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"Rob Ellis and
John Parish"

by: Mélanie Fazi
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In December 1998, after the two PJ Harvey concerts in Paris, Mélanie asked John Parish and Rob Ellis to answer a few written questions and send them back by post, which they were kind enough to accept.


Rob Ellis

Could you introduce yourself and present your career and musical background in a few lines?

Hello, I'm Rob Ellis. I was born in the year of our lord Nineteen hundred and sixty two on the thirteenth day of the second month. I will probably die on the first day of the first month of the year of our lord twenty hundred and nothing as a result of a military computer triggered nuclear blast centred on Yeovilton Naval Airbase. In between these two events I have had a varied career and musical background.

What was the first record you were ever involved in?

'The Sheep Worrying E.P.'

What is your favourite PJ Harvey song? Which PJ Harvey song do you hate to perform (come on, be honest!)?

'The River'. 'Sheela-na-gig'.

'Soundtrack To Spleen' could actually be taken for the actual soundtrack to some weird and spooky film. If you were to direct this film, what would it be like? (NB: For those who are not familiar with Rob Ellis and his work, 'Soundtrack' is the first of two albums recorded with his band Spleen)

A bunch of very tenuously connected scenes featuring each character depicted in the songs performed on ice.

How would you describe Spleen's music to someone who has never heard it?

By hitting them over the head with a large mallet then tickling their feet with a feather alternately for about half an hour.

What kind of music are you interested in? Could you name your favourite records ever?

I'm not very fond of music in general but I have found that playing Napalm Death's music very loud is a good hangover cure.

On this tour, more than on the previous ones, some live versions sound completely different from the album versions (especially 'Joy' and 'The Wind'). Is it just because they could not sound the same onstage or rather because the band wanted to experiment a little?

Yes, both.

The current live version of '50ft Queenie' is also completely different from any previous version (and probably even more intense). Are there any other "PJ Harvey oldies" you would like to revisit completely?

'Mansize Sextet', and do a better job of it.

Since the 'Dry' era, PJ Harvey's music has evolved considerably. Is the audience from the 98 gigs very different from what it was then?

No, I think the audience has gone along with it from the early days, maybe they're a little more open minded these days.

What's your best memory related to a concert (either with PJ Harvey or any other band)?

Walking off stage after having played 'The Garden' ok.

What do you plan to do when the tour is over?

Giggle uncontrollably.


John Parish

Could you introduce yourself and present your career and musical background in a few lines?

Hello, I'm John Parish. I play guitar, drums, bass, the occasional backing vocal, and in the studio bits of keyboards. My musical history began in the late 70's, early 80's when I drummed for the new wave band Thieves Like Us. When Thieves folded I formed the Headless Horsemen with Rob Ellis. By 1983 Headless Horsemen had mutated into Automatic Dlamini - experimental percussive band later joined by Jeremy Hogg and then Polly Harvey. Dlamini existed until 1992 releasing two albums and three singles. Parallel career as record producer began in 1986.

What was the first record you were ever involved in?

'Mind Made' by Thieves Like Us - 7" single released on Earlobe Records, May 1980. I was the drummer, I also wrote the words.

What is your favourite PJ Harvey song? Which PJ Harvey song do you hate to perform (come on, be honest!)?

My favourite PJH song varies according to what mood I'm in but consistently it's either 'To Bring You My Love' or a song called 'Nina In Ecstasy' - currently unreleased. I usually tire of playing the singles. I don't really like 'The Wind'.

Did you ever consider recording another album like 'Dance Hall at Louse Point' with Polly?

It's likely that Polly and I will write more stuff together. If it seems that we have a body of work that would make a good album then we'd probably release it.

As a producer, what is your first criterion when you choose to work with a band?

I need to feel that there's something I could contribute to the project, and I need to feel some kind of connection - either musical or personal, preferably both.

How did you happen to collaborate with Sixteen Horsepower on their second album, 'Low Estate'?

They approached me by sending me a copy of their first LP. I liked it enough to go and see a show - which was great. We then chatted for a while and got on so I said yes to the project.
What kind of music are you interested in? Could you name your favourite records ever?

I'm interested in both types of music - rock and roll, Beefheart's 'Trout Mask Replica', Television's 'Marquee Moon'.

There have been news that you have been involved in the recording of a film soundtrack. Could you tell us a bit more about this?

I wrote and recorded the soundtrack for a Belgian movie called Rosie directed by Patrice Toye - it's opening in France in January I believe. The film is Belgium's foreign film Oscar entry. The soundtrack CD is coming out on Swarf Finger records.

You have also been said to be working with Giant Sand. What kind of project was it exactly?

I produced about 18 songs for their forthcoming album. Should be out early next year.

What did you like or dislike about the audience on this tour?

Our audience is generally pretty respectful. I particularly like it when the audience is attentive to the opening act, who they may not be familiar with.

What do you plan to do when the tour is over?

In January I'm performing the film music I wrote. The band includes Rob, Eric and Jeremy plus a couple of other friends and the shows are in Amsterdam, Antwerp, Bruges and Portsmouth.