essence of authenticity and the importance of community in the ever-changing landscape of American music. You'll love the spirit of artistic reinvention from The Band of Heathens.
As they reminisce about their formative years in Austin and the magical atmosphere of Momo's, listeners will gain insights into the collaborative spirit that has defined the Band of Heathens. The conversation reveals the band’s commitment to creating music that resonates with their audience, emphasizing the significance of mutual respect and creative journeys in the songwriting process. Buzz Knight navigates through the rich tapestry of their experiences, highlighting how the healing power of music can bridge divides in our world today.
This episode is more than just a discussion; it's a testament to the enduring power of music and the unique stories behind iconic songs. With a focus on emotional healing through music and the cultural impact of their work, Quist and Jurdy share inspiring artist interviews that remind us why we fell in love with music in the first place. Whether you’re a fan of classic rock history, indie music journeys, jazz music or country music , or exploring the depths of music history, this episode promises to deliver heartfelt insights and engaging music conversations.
Join us as we walk through the music history moments that shaped the Band of Heathens, their artistic reinvention, and the stories behind songs that have touched countless lives. Tune in to takin’ a walk for an enriching experience filled with music inspiration stories, legendary musician conversations, and the vibrant essence of the Nashville music scene. Don’t miss out on this opportunity to connect with the roots and influences of music and community as we celebrate the journey of these remarkable artists. Listen now and discover how music can truly save us all.
#music legends #iheart podcasts #creative journeys #iconic musicians #legendary artists #inspiring music stories #guitar mastery #buzz knight podcast #music history on foot #hurricane #viral music success #artistic reinvention #songwriting stories #best musician interview podcast
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Taken a Walk.
Speaker 2 (00:01):
I'm buzz night and welcome to the Taken a Walk Podcast.
Speaker 3 (00:04):
Now twenty years into their career, most bands they're coasting
on nostalgia are chasing trends. The Band of Heathens, they
just went platinum fourteen years after releasing the song their
version of Hurricane, which has streamed over a billion times,
becoming an anthem of resilience that found its audience not
(00:28):
through viral manipulation, but through something far more powerful, authenticity
and endurance. Now with a new album Country Sides, this
Austin Bread collective is proving that the best stories in
rock and roll aren't written overnight. They're lived, earned, and
(00:49):
built brick by brick. Today, on Taking a Walk, We're
going to dive deep into two decades of defying convention,
the unlikely journey of a play platinum hit, and why
sometimes the sides are.
Speaker 2 (01:04):
The main course.
Speaker 1 (01:09):
Taking a Walk.
Speaker 3 (01:09):
Well, Gordy and Ed from the Band of Heathens, welcome
to the Taking a Walk Podcast.
Speaker 4 (01:15):
Thanks for having us.
Speaker 3 (01:16):
Good to be here, man, So congrats on the new music,
which we're gonna certainly talk about. But I want to
start at this place called Momos in Austin, where those
late night jams kind of spawned the Band of Heathens.
Speaker 2 (01:33):
What was it about that room.
Speaker 3 (01:34):
That, in that moment that made you, guys realize you
had something special that was worth pursuing all these years later, Gordy,
what do you think.
Speaker 4 (01:46):
That was a special time and place? You know? I
think the early days of the band, nothing was really
taken very seriously. One of the rules was that rehearsal
was not allowed, and so there were lots of train
wrecks on stage at those Wednesday night week with gigs.
But I think part of that spirit of not taking
(02:08):
things too seriously led to some magic. And I think
the first time we realized the magic that really spoke
to us was us singing together like three and four
part harmonies. I think that's where we realized, Okay, this
is this is something special, So maybe we ought to
take this a little further.
Speaker 2 (02:29):
And Jerdy, did it connect you immediately? Did you know
there was no turning back?
Speaker 5 (02:34):
Well, I don't know if it was that different of it.
But what I would say, in addition to, you know,
with Gordyd echo all those sentiments, I think, you know,
I know he moved to Austin to play music. I
moved to Austin to play music, and we had both
been there probably less than a year at that point.
And I think what drew us to Austin was this
idea of there being a really great scene, you know,
really a great place to collaborate with other musicians, and
(02:57):
I think, you know, just being a big fan of
a lot of the music that come out of Austin.
I think when we found that, we found each other
and we found that gig and Momos. To me at least,
that sort of was like, Hey, we now we're here,
like we are we are part of this of this fabric,
you know that that Austin has kind of weaved historically
with musicians, and this is our this is kind of
(03:18):
our piece of it. So I had a really great,
you know, a great feeling and a great sense of
belonging to that scene and that that group of uh
of collaborative artists. It wasn't just the Heathens, there was
there was a lot of other bands playing in Momos
and a lot of a lot of love and a
lot of guidance from from people who I think facilitated
stuff like that. I like to call them instigators, you know,
they really, uh, they were responsible for putting people together
(03:42):
and just you know, just kind of seeing what happened.
It was it was really wide open in that sense,
which was which was fantastic.
Speaker 3 (03:49):
I love the term instigators. Maybe they were even co conspirators.
Who were some of those folks that you want to
maybe uh thing go out.
Speaker 5 (03:57):
Well, I'd have to say PAULO. Veasey, who own Momos
and who was the band's first manager. He uh, he
loves loves music and musicians, and that's why he owned
that club. You know. It wasn't to make money or
to be rich. It was it was to be a
part and give back to the scene. And he you know,
he was responsible for getting us together, introducing us to
(04:18):
each other. And then you know, I mean there were
so many other great musicians on the scene at the time,
like you know, Patrece Pike and Guy Forsyth, Dan Dyer,
Susannah Chaffell who later went on to become Paul's wife
and they have kids together. And then you know, and
maybe some people you haven't heard about as much, like
like a guy named Drew Smith who was a great
(04:40):
singer songwriter. There's also a guy named Jean Pattillo who
owned a small independent record label called Fat Cattie Records,
and he was responsible for us making our first record.
You know. He he became a fan of the band
and had a couple of bands on his little indie
label and was coming down a lot of the Wednesday
nights and just said, hey, you know, if you guys
want to make a record, we would love to put
(05:00):
it out. So, you know, there was just it was
very organic. I hate using that word because it's really cliched,
but there was a very small sort of structure that
allowed us to do exactly what we wanted to do
without any of sort of you know, sort of some
of the bigger music industry pressures. And I think that's
really why we were able to kind of hit the
(05:20):
ground running, and it allowed us to really thrive, I
think in an early point, which gave us a lot
of confidence.
Speaker 3 (05:26):
Where do you qust you want to single out anybody
that you remember from those days.
Speaker 4 (05:31):
It's as funny as Ed was going, I was thinking
of some people and then Ed kept getting to each one.
You know, I would say Paul and Kate too. Kate
toemtch was a co owner in Melmos and what you
know in addition to loving music and taking care of
the musicians and making all musicians welcome, not just the
people on stage, but it's where you wanted to go
(05:52):
hang out on nights you weren't playing too. It was
it was a great community, and I would say that's
one thing about Paul and Kate is that it was
a They really created a beautiful community of people, musicians,
fans of music. And there's a magic in creating a
(06:14):
space and in an environment and a vibe that creates
more magic. It it really they Paul has since done
that at numerous clubs since Momo's closed down. So really
it's you know, it's the music was special, but also
I would say the people, you know, all around, the
whole the whole scene really was a beautiful thing.
Speaker 2 (06:34):
I have to say this is mostly just an audio
first podcast, but we do record the video and use.
Speaker 3 (06:41):
It for social media, and the episodes are.
Speaker 2 (06:45):
Often put up from video.
Speaker 3 (06:47):
You guys have two of the most beautiful looking backdrops
of anybody that's ever been on been on the show. Gordie,
you're in Austin at this tremendous studio. Maybe you can
tell folks about it and ed it looks like you're
still celebrating a version of Christmas in Asheville, North Carolina,
(07:08):
aren't you.
Speaker 5 (07:09):
Yeah, it's it's a psychedelic Christmas here. And I just
realized these lights I have there's like different settings and
one of them is one of them is like aggressive.
I'm gonna so I'm going to put it on the
non pulsing setting for the rest of the rest of
the interview.
Speaker 2 (07:23):
That's okay, whatever you want to do. Talk about that studio, Gordy.
Speaker 4 (07:29):
Oh yeah, I'm here. This is the finishing school. It's
it's our it's our studio here in Austin, tons of
old analog gear and microphones and lots of rooms to
track live. This is where we've gone our last few records,
and much about other artists also. It's a it's a
(07:51):
great space. We feel really lucky. We did Hayes Carl's
last record here. Patty Griffin did her most recent record
that's up for a Grammy, she did that here. So
it's a feel definitely feel spoiled with this this studio,
in this space.
Speaker 2 (08:09):
It's beautiful. It really is.
Speaker 3 (08:11):
You guys have been together for twenty years now, which
in today's music landscape is pretty revolutionary. What's the secret
sauce behind this great collaboration?
Speaker 5 (08:24):
Oh my dog has things to say about this, well,
I think, you know, I think the first thing is
is the respect.
Speaker 2 (08:30):
We welcome dogs too, By the way, I don't worry.
Speaker 5 (08:32):
Yeah, he's just like hanging out on my feet here whining.
Speaker 4 (08:36):
You know.
Speaker 5 (08:36):
I think I think of mutual respect first of all,
and I think that you know, this is something that
you couldn't have calculated. But I think over the years
it's become apparent like there's a compatibility between Gordy and
I think. I think in terms of our our drive
in musically, I think our love for music and I
desire to want to write and create and make music.
(08:57):
I think that's something. The longer that you do this,
you sort of you fall into more simpatico sort of
groups of people, because the longer that you do this,
it kind of gets it kind of weeds out people.
You know, there's uh when you're young and you're getting started,
everyone's excited about I want to be in a band
and get on stage and we have some drinks and
we meet some girls and whatever. And then you know,
when you realize that, like that is about one percent
(09:18):
of the whole the whole thing. You need something else
and motivates you. And I think luckily we've been we've
both been motivated by by similar things over the years.
Speaker 2 (09:28):
And what's your dog's name, by the way, his name's Pancho.
Speaker 5 (09:30):
Pancho. Come here, buddy, come here, Come on, Come say hi,
Come say hi, Come say hi. Oh he's not happy,
he's not come home here, everybody here. He is?
Speaker 2 (09:43):
What an adorable one.
Speaker 5 (09:44):
He's a big lugs.
Speaker 3 (09:46):
Has Pancho ever sat in and participated in any recording sessions?
Speaker 5 (09:51):
Oh yeah, when I whenever I set up a microphone
in here. He he has a desire to sing. He's
got a little bit of husky in him, so he's
very he's very vocally to sing.
Speaker 3 (10:01):
Ponchos. Adorable. Yeah, A good boy. God, what do you
think the secret's been? Gordy to this longevity?
Speaker 4 (10:09):
Ed Ed hit on a lot of it. But as
an artist, when when you're young and starting out, you
you feel this uh drive to follow your internal guide
and your internal voice and making art and making choices.
And I think really great music can be made that way. However,
(10:34):
what this band has taught me and I think ed,
and I learned this early in the band, is that
when you're teamed up with collaborators that you trust and
respect and you appreciate whatever, you appreciate the art that
they've made, and therefore trust their internal voice as well.
(10:58):
It's kind of counterintuitive as an artist to compromise, I think,
because I think the artistic drive is to follow your instincts.
But I think what we've learned in this band is
that we actually, by listening to each other, by by compromising,
actually we sometimes make things that far surpasses what our
initial vision was. And I think that's rare, and I
(11:22):
think that it may just be random chance that the
way that we found each other and the way the
people that we've had in this band and the way
that it's worked, somehow there's enough respect there that the
there's this the fine line of compromising and staying true
to yourself, Like we're able to juggle all of those
things in a way that still feels good to each
(11:43):
one of us individually as artists. But then also we've
learned that the compromise has been something like kind of
a superpower of the band, kind of like allowing the
band as a whole set to have a voice, a style.
You know.
Speaker 3 (11:59):
One of our favorite things on the Taking a Walk
podcast is following these great indie music journeys like yours
and kind of chronicling where the career breakthroughs really occur.
Let's talk about Hurricane going platinum in twenty twenty five,
(12:20):
fourteen years after you released it in twenty eleven. One
of the most fascinating music stories certainly that I've heard.
Walk me through what that moment felt like when you
got that.
Speaker 4 (12:32):
News that you know, that song, that recording is so
it's it isn't an interesting story. We probably started working
on that record in twenty ten, and we had this album.
It had these Gulf coast themes. Ed had a song
about the oil spill that had happened a few years earlier.
I had a song inspired by Marie Levau in New Orleans.
(12:54):
Had a song inspired by, strangely, some of the conquistadors
that shipwrecked in Florida into fifteen hundreds and traveled along
the Gulf coast. So the record had this kind of
Gulf coast subject matter and theme. That song Hurricane, you know,
we had heard the levon Helm version from like nineteen
seventy nine or nineteen eighty that's on this American Sun record,
(13:18):
and it kind of felt like he missed the mark.
Production Wise, it felt like it was trying to be
a remake of like Up on Cripple Creek. It was
a little like bouncy and happy, and so we kind
of turned it on its head and didn't think too
much about it. We're just like, hey, this song kind
of fits the vibe, like let's treat it a radically
different way, and it went on the record. It's way
(13:41):
too slow for radio, it's way too long for radio.
The record came out, we all were really proud of it,
but it didn't really I don't think. I don't know
if our fans liked it. Initially, it was a little
it had some weird psychedelic moments, and it felt like
our fans were kind of for the first time. It
was our third record, and for the first time it
felt like our fans were not like on the same
(14:01):
page with us, and so we you know, kept soldiering
on and making records. But yeah, like I don't know
how many years later we started realizing, like, oh, this
Hurricane song keeps people keep sending me videos of bands
and bars singing our version of it, and it kind
of took on a life of its own that had
nothing to do with promotion or or trying to make
(14:24):
it a hit song or trying to do something with
it. It really happened organically, so I don't know, Yeah, we
didn't really get news of it. Hitting platinum first was
like a gold record and somebody said, hey, you should
look into the data because you know, we're our own
label where there's nobody tracking this stuff outside of us,
(14:46):
and so for us, it was kind of like somebody said, hey,
you should you should count up your streams and submit
because this thing might be gold or you know. And
apparently it had been gold for a while before we
knew that it was, and then I think just in
this last year or two it hit platinum. So it
just goes to show it's a strange business. There's that,
(15:09):
you know. One of the beautiful things about streaming is that,
like things can just take on a life of their
own if people like it, you know.
Speaker 3 (15:17):
I mean, you do have to sort of keep a
little bit of an eye on it. Not that any
of the big streaming companies would take full advantage of
the numbers or anything, right.
Speaker 2 (15:27):
Yeah, we'll leave it at that.
Speaker 3 (15:29):
No, yeah, but over a billion streams. I mean it
became this this anthem during you know, hurricanes obviously, which
we have too many of, including Katrina. So you must
have had some sense in the midst of this that
this song had this special meaning during difficult times.
Speaker 5 (15:50):
It did, but it was so it was so long
after the fact. I mean you mentioned the word breakthrough.
I would say, it's more like, have you ever seen
the movie Andy duffraan uh he hammers his way out
of prison with the little ball peen hammer. It was
more like that. I have to I have to look
up with the name of the movies. I like just
literally had a massive brain fart.
Speaker 4 (16:11):
Joshank Redemption, thank you, jeez?
Speaker 2 (16:14):
What do you what? What does Gordy win? What is
what prize does he win?
Speaker 5 (16:17):
I like, I actually had it in my head before
you started talking, and then I and then it went
away and I was like, Eddie, your frain.
Speaker 4 (16:24):
I looked it up. I don't get a prize.
Speaker 5 (16:27):
Darn.
Speaker 3 (16:28):
It's an amazing story, it's an amazing song, and I
just love chronicling it.
Speaker 1 (16:34):
We'll be right back with more of the Taking a
Walk Podcast. Welcome back to the Taking a Walk Podcast.
Speaker 2 (16:45):
So let's talk about country sides.
Speaker 3 (16:47):
The title itself, it is it a kind of a
statement rest of all.
Speaker 5 (16:53):
I think we're we've we've never been too much about
hitting you over the head with any messages. But I
think it's a little bit of a uh. I always
want to be provocative, you know, and I want to
always want to kind of imply things, but also leave
things to the listener's imagination and ideas. I think that
the title of the record, and we kind of about
it around, it's you know, you can sort of take
(17:16):
it in a lot of different directions in terms of
what it means, what the implications of it are. I
don't know, of Gordy, if you want to illuminate that anymore.
I tend to like to leave things in the shadows,
but maybe maybe there's a better way, to better way
to say that.
Speaker 4 (17:32):
I'm different from Ed in that I'm excited by all
the different meanings and I want to talk about them all.
Ed likes to leave it leave it a little more
up to the listener. You know, we got we got
excited about that title because it to me, it meant
so many different things. Our country is really divided right now,
(17:53):
and there's a there are sides in our country. There's
the obvious, you know countries sides, you know, bucolic view
to countrysides. There's A and B sides, like sides being songs,
and then there's food, you know, good the side dishes
sometimes are better than the main course. But uh, you know,
(18:14):
I think to me, the record is kind of all
those things. And we set out to make like a
soul a soul record that had country flavors on it.
So we wanted to lean into Pedal Steel and kind
of like a reference to I mean, we were thrown
around these like early Adobe Gray records that are kind
(18:37):
of these soul records, but they have this southern uh,
they have country flavorings to it, and that's where we
started out. That's what we were kind of like aiming
for in the studio. And sometimes you nail that and
sometimes it takes on a life of it's only become
something else. But that's that's kind of where we were
coming from.
Speaker 3 (18:58):
I love High on our own supply. That's getting a
lot of talk. Is the lead single. Can you tell
us anything about that song?
Speaker 1 (19:08):
Yeah?
Speaker 5 (19:08):
I mean, I think that song is almost like a
you know, it's like an eponymous song for the band
without the name of the song being the band of Heathens.
Speaker 1 (19:17):
You know.
Speaker 5 (19:18):
It's ah, the idea is really about It's about us
in terms of, you know, we've built this world around
ourselves that we've wanted to live in, and we've done
it through music, you know, and that's a that's all.
That's kind of our lens for processing and looking at
the world. But it's also our lens for you know,
for celebrating all the things, you know, all the emotions
that we go through and and in life. And really
(19:40):
it's a I think ultimately it's a song about celebrating that,
you know, about this idea that, hey, everything that we
need to do, the things we want to do, we have.
We have all these tools. It's our imagination and that
channel through our hands and our voices. You know. It's
kind of really like a really kind of a mantra
about music.
Speaker 3 (20:01):
I love the array of places that you guys have
performed at it, you know, everything from the clubs in
Austin to the Grand Old Opry, Red Rocks Banau. How
is the live show over these twenty years evolved.
Speaker 4 (20:18):
I think the live show started off in our early days,
it was very there were no rules, there was no
set list, it was very loose. We embraced the idea
of like train wrecks in front of the audience, the
kind of just going for it all the time. And
(20:39):
I think that the band and the live show has
morphed into something that is we still write a fresh
set list every night, but I think we have a
little bit more structure too. We're trying to build a
journey every night that allows room for going for it
and for stretching out. It's there's a lot of improvisation
(21:02):
and a lot of moments for us as musicians to
uh stretch out and and do something that try try
for something that may or may not land.
Speaker 5 (21:14):
I don't know.
Speaker 4 (21:14):
I think we've gotten better at creating powerful moments that
like we know how to like really build tension up
and then and then release it. And I feel like
we've embraced the different you know, over the twenty years now,
we've had moments of We've had records that are very
introspective singer songwriter records. We have records that are more swampy, bluesy,
(21:37):
We have some records that are more country, and so
I think the show is kind of evolved to embrace
each one of those flavors in different ways, you know,
while on this journey of tension and release throughout the
you know, ninety to one hundred minutes, and it's it's fun,
I think, you know, I think the challenge is to
(21:57):
have fun with it, and we're we're still having fun.
You know.
Speaker 2 (22:02):
We produced this other podcast. It's called Music Saved Me.
Speaker 3 (22:05):
It's ultimately about how music saves and transforms lives. Over
twenty years of making music together, how has the band
saved you?
Speaker 5 (22:21):
That's a good question. Well, I mean, I think that's
the preface to that is the music is certainly saved
all of us, I think individually and then I think collectively.
It's just been it's been a touchstone, you know. I mean,
I think in the band internally, you know, we've had
(22:42):
everyone's met their wives and gotten married and had children
and lost loved ones, all these things, and it seems
like the music, the music is always it always remains,
you know, it's always there. It's always you know, for
me at least, it's always a comfort. It's something that
you can always go to that when when everything else
(23:02):
doesn't seem to make sense, that seems to make sense.
And I think that's also a testament to to you know,
to the commitment that Gordy and I have made to
each other and to this band.
Speaker 1 (23:12):
You know that.
Speaker 5 (23:12):
I think I think people rely on a lot of
things to help them through difficult times, and I think
that's a wonderful thing. And I think the thing about
music specifically that I've always recognized about it is that
it's always given me more than I could ever give
back to it, you know. And I think within the band,
within working in the context of the band, I think
we're all aware of that being the framework, you know
(23:33):
what I mean. So when we if we just show
up and we're present for it and we allow it
to do what it does, Like, I think that's I
think that is most of our job, just showing up
and being present for it. I think whenever I've had
expectations of what music's going to do for me, or
like I was going to deliver my life or change
it or whatever, there you know it, it becomes an
(23:56):
imbalance and it's kind of just like it's almost like
you get you get a little uh, you get a
little head check and music. It's just kind of like, hey, hey,
remember when you were ten years old and you sat
in your room and you played guitar and and that
was all you needed. Like that's it's still all you
need it kind of you know what I mean. It's
just it's sort of a it's eternal, it's always it's
always giving like that.
Speaker 4 (24:17):
Ed when you were talking about how in our own supply,
you know, this life that music has given us where
it's our job to be creative. I think all of us,
whether your your profession is one where you're creative or
whether it's not, I think we're all meant to be
creative beings. And I think that creation process manifests in
(24:40):
so many different ways. From having children is an obvious one.
You know, say your your children would be the most
important and greatest songs you'll ever write. It's how you,
how you live for them to see and model. But
I think that music is given me this opportunity to
(25:04):
partake in that creative process, like in a very intense way.
That has been a teacher for me in life. And
then I would also add that the most powerful music
has been for me as a music fan and as
a listener. It's always been in my darkest times and
(25:26):
my worst days, music has been the most powerful and
has helped pull me out of that. I think getting
to go out on tour, make records, create what hope
you hope to be the soundtrack to people's lives, and
then go play shows. Every night, going out on stage,
I think about myself in my worst times going to
(25:49):
a show and that show pulling me out of those
dark times. I think about that every night I go
on stage, and it's a gift to be able to
to do that with music. It's it's healing, it's magical,
it unites people in a really divisive time, and so
I think it's just been an amazing gift to be
(26:10):
able to do that for a living and get to
partake in that, in the magic of how music can
both heal people but also heal the divisions, you know,
society wide and culturally. It's amazing, and you know, it's
a it's kind of a shitty time right now in
our country and with all the divisiveness, and I think
(26:34):
that also makes it especially I feel especially grateful to
have this job in a time like this when I
feel like we need we need music.
Speaker 3 (26:45):
Is there something that you guys hope that people take
away from countrysides that maybe they haven't gotten from your
previous work.
Speaker 4 (26:55):
That's an interesting question. I don't I have to think
about it. I don't really think about like I think
when we're writing or writing new material and making records,
I'm not usually thinking it's it's it's strangely in a vacuum,
like I don't really think about it. A lot of
(27:15):
times a record will be a reaction to the previous record, like, hey,
we did this, now let's do something radically different. A
lot of times I feel like that is one thing
we think about ed. I don't know, is there anything?
Speaker 5 (27:26):
Yeah? I think well, I think a couple of things,
like we made these records because we have to, and
we need to write songs and play music. That's kind
of our job as musicians and in this band. But ultimately,
like they don't, the songs mean nothing unless people take
them into their lives and sort of like Gordy mentioned,
they make them the soundtracks of their lives. So I
think I think, more than anything, I would just hope
(27:47):
that this music resonates with people in a way that's
meaningful and that's something that they want to share with
other people around them. I think on a really basic level,
that's kind of how it works into Gordy's point in
a time where there's so much to focus on that's
divisive and full of noise and really negatively laced, just
this idea that we could be some sort of threat
(28:09):
of positivity and something good that people could consistently rely
on and go to, you know, because it's just something that's,
you know, again to use cliches, it's something that's come
from our heart and come from our soul and come
from a from from a deep place of to me,
of of benevolence and of good will, you know what
I mean. I think that's we always lead with that,
(28:31):
and I hope that's sort of without hitting people over
the head with that, I hope that's sort of the
message of the music and the feeling that we provide
to people when they when they're when they're listening to
our music.
Speaker 3 (28:42):
So in closing, since we do call this podcast taking
a walk, I do have to ask you the question,
who would you take a walk with, living or dead?
Speaker 5 (28:51):
I take a walk with my grandfather, who I was
named after my dad's dad. I never got to meet him.
He died after he found out that my mom was
pregnant with me, and I've heard nothing but great stories
about him, and I guess he was also a pretty
great amateur musician. One of the great generation, which I
think is in the rear view mirror, really seems to
be like the iconic generation of America in terms of
(29:15):
saving the world from fascism and then you know, kind
of exporting the great ideals of America to the world.
So I think I think I get a lot out
of that. I think that would kind of inform a
lot of a lot of who I am in a
way that it's probably subconscious or unconscious because I just
was never you know, it was never tangible.
Speaker 2 (29:35):
Gorty, you could have two.
Speaker 3 (29:37):
By the way, I allow for two answers to the
question for those that can't single out one, because it's
meant to be a difficult question.
Speaker 4 (29:50):
I'm reading a bunch of strange mysticism stuff right now.
I would I would probably go on a walk with
like Jesus or Buddha or somebody enlightened. I mean, Jesus
would be the easy one culturally in America, But honestly,
(30:13):
I feel like he was. I feel like modern Christianity
has gone astray from what I think he intended, and
I'd have a ton of questions trying to get to
the bottom of it.
Speaker 3 (30:33):
Gordy Quist and Ed Jerdy the Bandy Heathen's congratulations on Countrysides.
It's an honor to be able to have you on
Taking a Walk and you're welcome back anytime you want.
Speaker 5 (30:44):
Thanks, Bus appreciate its buzz.
Speaker 3 (30:48):
I'm Buzznight, and thanks for listening to the Taking a
Walk podcast. Now, please check out our companion podcasts produced
by Buzznight Media Productions with your host Lynn Hoffman. Saved
Me showcasing the healing power of music and comedy, Save
Me shining a light on how laughter is the best medicine.
(31:09):
All shows are available on Apple Podcasts, Spotify and are
part of the iHeart podcast network.
Taken a Walk.
Speaker 2 (00:01):
I'm buzz night and welcome to the Taken a Walk Podcast.
Speaker 3 (00:04):
Now twenty years into their career, most bands they're coasting
on nostalgia are chasing trends. The Band of Heathens, they
just went platinum fourteen years after releasing the song their
version of Hurricane, which has streamed over a billion times,
becoming an anthem of resilience that found its audience not
(00:28):
through viral manipulation, but through something far more powerful, authenticity
and endurance. Now with a new album Country Sides, this
Austin Bread collective is proving that the best stories in
rock and roll aren't written overnight. They're lived, earned, and
(00:49):
built brick by brick. Today, on Taking a Walk, We're
going to dive deep into two decades of defying convention,
the unlikely journey of a play platinum hit, and why
sometimes the sides are.
Speaker 2 (01:04):
The main course.
Speaker 1 (01:09):
Taking a Walk.
Speaker 3 (01:09):
Well, Gordy and Ed from the Band of Heathens, welcome
to the Taking a Walk Podcast.
Speaker 4 (01:15):
Thanks for having us.
Speaker 3 (01:16):
Good to be here, man, So congrats on the new music,
which we're gonna certainly talk about. But I want to
start at this place called Momos in Austin, where those
late night jams kind of spawned the Band of Heathens.
Speaker 2 (01:33):
What was it about that room.
Speaker 3 (01:34):
That, in that moment that made you, guys realize you
had something special that was worth pursuing all these years later, Gordy,
what do you think.
Speaker 4 (01:46):
That was a special time and place? You know? I
think the early days of the band, nothing was really
taken very seriously. One of the rules was that rehearsal
was not allowed, and so there were lots of train
wrecks on stage at those Wednesday night week with gigs.
But I think part of that spirit of not taking
(02:08):
things too seriously led to some magic. And I think
the first time we realized the magic that really spoke
to us was us singing together like three and four
part harmonies. I think that's where we realized, Okay, this
is this is something special, So maybe we ought to
take this a little further.
Speaker 2 (02:29):
And Jerdy, did it connect you immediately? Did you know
there was no turning back?
Speaker 5 (02:34):
Well, I don't know if it was that different of it.
But what I would say, in addition to, you know,
with Gordyd echo all those sentiments, I think, you know,
I know he moved to Austin to play music. I
moved to Austin to play music, and we had both
been there probably less than a year at that point.
And I think what drew us to Austin was this
idea of there being a really great scene, you know,
really a great place to collaborate with other musicians, and
(02:57):
I think, you know, just being a big fan of
a lot of the music that come out of Austin.
I think when we found that, we found each other
and we found that gig and Momos. To me at least,
that sort of was like, Hey, we now we're here,
like we are we are part of this of this fabric,
you know that that Austin has kind of weaved historically
with musicians, and this is our this is kind of
(03:18):
our piece of it. So I had a really great,
you know, a great feeling and a great sense of
belonging to that scene and that that group of uh
of collaborative artists. It wasn't just the Heathens, there was
there was a lot of other bands playing in Momos
and a lot of a lot of love and a
lot of guidance from from people who I think facilitated
stuff like that. I like to call them instigators, you know,
they really, uh, they were responsible for putting people together
(03:42):
and just you know, just kind of seeing what happened.
It was it was really wide open in that sense,
which was which was fantastic.
Speaker 3 (03:49):
I love the term instigators. Maybe they were even co conspirators.
Who were some of those folks that you want to
maybe uh thing go out.
Speaker 5 (03:57):
Well, I'd have to say PAULO. Veasey, who own Momos
and who was the band's first manager. He uh, he
loves loves music and musicians, and that's why he owned
that club. You know. It wasn't to make money or
to be rich. It was it was to be a
part and give back to the scene. And he you know,
he was responsible for getting us together, introducing us to
(04:18):
each other. And then you know, I mean there were
so many other great musicians on the scene at the time,
like you know, Patrece Pike and Guy Forsyth, Dan Dyer,
Susannah Chaffell who later went on to become Paul's wife
and they have kids together. And then you know, and
maybe some people you haven't heard about as much, like
like a guy named Drew Smith who was a great
(04:40):
singer songwriter. There's also a guy named Jean Pattillo who
owned a small independent record label called Fat Cattie Records,
and he was responsible for us making our first record.
You know. He he became a fan of the band
and had a couple of bands on his little indie
label and was coming down a lot of the Wednesday
nights and just said, hey, you know, if you guys
want to make a record, we would love to put
(05:00):
it out. So, you know, there was just it was
very organic. I hate using that word because it's really cliched,
but there was a very small sort of structure that
allowed us to do exactly what we wanted to do
without any of sort of you know, sort of some
of the bigger music industry pressures. And I think that's
really why we were able to kind of hit the
(05:20):
ground running, and it allowed us to really thrive, I
think in an early point, which gave us a lot
of confidence.
Speaker 3 (05:26):
Where do you qust you want to single out anybody
that you remember from those days.
Speaker 4 (05:31):
It's as funny as Ed was going, I was thinking
of some people and then Ed kept getting to each one.
You know, I would say Paul and Kate too. Kate
toemtch was a co owner in Melmos and what you
know in addition to loving music and taking care of
the musicians and making all musicians welcome, not just the
people on stage, but it's where you wanted to go
(05:52):
hang out on nights you weren't playing too. It was
it was a great community, and I would say that's
one thing about Paul and Kate is that it was
a They really created a beautiful community of people, musicians,
fans of music. And there's a magic in creating a
(06:14):
space and in an environment and a vibe that creates
more magic. It it really they Paul has since done
that at numerous clubs since Momo's closed down. So really
it's you know, it's the music was special, but also
I would say the people, you know, all around, the
whole the whole scene really was a beautiful thing.
Speaker 2 (06:34):
I have to say this is mostly just an audio
first podcast, but we do record the video and use.
Speaker 3 (06:41):
It for social media, and the episodes are.
Speaker 2 (06:45):
Often put up from video.
Speaker 3 (06:47):
You guys have two of the most beautiful looking backdrops
of anybody that's ever been on been on the show. Gordie,
you're in Austin at this tremendous studio. Maybe you can
tell folks about it and ed it looks like you're
still celebrating a version of Christmas in Asheville, North Carolina,
(07:08):
aren't you.
Speaker 5 (07:09):
Yeah, it's it's a psychedelic Christmas here. And I just
realized these lights I have there's like different settings and
one of them is one of them is like aggressive.
I'm gonna so I'm going to put it on the
non pulsing setting for the rest of the rest of
the interview.
Speaker 2 (07:23):
That's okay, whatever you want to do. Talk about that studio, Gordy.
Speaker 4 (07:29):
Oh yeah, I'm here. This is the finishing school. It's
it's our it's our studio here in Austin, tons of
old analog gear and microphones and lots of rooms to
track live. This is where we've gone our last few records,
and much about other artists also. It's a it's a
(07:51):
great space. We feel really lucky. We did Hayes Carl's
last record here. Patty Griffin did her most recent record
that's up for a Grammy, she did that here. So
it's a feel definitely feel spoiled with this this studio,
in this space.
Speaker 2 (08:09):
It's beautiful. It really is.
Speaker 3 (08:11):
You guys have been together for twenty years now, which
in today's music landscape is pretty revolutionary. What's the secret
sauce behind this great collaboration?
Speaker 5 (08:24):
Oh my dog has things to say about this, well,
I think, you know, I think the first thing is
is the respect.
Speaker 2 (08:30):
We welcome dogs too, By the way, I don't worry.
Speaker 5 (08:32):
Yeah, he's just like hanging out on my feet here whining.
Speaker 4 (08:36):
You know.
Speaker 5 (08:36):
I think I think of mutual respect first of all,
and I think that you know, this is something that
you couldn't have calculated. But I think over the years
it's become apparent like there's a compatibility between Gordy and
I think. I think in terms of our our drive
in musically, I think our love for music and I
desire to want to write and create and make music.
(08:57):
I think that's something. The longer that you do this,
you sort of you fall into more simpatico sort of
groups of people, because the longer that you do this,
it kind of gets it kind of weeds out people.
You know, there's uh when you're young and you're getting started,
everyone's excited about I want to be in a band
and get on stage and we have some drinks and
we meet some girls and whatever. And then you know,
when you realize that, like that is about one percent
(09:18):
of the whole the whole thing. You need something else
and motivates you. And I think luckily we've been we've
both been motivated by by similar things over the years.
Speaker 2 (09:28):
And what's your dog's name, by the way, his name's Pancho.
Speaker 5 (09:30):
Pancho. Come here, buddy, come here, Come on, Come say hi,
Come say hi, Come say hi. Oh he's not happy,
he's not come home here, everybody here. He is?
Speaker 2 (09:43):
What an adorable one.
Speaker 5 (09:44):
He's a big lugs.
Speaker 3 (09:46):
Has Pancho ever sat in and participated in any recording sessions?
Speaker 5 (09:51):
Oh yeah, when I whenever I set up a microphone
in here. He he has a desire to sing. He's
got a little bit of husky in him, so he's
very he's very vocally to sing.
Speaker 3 (10:01):
Ponchos. Adorable. Yeah, A good boy. God, what do you
think the secret's been? Gordy to this longevity?
Speaker 4 (10:09):
Ed Ed hit on a lot of it. But as
an artist, when when you're young and starting out, you
you feel this uh drive to follow your internal guide
and your internal voice and making art and making choices.
And I think really great music can be made that way. However,
(10:34):
what this band has taught me and I think ed,
and I learned this early in the band, is that
when you're teamed up with collaborators that you trust and
respect and you appreciate whatever, you appreciate the art that
they've made, and therefore trust their internal voice as well.
(10:58):
It's kind of counterintuitive as an artist to compromise, I think,
because I think the artistic drive is to follow your instincts.
But I think what we've learned in this band is
that we actually, by listening to each other, by by compromising,
actually we sometimes make things that far surpasses what our
initial vision was. And I think that's rare, and I
(11:22):
think that it may just be random chance that the
way that we found each other and the way the
people that we've had in this band and the way
that it's worked, somehow there's enough respect there that the
there's this the fine line of compromising and staying true
to yourself, Like we're able to juggle all of those
things in a way that still feels good to each
(11:43):
one of us individually as artists. But then also we've
learned that the compromise has been something like kind of
a superpower of the band, kind of like allowing the
band as a whole set to have a voice, a style.
You know.
Speaker 3 (11:59):
One of our favorite things on the Taking a Walk
podcast is following these great indie music journeys like yours
and kind of chronicling where the career breakthroughs really occur.
Let's talk about Hurricane going platinum in twenty twenty five,
(12:20):
fourteen years after you released it in twenty eleven. One
of the most fascinating music stories certainly that I've heard.
Walk me through what that moment felt like when you
got that.
Speaker 4 (12:32):
News that you know, that song, that recording is so
it's it isn't an interesting story. We probably started working
on that record in twenty ten, and we had this album.
It had these Gulf coast themes. Ed had a song
about the oil spill that had happened a few years earlier.
I had a song inspired by Marie Levau in New Orleans.
(12:54):
Had a song inspired by, strangely, some of the conquistadors
that shipwrecked in Florida into fifteen hundreds and traveled along
the Gulf coast. So the record had this kind of
Gulf coast subject matter and theme. That song Hurricane, you know,
we had heard the levon Helm version from like nineteen
seventy nine or nineteen eighty that's on this American Sun record,
(13:18):
and it kind of felt like he missed the mark.
Production Wise, it felt like it was trying to be
a remake of like Up on Cripple Creek. It was
a little like bouncy and happy, and so we kind
of turned it on its head and didn't think too
much about it. We're just like, hey, this song kind
of fits the vibe, like let's treat it a radically
different way, and it went on the record. It's way
(13:41):
too slow for radio, it's way too long for radio.
The record came out, we all were really proud of it,
but it didn't really I don't think. I don't know
if our fans liked it. Initially, it was a little
it had some weird psychedelic moments, and it felt like
our fans were kind of for the first time. It
was our third record, and for the first time it
felt like our fans were not like on the same
(14:01):
page with us, and so we you know, kept soldiering
on and making records. But yeah, like I don't know
how many years later we started realizing, like, oh, this
Hurricane song keeps people keep sending me videos of bands
and bars singing our version of it, and it kind
of took on a life of its own that had
nothing to do with promotion or or trying to make
(14:24):
it a hit song or trying to do something with
it. It really happened organically, so I don't know, Yeah, we
didn't really get news of it. Hitting platinum first was
like a gold record and somebody said, hey, you should
look into the data because you know, we're our own
label where there's nobody tracking this stuff outside of us,
(14:46):
and so for us, it was kind of like somebody said, hey,
you should you should count up your streams and submit
because this thing might be gold or you know. And
apparently it had been gold for a while before we
knew that it was, and then I think just in
this last year or two it hit platinum. So it
just goes to show it's a strange business. There's that,
(15:09):
you know. One of the beautiful things about streaming is that,
like things can just take on a life of their
own if people like it, you know.
Speaker 3 (15:17):
I mean, you do have to sort of keep a
little bit of an eye on it. Not that any
of the big streaming companies would take full advantage of
the numbers or anything, right.
Speaker 2 (15:27):
Yeah, we'll leave it at that.
Speaker 3 (15:29):
No, yeah, but over a billion streams. I mean it
became this this anthem during you know, hurricanes obviously, which
we have too many of, including Katrina. So you must
have had some sense in the midst of this that
this song had this special meaning during difficult times.
Speaker 5 (15:50):
It did, but it was so it was so long
after the fact. I mean you mentioned the word breakthrough.
I would say, it's more like, have you ever seen
the movie Andy duffraan uh he hammers his way out
of prison with the little ball peen hammer. It was
more like that. I have to I have to look
up with the name of the movies. I like just
literally had a massive brain fart.
Speaker 4 (16:11):
Joshank Redemption, thank you, jeez?
Speaker 2 (16:14):
What do you what? What does Gordy win? What is
what prize does he win?
Speaker 5 (16:17):
I like, I actually had it in my head before
you started talking, and then I and then it went
away and I was like, Eddie, your frain.
Speaker 4 (16:24):
I looked it up. I don't get a prize.
Speaker 5 (16:27):
Darn.
Speaker 3 (16:28):
It's an amazing story, it's an amazing song, and I
just love chronicling it.
Speaker 1 (16:34):
We'll be right back with more of the Taking a
Walk Podcast. Welcome back to the Taking a Walk Podcast.
Speaker 2 (16:45):
So let's talk about country sides.
Speaker 3 (16:47):
The title itself, it is it a kind of a
statement rest of all.
Speaker 5 (16:53):
I think we're we've we've never been too much about
hitting you over the head with any messages. But I
think it's a little bit of a uh. I always
want to be provocative, you know, and I want to
always want to kind of imply things, but also leave
things to the listener's imagination and ideas. I think that
the title of the record, and we kind of about
it around, it's you know, you can sort of take
(17:16):
it in a lot of different directions in terms of
what it means, what the implications of it are. I
don't know, of Gordy, if you want to illuminate that anymore.
I tend to like to leave things in the shadows,
but maybe maybe there's a better way, to better way
to say that.
Speaker 4 (17:32):
I'm different from Ed in that I'm excited by all
the different meanings and I want to talk about them all.
Ed likes to leave it leave it a little more
up to the listener. You know, we got we got
excited about that title because it to me, it meant
so many different things. Our country is really divided right now,
(17:53):
and there's a there are sides in our country. There's
the obvious, you know countries sides, you know, bucolic view
to countrysides. There's A and B sides, like sides being songs,
and then there's food, you know, good the side dishes
sometimes are better than the main course. But uh, you know,
(18:14):
I think to me, the record is kind of all
those things. And we set out to make like a
soul a soul record that had country flavors on it.
So we wanted to lean into Pedal Steel and kind
of like a reference to I mean, we were thrown
around these like early Adobe Gray records that are kind
(18:37):
of these soul records, but they have this southern uh,
they have country flavorings to it, and that's where we
started out. That's what we were kind of like aiming
for in the studio. And sometimes you nail that and
sometimes it takes on a life of it's only become
something else. But that's that's kind of where we were
coming from.
Speaker 3 (18:58):
I love High on our own supply. That's getting a
lot of talk. Is the lead single. Can you tell
us anything about that song?
Speaker 1 (19:08):
Yeah?
Speaker 5 (19:08):
I mean, I think that song is almost like a
you know, it's like an eponymous song for the band
without the name of the song being the band of Heathens.
Speaker 1 (19:17):
You know.
Speaker 5 (19:18):
It's ah, the idea is really about It's about us
in terms of, you know, we've built this world around
ourselves that we've wanted to live in, and we've done
it through music, you know, and that's a that's all.
That's kind of our lens for processing and looking at
the world. But it's also our lens for you know,
for celebrating all the things, you know, all the emotions
that we go through and and in life. And really
(19:40):
it's a I think ultimately it's a song about celebrating that,
you know, about this idea that, hey, everything that we
need to do, the things we want to do, we have.
We have all these tools. It's our imagination and that
channel through our hands and our voices. You know. It's
kind of really like a really kind of a mantra
about music.
Speaker 3 (20:01):
I love the array of places that you guys have
performed at it, you know, everything from the clubs in
Austin to the Grand Old Opry, Red Rocks Banau. How
is the live show over these twenty years evolved.
Speaker 4 (20:18):
I think the live show started off in our early days,
it was very there were no rules, there was no
set list, it was very loose. We embraced the idea
of like train wrecks in front of the audience, the
kind of just going for it all the time. And
(20:39):
I think that the band and the live show has
morphed into something that is we still write a fresh
set list every night, but I think we have a
little bit more structure too. We're trying to build a
journey every night that allows room for going for it
and for stretching out. It's there's a lot of improvisation
(21:02):
and a lot of moments for us as musicians to
uh stretch out and and do something that try try
for something that may or may not land.
Speaker 5 (21:14):
I don't know.
Speaker 4 (21:14):
I think we've gotten better at creating powerful moments that
like we know how to like really build tension up
and then and then release it. And I feel like
we've embraced the different you know, over the twenty years now,
we've had moments of We've had records that are very
introspective singer songwriter records. We have records that are more swampy, bluesy,
(21:37):
We have some records that are more country, and so
I think the show is kind of evolved to embrace
each one of those flavors in different ways, you know,
while on this journey of tension and release throughout the
you know, ninety to one hundred minutes, and it's it's fun,
I think, you know, I think the challenge is to
(21:57):
have fun with it, and we're we're still having fun.
You know.
Speaker 2 (22:02):
We produced this other podcast. It's called Music Saved Me.
Speaker 3 (22:05):
It's ultimately about how music saves and transforms lives. Over
twenty years of making music together, how has the band
saved you?
Speaker 5 (22:21):
That's a good question. Well, I mean, I think that's
the preface to that is the music is certainly saved
all of us, I think individually and then I think collectively.
It's just been it's been a touchstone, you know. I mean,
I think in the band internally, you know, we've had
(22:42):
everyone's met their wives and gotten married and had children
and lost loved ones, all these things, and it seems
like the music, the music is always it always remains,
you know, it's always there. It's always you know, for
me at least, it's always a comfort. It's something that
you can always go to that when when everything else
(23:02):
doesn't seem to make sense, that seems to make sense.
And I think that's also a testament to to you know,
to the commitment that Gordy and I have made to
each other and to this band.
Speaker 1 (23:12):
You know that.
Speaker 5 (23:12):
I think I think people rely on a lot of
things to help them through difficult times, and I think
that's a wonderful thing. And I think the thing about
music specifically that I've always recognized about it is that
it's always given me more than I could ever give
back to it, you know. And I think within the band,
within working in the context of the band, I think
we're all aware of that being the framework, you know
(23:33):
what I mean. So when we if we just show
up and we're present for it and we allow it
to do what it does, Like, I think that's I
think that is most of our job, just showing up
and being present for it. I think whenever I've had
expectations of what music's going to do for me, or
like I was going to deliver my life or change
it or whatever, there you know it, it becomes an
(23:56):
imbalance and it's kind of just like it's almost like
you get you get a little uh, you get a
little head check and music. It's just kind of like, hey, hey,
remember when you were ten years old and you sat
in your room and you played guitar and and that
was all you needed. Like that's it's still all you
need it kind of you know what I mean. It's
just it's sort of a it's eternal, it's always it's
always giving like that.
Speaker 4 (24:17):
Ed when you were talking about how in our own supply,
you know, this life that music has given us where
it's our job to be creative. I think all of us,
whether your your profession is one where you're creative or
whether it's not, I think we're all meant to be
creative beings. And I think that creation process manifests in
(24:40):
so many different ways. From having children is an obvious one.
You know, say your your children would be the most
important and greatest songs you'll ever write. It's how you,
how you live for them to see and model. But
I think that music is given me this opportunity to
(25:04):
partake in that creative process, like in a very intense way.
That has been a teacher for me in life. And
then I would also add that the most powerful music
has been for me as a music fan and as
a listener. It's always been in my darkest times and
(25:26):
my worst days, music has been the most powerful and
has helped pull me out of that. I think getting
to go out on tour, make records, create what hope
you hope to be the soundtrack to people's lives, and
then go play shows. Every night, going out on stage,
I think about myself in my worst times going to
(25:49):
a show and that show pulling me out of those
dark times. I think about that every night I go
on stage, and it's a gift to be able to
to do that with music. It's it's healing, it's magical,
it unites people in a really divisive time, and so
I think it's just been an amazing gift to be
(26:10):
able to do that for a living and get to
partake in that, in the magic of how music can
both heal people but also heal the divisions, you know,
society wide and culturally. It's amazing, and you know, it's
a it's kind of a shitty time right now in
our country and with all the divisiveness, and I think
(26:34):
that also makes it especially I feel especially grateful to
have this job in a time like this when I
feel like we need we need music.
Speaker 3 (26:45):
Is there something that you guys hope that people take
away from countrysides that maybe they haven't gotten from your
previous work.
Speaker 4 (26:55):
That's an interesting question. I don't I have to think
about it. I don't really think about like I think
when we're writing or writing new material and making records,
I'm not usually thinking it's it's it's strangely in a vacuum,
like I don't really think about it. A lot of
(27:15):
times a record will be a reaction to the previous record, like, hey,
we did this, now let's do something radically different. A
lot of times I feel like that is one thing
we think about ed. I don't know, is there anything?
Speaker 5 (27:26):
Yeah? I think well, I think a couple of things,
like we made these records because we have to, and
we need to write songs and play music. That's kind
of our job as musicians and in this band. But ultimately,
like they don't, the songs mean nothing unless people take
them into their lives and sort of like Gordy mentioned,
they make them the soundtracks of their lives. So I
think I think, more than anything, I would just hope
(27:47):
that this music resonates with people in a way that's
meaningful and that's something that they want to share with
other people around them. I think on a really basic level,
that's kind of how it works into Gordy's point in
a time where there's so much to focus on that's
divisive and full of noise and really negatively laced, just
this idea that we could be some sort of threat
(28:09):
of positivity and something good that people could consistently rely
on and go to, you know, because it's just something that's,
you know, again to use cliches, it's something that's come
from our heart and come from our soul and come
from a from from a deep place of to me,
of of benevolence and of good will, you know what
I mean. I think that's we always lead with that,
(28:31):
and I hope that's sort of without hitting people over
the head with that, I hope that's sort of the
message of the music and the feeling that we provide
to people when they when they're when they're listening to
our music.
Speaker 3 (28:42):
So in closing, since we do call this podcast taking
a walk, I do have to ask you the question,
who would you take a walk with, living or dead?
Speaker 5 (28:51):
I take a walk with my grandfather, who I was
named after my dad's dad. I never got to meet him.
He died after he found out that my mom was
pregnant with me, and I've heard nothing but great stories
about him, and I guess he was also a pretty
great amateur musician. One of the great generation, which I
think is in the rear view mirror, really seems to
be like the iconic generation of America in terms of
(29:15):
saving the world from fascism and then you know, kind
of exporting the great ideals of America to the world.
So I think I think I get a lot out
of that. I think that would kind of inform a
lot of a lot of who I am in a
way that it's probably subconscious or unconscious because I just
was never you know, it was never tangible.
Speaker 2 (29:35):
Gorty, you could have two.
Speaker 3 (29:37):
By the way, I allow for two answers to the
question for those that can't single out one, because it's
meant to be a difficult question.
Speaker 4 (29:50):
I'm reading a bunch of strange mysticism stuff right now.
I would I would probably go on a walk with
like Jesus or Buddha or somebody enlightened. I mean, Jesus
would be the easy one culturally in America, But honestly,
(30:13):
I feel like he was. I feel like modern Christianity
has gone astray from what I think he intended, and
I'd have a ton of questions trying to get to
the bottom of it.
Speaker 3 (30:33):
Gordy Quist and Ed Jerdy the Bandy Heathen's congratulations on Countrysides.
It's an honor to be able to have you on
Taking a Walk and you're welcome back anytime you want.
Speaker 5 (30:44):
Thanks, Bus appreciate its buzz.
Speaker 3 (30:48):
I'm Buzznight, and thanks for listening to the Taking a
Walk podcast. Now, please check out our companion podcasts produced
by Buzznight Media Productions with your host Lynn Hoffman. Saved
Me showcasing the healing power of music and comedy, Save
Me shining a light on how laughter is the best medicine.
(31:09):
All shows are available on Apple Podcasts, Spotify and are
part of the iHeart podcast network.
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