The Court and Spark: Like no other - January-February 2004
Though record stores are built around them, it's no secret that most musicians can't stand categories. Country or blues, jazz or rock 'n' roll- file your record in one of these slots, that's how the business is run. But it's not always that easy. Especially when it comes to answering a question like, "What kind of music do you play?"
"A lot of people say country because of the instrumentation," answers Scott Hirsch, lead guitarist for The Court and Spark. Hirsch is referring to the pedal steel, mandolin, and other stringed instruments peppering the group's two albums, their 2000 debut Ventura Whites and the just-released Bless You.
But to associate The Court and Spark with Merle Haggard or even Gram Parsons, and leave it at that, is misleading. "Soul music," says M.C. Taylor, the group's lead vocalist and guitarist, after an amused bit of shifting on the couch. Or at least, he goes on, "that's what I tell people who know something about music." He's not referring to Otis or Aretha, but instead more concepts like "feeling" and "honesty." "In that way," he says, "it's sort of a soul thing." Listen to Bless You and you'll get what he means. Sure, there's a noticeable amount of twang on quite a few songs. "Fireworks" moves with an easygoing melody that'd be perfect for a rural road trip; the pedal steel on the equally catchy "Pearly Gates" (courtesy of onetime Go To Blazes guitarist Tom Heyman) is right up front in the mix; and "Marlborough Sound" is a simple acoustic guitar instrumental. If you're looking for comparisons, Taylor's warm, fluid voice and the group's penchant for unhurried melodies and mellow paces bring to mind such indie acts as Souled American, Lambchop, and the Scud Mountain Boys- and, of course, country rock of the Burritos' Gilded Palace of Sin variety. In fact, if you check the credits, you'll discover onetime Byrd and Flying Burrito Brother Gene Parsons guests of three of the album's ten tracks.
The record's multi-textured sonic landscape, however, is much wider and more complex than a single genre, however cosmic, can properly contain. "To See The Fires" kicks off the disc with some off-key strums and weird percussion before settling into its languid groove. "Rooster Mountain" has a strong, steady rhythmic core that makes it rock; and on the slow and mellow "Fade Out To Little Arrow", the harmonies between Taylor and Wendy Allen combine with piano and a gently strummed guitar for a song that's spooky and textured.
"I feel like there was a point [during the recording process] when we were listening to No Other all the time," says Taylor, referring to Gene Clark's 1974 solo album, a rich, multilayered, post-country-rock masterpiece. Hirsch and drummer James Kim agree. "I feel that comes through," Taylor continues, "because I think Bless You sounds kind of big." "That was the intention," agrees Hirsch. "I remember we had a talk with [producer] Scott Solter about intent, and we said, 'We want to make something big. We want it to be lush.' Because right then we were really into albums like No Other. Just really full, filling up all the tracks. The difference for me was being intentional about it instead of just playing and recording it. We had direction this time."
Hirsch says the band's first album was "a bit piecemeal," which pretty much nails how it comes off to the listener, too. Not to say it isn't good; writing in the SF Weekly upon it's release, Chris Baty called Ventura Whites "a tour through the dark outskirts of the rural imagination" that "crackles and hums with the electricity of a band catching up to it's own ideas." But while the songs had a similar low-key approach and a more pronounced "old time" vibe, Ventura Whites lacked the cohesion and flow that really bind the songs on Bless You. To be fair, Ventura Whites was "our first time ever recording in a real studio," explains Hirsch. Taylor agrees it was a learning experience of sorts: "We definitely got the idea of what we could do." Hirsch and Taylor had been making music for many years, but it was only finally beginning to gel on The Court and Spark's debut disc. They had recorded a bit together in a hardcore band in Santa Barbara during the mid-1990s; it was just "loud and abrasive," Taylor recalls. "There was no groove."
But maybe that "abrasive" quality is why the two of them- plus Kim, a friend from school- gravitated toward country, which they say they found "refreshing." After college, Hirsch and Kim moved to the Bay Area, Taylor soon followed, and together they formed The Court and Spark. By the time of Bless You, they'd brought bassist Joe Rogers (another Santa Barbara friend), steel guitarist Heyman, and vocalist Allen on board full-time.
"Thus far," say Taylor, "since we've started playing together, what we've done has been sort of erratic or unpredictable. And I definitely think that's still there in our attitudes. So maybe the next record will be…" His voice trails off. "Who knows?" Whatever it becomes, Hirsch says, "It's always going to sound like us."
|c. 2004. The Court and Spark|