If someone told me that I would go more than six months without seeing live music AND the first time I found myself in a (responsibly distanced) concert crowd the band would feature a sousaphone… Well, I’d have been skeptical.
Yet, here we all are. Venues, musicians, and fans have been trying to find their way in the midst of a pandemic. One of the bright spots, though, has been the formation of The Muswell Villebillies, a group of Columbus musicians united by their love of The Kinks and an unprecedented amount of free time.
It’s an impressive array of musicians that chose to get their Brit on during the shutdown. Despite their collective resumes, the players largely had not been on stage with each other before but it’s not evident in their shows. Singing and playing guitar is Joey Hebdo who writes original music under the name Hebdo and also sings with Lennon Orchestra and Popgun as needed. Also in Popgun, as well as Hoodoo Soul band, is drummer Tony McClung. David Vaubel (bass) and Jon Beard (keys, accordion, etc.) are both in the Randys. Playing lead guitar is Andy Harrison (Howlin' Maggie, X-Rated Cowboys, and Everlasting Happiness). And joining in on select songs are horn players Tim Perdue and Tony Zilincik who usually perform with New Basics Brass Band. With only a few practices under their belt, this collective have managed to learn about three hours’ worth of Kinks songs and still capture the power, nuance, whimsy, and, well, Kinks-ness of the material.
The Muswell Villebillies were one of the first acts to play at the revamped outdoor setup at Natalie’s Music Hall and Kitchen in Grandview and have two shows slotted there for Saturday, September 19 as well. PencilStorm threw out a few questions to Hebdo to learn more about how this act came together.
The Muswell Villebillies. Photo by Tim Purdue.
Tell us about the genesis of this idea and how does a collection of musicians like this come together in the middle of a pandemic?
This show/group idea was conceived from two different excited pairings. Tony and I discussed its reality a long time ago and then Andy and I reinvigorated it during the quarantine. The whole thing ultimately coalesced pretty quickly into a group via text message.
Everyone made lists of their favorite Kinks’ songs and then we whittled it down so within a week a set list was established. We had a couple rehearsals right before the debut show. Poof. History.
The pandemic was perfect timing for this happening. It gave everyone focus and excitement and a musical challenge. Once our masked rehearsals commenced, it became obvious it was a great idea. Which was good because the show was only a week later.
Everybody dreams of putting together their dream set list for their favorite bands. Impersonating that band is obviously a good way to get to bring that dream to reality. Did you have a particular strategy or rules in mind when you began collecting songs?
Picking favorite songs wasn't the hard part. It was narrowing down the lists from each member and considering which tunes would translate the best to a live show. Many of the tunes we play were never done live by the Kinks. Songs also had to fit the vibe of the group and, in a sense, the style of the players. Really, once we started playing, we realized the strength of the material would speak for itself. All we had to do was hold it up to the light. We didn't ditch a single tune after the first practice. We also made sure we could feature horns on as many tunes as possible. Having horns on stage at times adds a lot to the show.
You certainly went with some deep cuts, and I say that as a Kinks fan. You also chose some of the most "affected" (if that's the right word) songs out of the Kinks catalog. Is that a coincidence or what led you down that path?
I struggled to answer this because of the context of “affected.” I assume you felt the songs we picked were written or performed from a "non-real" place. Is that accurate? I guess I’ve never stepped back and done an assessment of every song from that first 10 year period and determined which stories/characters were real but to me they all could be real and fantastical. I don't know enough about them as individuals to know all their stories but I can say anyone that can create so many little vignettes and worlds inside so many songs is likely not only a hyper-creative mind but also a vessel for some sort of grander communication to the world.
Maybe “affected" wasn't the best word choice. I am thinking of tracks that are a bit more quirky or “of-a-time" in their musical styling. Or, in other cases, where Ray puts on a persona or tweaks his voice in some way. So it's not that it is artificial or fake, because the Kinks' songs are about as honest as pop music can be. But he does embody a character. I'm thinking of songs like "Mr. Pleasant," or "Starstruck," or "Holiday in Waikiki."
When it comes to songs that are seemingly sung by characters within Ray’s imagination, where is that line between Ray/Not Ray drawn and how defined is it? As a writer myself it seems there's always an underbelly of the author’s connection or perspective in ever story/song/tale they write which only makes sense because none of us can truly embody another without reality being filtered through our own lense(s).
Consider Dylan. The majority of his songs felt like he was the main character/topic/participant even though through examination it seems he played very little role in most of his material. It's like a sleight-of-hand or something. I don't think Ray was any different, and once you allow yourself as a writer to be inside of whatever character you choose the possibilities are endless. At least pros like that can make it appear as such.
The other interesting aspect is that we don't truly know any of the cats we listen to and the many facets of their personalities and they could be every one of those characters on any given day. The characters Ray seems to create could simply be him acting out his different perspectives and emotions through different stereotypes allowing him to wear many disguises. And allowing him to rewrite (like Dylan) the same song over and over. Brilliant. Brave.
When I listen to the Kinks I hear the same freedom and courage that I hear in the Beatles or Bowie or Talking Heads and I fall in love with whatever feels magnetic to me at the moment. Surprisingly, with how much time I've spent listening to The Kinks, I've never really thought about the songs as having different topics or from different storytellers but just all being fun exercises that shine through one man's obsession to create.
I guess I like the quirky stuff.
That said, the band was probably drawn to the music first. The lyrical aspect is icing on the cake. They compliment each other greatly. The lyrics become no different than a signature guitar sound a la Jimmy Page or Hendrix. They're a huge component of the monster that is The Kinks.
Tony McClung of The Muswell Villebillies. Photo by Tim Purdue.
Personal preference question. Why not more selections from Muswell Hillbillies?
Muswell Hillbillies may be the Kinks’ most concise album. I love that one greatly and for some reason it didn't get as much love at our first show. But we did add a longtime favorite of mine from it for this upcoming second show so hopefully that fills in the void a bit. As for the other songs… “Alcohol?” That song scares the shit out of me to try and do live. “Acute Schizophrenia?” Brilliant! We can have fun around that topic. “Have a Cuppa Tea?” “Holloway Jail?” The Kinks between 1964-1972 is so daunting musically that I'm focused on exploring that slew of records in much more depth before coming up for air. But I definitely have favorites on almost every record through the 1990s. I battled with putting “Wall of Fire” from Phobia and “Jukebox Music” from Sleepwalker on the list but they don’t really fit the show currently.
If you were to give a stranger one Kinks album to sum up the band, what would it be and why?
That’s extremely tough. Maybe Arthur. It has all the rock, braveness, quirkiness, enigmatic, ambitious-ness, British-ness, intentions, stories, and utter disregard for the rules that the Kinks always possessed.
If you could only listen to one Kinks album for a year, which one would you choose and why?
That's a rotating answer for me. Arthur or Something Else. I see the album Something Else as a real turning point in their legacy. They reached further than ever before on every level. And it's overtly quirky. Every song sounds extremely different. I've always gravitated towards records/artists where every song sounded different.
What is something you learned about the Kinks' music – or gained a greater appreciation for – after immersing yourself in their catalog for these shows?
The Kinks could be so British at times it could be hard to even connect culturally, topically or lyrically; but musically they spoke to masses greater than many of us are aware of. They constantly pushed themselves and popular rock music and had a knack for letting their uniqueness shine through every seam while still paying homage to insanely diverse historical and contemporary musical and lyrical influences. No other writers to my knowledge shadowed blatant British mundane lines of expression more closely.
I'm no scholar, but the brothers Davies were a force. And it's obvious that they wouldn't sacrifice originality for any reason. They almost couldn't help but emote and compose entirely as themselves. It wouldn't have worked any other way. That's inspiration in and of itself. Not to mention the perfect little journeys just one of their songs can take you on.
Final question: The Beatles or the Stones?
Beatles. The melodies alone could stop the world from fighting. They were far more brave and vulnerable and dug deeper into every fabric of existence. Not even a competition.
(Editor’s Note: He totally missed the chance to say “Neither. The Kinks!”)
A Night of the Kinks w/ The Muswell Villebillies will play two shows on Saturday, September 19 at Natalie’s Grandview Outdoor Pavilion. Shows are at 5 p.m. (doors at 4 p.m.) and 8 p.m. (doors at 7 p.m.). The socially-distant seating means attendees purchase entire tables of two or four seats. The later show will also be live-streamed. Tickets still available.