The Austin based Band of Heathens performed in Carbondale Colorado on January 13, 2012 and asked me to embed with them before, during and the morning following the show to get them some promotional shots as well as some live photos. This was my third time shooting this incredible band and my first time to be able to hang with the Heathens for an extended period of time, I found them to be sincere, incredibly talented, down to earth and very, very funny.
I followed them to the local radio station and took this short video;
This year has been a year of making noise and news for the Band of Heathens. With 200-plus show dates, a fifth anniversary celebration, appearances at Lollapalooza and other top national festivals and a taping of Austin City Limits with Elvis Costello, it is remarkable that the Heathens even found time to write and record a new studio album, but they did.
The result is Top Hat Crown & the Clapmaster’s Son, a surprising, multi-faceted gem of a disc. Their third studio album and the fifth release overall, Top Hat Crown displays the wide range of classic influences fans and critics have come to admire in the band, yet they’ve added, built and grown. Producer George Reiff, celebrated for his work with the Black Crowes’ Chris Robinson, the Courtyard Hounds (Martie Maguire and Emily Robison of the Dixie Chicks) and Ray Wylie Hubbard, tended to the album’s vibe and spirit, which is reaching, rocking, bluesy, funky and enjoyable as hell, from its rocking opening to its serene acoustic conclusion.
The Band of Heathens is constantly being compared to The Band because of the musical finesse that overlays their timeless, rootsy core. And the three founding members are all skilled multi-instrumentalists who can play almost any position in the field. But TBoH has reached so many fans so fast because of the echoes of and subtle homage to so many different artists at the core of the Americana canon, including Tom Petty, Tony Joe White, the Grateful Dead, Leon Russell, George Harrison, and other rarified stylists. You can hear a little of all that at a Heathens show or on disc, and Top Hat Crown feels like the most coherent and mature encapsulation of those elements so far.
The three original principal songwriters – Colin Brooks, (who recently left the band) Ed Jurdi and Gordy Quist – shared the bill at Momo’s, an Austin club. Originally, each singer/songwriter performed his own set. However, they eventually started sharing the stage, and collaborating with bassist Seth Whitney. The Wednesday night series was billed as “The Good Time Supper Club”. A misprint in a local paper billed the act as “The Heathens.” Drummer John Chipman joined the band in 2007, and Keyboardist Trevor Nealon, who played in the studio during the recording of both “One Foot in the Ether” and “Top Hat Crown & the Clapmaster’s Son”, joined the touring unit in 2011.
Ed Jurdi
Gordy Quist
Seth Whitney
John Chipman
Trevor Nealon
“We’re just making it up as we go along,” says member Ed Jurdi. “I mean we don’t follow a script, we’re not good actors and we don’t take our cues well. We all agree it’s important to honestly represent the idea of what we are putting forth. As a band, we are in a position to actualize where we’re going because there is no label and there are no rules. It’s been an exhilarating ride.”
Given the timelessness of their sound, one gets the sense that Jurdi, Gordy Quist and Colin Brooks would have gravitated toward the same essential feel had they met in 1975 or 2045. As it happens, it was in 2006 after each songwriter had established residency gigs on the same night of the week at Momo’s, an eclectic-minded club on Austin’s famous Sixth Street. Friendship, semi-regular sit-ins and harmony jags gelled into something quite rare: a band with three frontmen, each with enough humility and passion to invest in the larger project. (Please stop asking them exactly when, by the way; they don’t remember.) The sum transcended the parts. Bassist Seth Whitney was a member from the get-go. Drummer John Chipman joined in 2007 as their road calendar got heavier.
The Band of Heathens earned its reputation right away as a devastating live band, chiefly thanks to the three strong voices up front, sometimes taking sensational leads, sometimes locked together in big, juicy harmony. The show’s-the-thing focus led them down a somewhat unorthodox path: launching their recorded career with two live discs before they ever went into the studio to make a “formal” album. First came the obvious Live at Momo’s. Next they spread their wings and flew, well, a few blocks, tracking a live CD/DVD concert film at world-famous Antone’s.
The Heathens took their time getting their first studio album out, but when that eponymous debut was released in 2008, they proved they could write and record a coherent statement that measured up to their show. They followed relatively quickly with One Foot in the Ether toward the end of 2009. Both shot to the top of the Americana chart and remained there for months, evincing a longevity rare in any format of music. Each added songs to the band’s set lists that have become staples and favorites: “Jackson Station,” “Cornbread,” frequent set closer “Don’t Call on Me” and the rocking, cathartic “L.A. County Blues.”
Other kinds of recognition and respect rolled in. TBoH was honored as Best New Band at the Austin Music Awards and nominated as Best Duo or Group by the Americana Music Awards. The Wall Street Journal’s Jim Fusilli called theirs the best set he saw during South by Southwest 2009. And the rest of the press has been equally effusive: The Dallas Morning News calls them “a must-see show.” Maverick magazine says they’re “magnificent.” For The Chicago Tribune, the band felt “refreshingly different,” and Country Standard Time hailed their second studio album as “exceptional.”
One can anticipate similar praise for Top Hat Crown, as it stretches without breaking faith with the feel and integrity that got the Band of Heathens this far. Opener “Medicine Man” sets a hoodoo tone with slappy upright piano and a swaggering lyric sung by Gordy Quist. “It was one of the first songs we tracked, he says. “Recording live together in a room, I think it’s the closest we’ve come to capturing the power of the live show on tape.”
Another early Quist lead is “Polaroid,” which the guys say was influenced by the Jayhawks and mid-career Beatles. It coasts along on a robust acoustic strum decorated by jangly chiming electric guitar — a pluperfect fusion of pop and roots. Ed Jurdi gets his first lead vocal licks in with “Should Have Known,” a deeply bluesy slow shake that bolsters the regret of the song. Colin Brooks evokes current events and the craziness of modernity with “Enough,” whose mantra-like lyric and mid-tempo groove will have people nodding along in time. Brooks also shines with his lead on “Gravity,” a tour-de-force of forward motion and organ-generated psychedelic colors. Then some bone-rattle percussion ushers in a glowing, single-chord jam ride and a three-part chorus that swells with love.
Fans of the band will note one familiar song here. “Free Again” was written, recorded and released as a single in a blast of energy in the summer of 2010, inspired by the mind-boggling Gulf of Mexico oil spill. It’s sincere and sarcastic, playful and chastising. And it’s part of a Louisiana theme that closes out the album and ties the whole project together. “Hurricane,” the album’s lone cover, a Nashville-written tune from an old Levon Helm album, is a poignant portrait of an aging Gulf Coast salt reflecting on storms and eerily anticipating Katrina. And “Gris Gris Satchel,” the final cut, is a gorgeous and soothing acoustic tune that evokes old New Orleans and memories of great Crosby, Stills & Nash tracks.
Like that historic group, the Band of Heathens is distinguished by collaboration and load-sharing. And while songwriting and vocal duties are chiefly handled by the three guys across the front of the stage, they are decidedly a five-man band, benefitting from the equal input of all. This can lead to a lot of deliberation and creative tension. But it also means the music that emerges has been through five filters and enjoyed the collaborative creative power of five music-loving minds. “When I write a song with Ed or Colin, I usually hear it a certain way in my head,” says Quist about the power of the process. “When we bring it in to the band, the song almost always comes out turned on its head, leaning in another direction from where it started.” Music fans nationwide will hear that distilled quality upon the release of Top Hat Crown.
New Your Times Review
Saddled Up for Serious Strumming
Michael Nagle for The New York Times
By NATE CHINEN
Published: August 4, 2011
The air was getting thick downstairs at Union Hall in Brooklyn on Wednesday night, and the members of the Band of Heathens were making themselves at home. Ed Jurdi, seated at a keyboard, was belting a Southern soul number called “The Other Broadway,” in his high, tremulous rasp. Colin Brooks, at the other end of the stage, attacked his electric guitar, uncoiling blues licks in a coarsened tone. Between them was Gordy Quist, blithely strumming a rhythm-guitar riff. The band played the song and then extended it, pushing an ecstatic four-bar vamp, louder and wilder with each turnaround but without ceding any control.
The six-piece Band of Heathens comes from Austin, Tex., one of the handful of American cities where a craft-minded rock group can be flush with success, and even the stirrings of celebrity, without making a splash nationwide. That last bit is a work in progress. The band has been touring doggedly in support of “Top Hat Crown & the Clapmaster’s Son,” which was released on its own BOH label in the spring, earning a midlevel perch on the Americana radio chart.
Produced by George Reiff, “Top Hat Crown” is a varied showcase, with songs by all three of the group’s front men, skirting Southern rock (“Should Have Known”), swamp blues (“Medicine Man”) and euphoric hippie jams (“Gravity”). But if the Band of Heathens is going to expand its fan base, the album can only be secondary to tour dates, and shows like the one at Union Hall: hungry, unflagging and lean. Fittingly, for a group that coalesced around a weekly singer-songwriter showcase, the live show is the bottom line.
There were some moments in this show — covers of “I’ve Got a Feeling,” by the Beatles, and “Look at Miss Ohio,” by Gillian Welch and David Rawlings — that called to mind the gnash and grit of an excellent bar band. Which may sound like faint praise, though it shouldn’t. At its best, the Band of Heathens makes the material seem almost irrelevant, which is good, since its songwriting can occasionally feel gestural and glib. (Now that’s faint praise.)
One exception in the show was Mr. Quist’s “Polaroid,” from the new album. Its sunshine-pop chord progression and honeyed vocal harmonies were reminiscent of the Jayhawks, another countrified rock band with more than one songwriter in the saddle. Just as appealing, in more of a vintage Neil Young vein, was “L.A. County Blues,” an older band staple with Mr. Jurdi singing lead.
Whatever the song, the band — with Seth Whitney on bass, John Chipman on drums and Trevor Nealon on Hammond B-3 organ — hummed with purpose, loose in actions but tight in rapport. And the contrast among the three lead singers was rewarding, especially on a newer song, “Gris Gris Satchel,” that had them taking turns in the verses.
That was the song before the closer, “You’re Gonna Miss Me,” a sprawling blast of country-rock with a simple refrain. “You’re gonna miss me when I’m gone,” it went, in yelping group harmony: not a bad mantra for a band on the road.
The Band of Heathens appears on Friday at the Iron Horse in Northampton, Mass., and on Saturday at the Sellersville Theater in Sellersville, Pa.; bandofheathens.com.
Top Hat Crown & the Clapmaster’s Son
3/29/11 – The Band of Heathen’s new album “Top Hat Crown & the Clapmaster’s Son” officially hits the streets today at outlets nationwide. The band’s fifth album in as many years is being called their best yet and is currently making its way up both the Americana and TripleA radio charts.
AMA top Albums of 2010
12/15/10 – Nashville, TN — The Americana Music Association has announced its year end Top 100 Albums of the Year. The Americana Airplay Chart is managed by the Americana Music Association and represents the reported play of terrestrial radio stations, nationally syndicated shows, satellite radio and Internet stations which have agreed to submit weekly spin counts on Americana albums they’ve played during the previous week.
The Band of Heathens “One Foot In The Ether” came in at #7! Many thanks to the AMA community and the many radio stations who have supported the Heathens!
Nashville, Tenn. – The Band of Heathens continue their rise on the American music landscape by landing a coveted spot on Austin City Limits‘ historic 35th season and garnering a 2009 “New and Emerging Artist” nomination from the Americana Music Association (AMA). The Austin-based five piece are part of an illustrious class for the 2009-2010 season of Austin City Limits which includes established superstars Dave Matthews Band, Beastie Boys, Pearl Jam and Elvis Costello. The coveted PBS TV taping coupled with their recent nomination pays tribute to the band’s commitment to creating and performing quality music.
Since the unveiling of their independent release a year ago, The Band of Heathens have been building on their much deserved momentum and converting fans to their Americana grit and soulful sound with a robust tour schedule of more than 280 performances, television appearances, festival participation and a huge online presence. They recently earned major praise from Wall Street Journal pop music critic, Jim Fusilli, who while at South by Southwest in March wrote “The Band of Heathens, an Austin-based group, played the best set I came across during my five nights in town,” With a new full-length studio album in the works and a host of tour dates, there are only good things to come in 2009.
As their dedicated fans already know, The Band of Heathens’ live show is a must-see and the guys continue to keep up their aggressive touring schedule throughout the summer months with upcoming sets at the internationally recognized Summerfest and Mile High Music festivals. The band will perform their soulful live show in both clubs and outdoor stages from California to the Southwest, and all points in between, undoubtedly winning over fans in each new city.
Living and performing in Austin, The Band of Heathens has been fortunate to collaborate with some well-known Texas artists. Ray Wylie Hubbard produced their studio record which also features guests Stephen Bruton, Patty Griffin and Gurf Morlix. Ed Jurdi, Gordy Quist and Colin Brooks are each showcased in their vocal delivery, songwriting and guitar interplay. The unified front downstage is cemented by a heavy groove courtesy of Seth Whitney on bass and John Chipman on drums.
The much publicized creation of The Band of Heathens adds to their charismatic appeal. The band came to be while the five members were playing in different bands respectively in the “Live Music Capital of the World,” Austin, Texas. The fellas started jammin’ together at Momo’s and it was clear that they were victims of fate more than circumstance. That these guys came together is surely no accident. Music this soulful and tight can’t be anything short of preordained. “This ain’t genericamericana. This is greasy and right,” says KGSR Content Manager and recognized music tastemaker Jody Denberg.
There is never any doubt the band is having as much fun as their listeners and touring throughout the United States has added nuance to their songs. There is a comfort and ease in the material and lyrics; a perfect marriage of roots and jam which allows the casual tone of the songs to work anywhere from a back porch party to a packed club, to just makin’ you feel good about being stuck in traffic.
In 2009 and beyond, The Band of Heathens are connecting people through the music, online and through live performance…you have to listen to believe!
(From the Wall Street Journal)
By Jim Fusilli
Austin
‘The music industry isn’t completely broken,” the hip-hop artist known as Busdriver told me, “but it’s on its way. I see some freedom in that.”… Read More by clicking below
“I’ve had some experience with major labels,” said Emily Wells, who plays viola to hip-hop rhythms and orchestral sounds. “They want to know what you’re doing all the time. They’re nosy. Now I’m entirely self-motivated. I have creative control.”
Getty Images
Jon Jameson and Matthew Vasquez of Delta Spirit at the festival.
Busdriver and Ms. Wells were among the 1,900 or so artists and bands who performed at the 23rd annual South by Southwest Festival held here last week. They’re both based in Los Angeles, but fans all over the world found their music on the Internet, which, for many musicians, is a distribution platform that cuts out intermediaries who may take a slice of income without contributing to the artistic process. By now, that’s old news. What artists are discovering is that, by managing their own affairs, they can control costs and make the music they want.
“Now people have access to everything, and those creating it have the ability to get it to everybody,” said Dan Dyer, an Austin resident who played a handful of shows during the festival. “An artist has to fend for himself and let the audience decide.”
The band BLK JKS, which did two shows here, had a budding global fan base before it toured outside its homeland, South Africa. “We didn’t have an album. We had no video. We still have no video,” said guitarist Mpumard Mcata. BLK JKS put its music on a MySpace page. “Early adopters,” as the band calls its fans at home, helped spread the word. “We try to figure it out in our heads,” added Lindani Buthelezi, who plays bass. “We try not to follow the other way. A target market doesn’t exist for us. Our target market is anybody who would like to listen.”
Though it may not seem so to fans who lined up outside the downtown clubs before showtime, SXSW is a bazaar for industry professionals seeking talented clients and for musicians in search of representation. As always, many musicians would be delighted to sign with any manager, label, booking agent or publisher just to be in the music industry.
Other artists know the independent route suits their style. Like Busdriver and Ms. Wells, BLK JKS doesn’t fit easily into any commercial category or musical genre. It’s recording its debut album for Secret Canadian, an independent that’s marketing the band’s EP, “Mystery.” Ms. Wells distributes her “The Symphonies: Dreams Memories & Parties” via iTunes, emusic and other online vendors. The independent label ANTI will release Busdriver’s “Jhelli Beam” in early June.
“The reality of pop in our culture has changed,” said Mark Mothersbaugh, a 35-year veteran of the music business best known as a member of Devo. “Now, instead of a monolithic list of important artists, you have a web of information. With the Internet, you can say, ‘I want to hear French bistro death metal cha-cha’ — and there’s somebody doing it. You may not find any of these people to be big icons like Mick Jagger, but you have a lot of people with interesting ideas.”
SXSW had its share of familiar names — Metallica, Jane’s Addiction, Devo, Kanye West, Big Boi of Outkast, Erykah Badu, Jimmy Webb and the New York Dolls, to name a few. Some indie acts who’ve found success were in town — including the Decemberists, who did a remarkable performance of their rock opera “The Hazards of Love” (Capitol) and allowed NPR Music to Webcast and archive it before its release this week. A few acts with a cult following may have expanded their base: Grizzly Bear and Department of Eagles, who share Daniel Rossen as a member; the Wooden Birds; St. Vincent; and Andrew Bird, among others. It was a buyer’s market for the open-minded music lover.
The fun of SXSW is running across little-known bands. Though they’ve gotten some attention backing the Black Keys’ Dan Auerbach on his solo tour, I’d never heard of Hacienda, a local quartet that plays retro-rock and R&B “well and with a lot of fun,” according to notes I scribbled when I stumbled into its set while in search of another band. Back at the hotel, I sampled Hacienda’s album on its MySpace page and downloaded it from iTunes.
I went to see Juliette Commagere, whose album “Queens Die Proudly” (Aeronaut) is an alluring bit of modern pop featuring her beautiful voice and clever percussion by her husband Joaquin Cooder. Arriving early, I caught a set by Black Gold, a New York duo. I sort of like their debut album, “Rush” (Red Bull), but they rock much harder live. For all the new mash-ups of genres, the kind of music I heard most here was Americana, and the Band of Heathens, an Austin-based group, played the best set I came across during my five nights in town.
JamBase just posted a review of the album. Check it out:
“There’s just nothing to dislike about roots rockers The Band of Heathens – dead sturdy, salt o’ the earth songwriting delivered with strong, clear voices, lively picking and jubilant spirit. If early Jayhawks or Steve Earle knocks your dick in the dirt then you’re gonna love you some Heathens, the winners of the 2007 “Best New Band of the Year” at the Austin Music Awards. And kids, if they like ‘em in Austin – a town with more musicians than cockroaches – then you know there’s giddy-up in these shitkickers, who remind one of The Eagles’ first couple albums, which is a much bigger compliment than many youngsters may take it to be.
Built around a core trio of singer-songwriters – Ed Jurdi, Gordy Quist and Colin Brooks – the Heathens seethe with front porch charm, offering up tales of second lines, girls from Manitoba and earthy cornbread making, each tune full of nice details snatched by their writerly eyes. Cleanly produced by Texas elder statesman Ray Wylie Hubbard and bolstered by harmony vocals from Patty Griffin on a few cuts, their self-titled studio debut is plain ol’ quality stuff. If this were 1975 they’d be on the top of both the rock and country charts. Even if times have changed dramatically, it shouldn’t be long before these Heathens are playing far beyond Midland and Lubbock. –JamBase”
Rolling Stone Magazine
See The Band of Heathens in the latest Rolling Stone Magazine (with Barack Obama on the cover). The band was featured in the chart listings under the Americana Radio chart with Alejandro Escovedo and Justin Townes Earle. Currently the Band of Heathens’ new album has been at #5 on the Americana Chart for 3 weeks in a row.
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HST Quote of The Week
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."
