It wasn’t really surprising that John Parish ended up spending his life involved with music. His parents were stalwarts of the local amateur operatic society in Yeovil, involved in both production and performance, and John would often help out behind the scenes. He became a drummer during his teens and was already playing in bands by the time he was 14. Already ambitious and full of musical knowledge and opinion, he joined indie band Thieves Like Us in 1979, immediately becoming influential in the band’s musical direction – so influential, in fact, that the band was doomed to split within a couple of years. Back in Yeovil, John immediately formed a characteristically quirky three-piece called the Headless Horsemen and it was then that he started to be involved in production work. This continued with his seminal band Automatic Dlamini, also initially a trio. Both these outfits featured John on lead vocal (plus guitar in the Headless Horsemen, percussion in Automatic Dlamini) and already there were signs that he was developing into a polymath – adept on numerous instruments and innovative in his approach to arrangements and styles. Famously, Polly Harvey joined the band, initially on saxophone in 1988 after submitting a demo tape to John, and thus was born a long-lasting musical partnership. But John’s production career was already underway, as he gained the reputation of a go-to producer in the West Country, his clients (and friends) including The Chesterfields, The Becketts and The Brilliant Corners, among many others.
Parish’s entry into the more alternative forms of music that would characterise his career dated back to his Automatic Dlamini days, during which he was introduced to indie record producer Richard Mazda, who also originated on the UK’s south coast. Mazda took a liking to the band and not only produced some tracks but also introduced John to the US band Wall of Voodoo, with whom he ended up working, playing percussion on their Seven Days In Sammystown album and then later becoming a member of a spin-off called Ensenada Joyride. This was also his introduction to larger labels, as Wall Of Voodoo were signed to Miles Copeland’s IRS outlet.
Over the following decades, Parish has become a go-to producer, renowned for clear opinions and demands but a personal style of interacting productively with the artists he works with. He always works in partnership with trusted engineers who understand how to help translate his ideas into reality.
Read on for a run-down of just some of the many records John Parish has produced since 1995.
1995
PJ HARVEY – To Bring You My Love
1995 saw Parish produce his first PJ Harvey album. This was a co-production with colleague Flood, an association which has proved very enduring, working together on a total of eightalbums. Already, distinctive aspects of Parish’s technique were becoming apparent, including a willingness to be involved in instrumental contributions, arranging and vocals. This was PJ Harvey’s third album, the previous two having been recorded by her original trio, with Rid of Me (album 2) produced by Steve Albini.
1996
JOHN PARISH & POLLY JEAN HARVEY – Dance Hall At Louse Point
The friendship between the two musicians had become even stronger by the time of this landmark record. The pair insisted, against the wishes of Island Records, on recording and releasing this wilfully uncommercial effort. The record company had been hoping to push them in a more musically mainstream direction and they responded with some of the most challenging music of John’s career. The distinctive scratchy sounds, heavy effects and megaphone vocals were already in evidence and some of the co-written songs were a tough but rewarding listen.
1997
16 HORSEPOWER – Low Estate
John’s own ten-piece band memorably supported 16 Horsepower at Dingwalls in London in 2000.
1998
ROSIE
This soundtrack album marked Parish’s first venture into film music, an avenue that he has pursued enthusiastically throughout his career. The score for this Belgian film, directed by Patrice Toye, won the Jury Special Appreciation prize at the Bonn International Film Festival. Largely instrumental, it also featured John’s song Pretty Baby, sung by Alison Goldfrapp. John’s multi-instrumental abilities were coming to the fore now.
John on writing and performing film music:
As with production, writing music for film works best when there is trust between the director and the composer. I’ve been fortunate to have a long standing relationship with Patrice Toye. I’ve actually just started work on a new score for her, which will be the fifth film we’ve made together. I don’t have a specific technique, it depends when I get on board the project. With Patrice, that’s generally well before filming, so I’ll probably read the script, and maybe I’ve seen a couple of potential location shots and/or cast photos. From that I can start working on ideas. That way, sometimes it’s easier to flesh out a theme without being distracted, or restricted by a particular scene.
2000
SPARKLEHORSE – It’s A Wonderful Life
John’s collaboration with Mark Linkous marked a major step forward in his appeal as a producer and in general public recognition. A legendary record that is viewed with great affection and above all as a pacesetter for imaginative, again sometimes challenging production techniques involving abrupt changes in pace and volume.
John Parish: Mark was a genius songwriter and a gentle soul with a wicked sense of humour. He is very very sadly missed. I was lucky enough to work with him on the amazing ‘It’s A Wonderful Life’ album. As is widely known, he struggled with depression and some days in the studio were difficult and it would take a bit of coaxing, or sometimes just hearing something that we were working on that would drag him out of that state and then very quickly he would be brimming with ideas and capable of delivering beautiful takes. I think his music is timeless and will be loved by generations.
GIANT SAND – Chore Of Enchantment
Howe Gelb had become a close friend and he and Parish have worked together on innumerable occasions, John often appearing live at Giant Sand shows (as he frequently does with other artists he produces).
John Parish: Howe represents one of my most enduring and treasured musical relationships and friendships. We met around 30 years ago after I sent him a fan letter, or postcard to be accurate. He received it a couple of months later & replied with a twenty five page fax that arrived in the middle of the night. He’s one of the most ingenious and infuriating musicians I’ve ever worked with, a man of a thousand ideas and inability to commit to any one of them. My first production session with him/Giant Sand (on the Chore of Enchantment album) was a huge learning curve and changed the way I approached production. Before that, I’d always gone into the studio well prepared and with a rough plan of how we were going to do things. On day one with Howe I realised that was not going to be possible. Things were going to happen and it was up to me to recognise and capture the moments of magic – harder in the days of recording to tape than now when you can just let the computer run endlessly – and edit them together into something cohesive. That session taught me to love loss of control, and the fact that you need to take risks in order to make something extraordinary.
Howe Gelb: Sir John Parish, that’s what I call him. A sonic knight. We met in the golden 90s under consequential circumstances. Rainer Ptacek was terminally ill and John was gracious enough to include himself and associates in procuring a track for the benefit / homage album I was assembling to assist with medical costs. John’s track gave the family much joy and eye moistening. Our cities became sisters after that: Tucson & Bristol. It’s always a relief and severe pleasure to work with Sir John. He has a brilliant mannerism of remaining sensationally calm in the storm of studio calamity and winds of chaos in the sonic kingdom. In all these years since, he stands as a rare stable resilience in this cacophonous arena of flux. I love him.
2001
EELS – Souljacker
This was a musical marriage made in heaven, with the imaginative songwriting of Mark Oliver Everett being guided down a Parish-style route of sound distortion (this was another example of defying record company expectations). John actually became a member of Eels, touring with them extensively in 2001. Seven of the twelve songs on Souljacker were co-written by John and E.
2002
TRACY CHAPMAN – Let It Rain
The big time! Producing Tracy Chapman marked a move into the mainstream for John, at least in terms of commercial success. This is widely viewed as one of her finest records.
John Parish: I was surprised that Tracy even knew who I was, let alone thought I might be a good producer choice for her so that was a very unexpected call! But after working together and realising how meticulous Tracy is in whatever she does I know that she would have checked out every record I’d done in some detail. Tracy was great to work with. She’s extremely professional, but with a very good sense of humour, an amazing singer – every vocal take was flawless. I was aware that the record sounded fairly left -field in comparison to Tracy’s other albums and wondered if there’d be some push back from the label. But they totally trusted Tracy , and I guess they figured that if she thought this English indie bloke was ok then he must be. I think the album stands up really well.
JOHN PARISH – How Animals Move
Being so busy with production work, John’s solo albums have usually been compiled from collections of recordings from his home studio. Typically, John will do pre-production at home before moving into larger studios such as Toybox (Bristol) or his beloved Rockfield to work on the final product. On this occasion, John also formed a ten-piece band to take the music on tour in the UK and Europe.
2004
NADA – Tutto L’amore Che Mi Manca
This was the first of several albums for this Italian diva, demonstrating Parish’s versatility.
2005
JOHN PARISH – Once Upon A Little Time
John’s first “proper” solo album featured his own band including Jeremy Hogg (slide guitar), Giorgia Poli (bass) and Marta Collica (keyboards) and was the start of his lengthy association with drummer Jean-Marc Butty. John had first worked with Jean-Marc in Ensenada Joyride back in 1991 and he is still a prominent member of the PJ Harvey live band today. John mainly sings lead vocals on the record, in his distinctive, very English-sounding style. This band toured extensively in the UK and Europe.
2007
PJ HARVEY – White Chalk
This was the first time John had returned to work with PJ Harvey since 1998’s Is This Desire, to which he contributed instrumentally but which was produced by Flood, engineer Head and Harvey herself. In the meantime, Harvey had made two more albums without John, these being Stories From The City, Stories From The Sea and Uh Huh Her, more commercial-sounding efforts with different producers and bands. This period of – not exactly estrangement, just not working together – came to an end with White Chalk’s understated production (it almost sounds like a solo record) and marked the start of arguably the pair’s most productive period, which lasts to this day.
2008
THIS IS THE KIT – Krülle Bol
Kate Stables (This Is The Kit) moved from Winchester to Bristol and became the Parish family’s babysitter. Kate takes up the story:
Kate Stables: I first worked with John Parish on my album Krülle Bol and then again ten years later for Moonshine Freeze. The two records are very different but were both amazingly enjoyable to make with John and his sound engineer Marco. Both albums have a particularly noticeable and pleasing sound. They’ve got edges. No one else gets as good edges on the music as John. He creates a sound that has teeth. He’s a sound magician. He dares. John is an outstanding gentleman who knows how to break the rules but still be decent, how to challenge but at the same time support and encourage. He has such a wealth of life experience and wisdom and patience which filters in to everything he brings. It is a total pleasure and education to be in a room with him to make music together.”
2009
PJ HARVEY & JOHN PARISH – A Woman A Man Walked By
The second ‘duo’ album was, if anything, even more musically challenging than the first, and caused even more irritation to the record company. Undeterred, Parish and Harvey toured the record extensively with their full band, including a date at sxsw in Texas and a high profile appearance on the David Letterman show with arguably the nearest they came to a big hit single – Black Hearted Love.
2011
PJ HARVEY – Let England Shake
With John firmly back in the fold, this marked the start of a duo of semi-political albums with a stable band and a less acerbic musical approach but arguably greater depth of content. Several years in gestation, it was recorded in St Peter’s Church, Eype, near Bridport, an area with much significance to both artist and producer (in partnership, again, with Flood). It won the Mercury Prize in 2011 and hit the top ten in the UK album chart, charting also around the world and being certified Gold.
2012
ARNO – Future Vintage
Years with few production credits usually indicate an intense period of PJ Harvey touring, but Parish was able to fit in this record, the first of several albums for this late Belgian legend. It is typically characteristic of John to decide who to work with regardless of commercial considerations or conventions, as he has done throughout his career.
2013
ROKIA TRAORÉ – Beautiful Africa
JENNY HVAL – Innocence Is Kinky
JOHN PARISH – Screenplay
John managed to fit in more of his film music during this busy year.
2016
PJ HARVEY – The Hope Six Demolition Project
The follow-up to Let England Shake shared many of its predecessor’s characteristics and arguably marked John’s highest public profile, as the entire album was recorded in the form of an art installation inside a perspex box in Somerset House in London, attracting major publicity as it was such an unusual venture. It provided a unique and sometimes amusing opportunity for the (paying) public to gain an insight into Parish’s production techniques. He didn’t hold back on expressing opinions!
ROKIA TRAORÉ – Ne So
2017
ALDOUS HARDING – Party
The inventive New Zealander found the perfect producer in Parish and they enjoy a long-lasting and successful professional relationship.
John Parish: Around the end of 2015 I got an email from a really cool Australian singer songwriter I’d worked with called Laura Jean, saying ‘there’s a singer from New Zealand that you need to produce’. I was intrigued so went along to a tiny Bristol venue to hear said singer perform. And so began an incredibly fruitful musical partnership and a deep and lasting family friendship. I remember after one particular take during the recording of Party, the first album we made together, turning to engineer Oliver Baldwin and saying ‘I’ve recorded some absolutely amazing singers in my life, but that was something else”. Hannah/Aldous has an unbelievable voice, and a unique way of seeing, and interacting with the world. We’re currently in the process of recording our fourth album together.
THIS IS THE KIT – Moonshine Freeze
2018
JOHN PARISH – Bird Dog Dante
John’s third solo album, again compiling recordings accumulated over a number of years. When asked if he has a favourite among his solo albums, he replies, “I don’t have an overall favourite, they all have their moments”.
KIRA SKOV – The Echo Of You
2019
ALDOUS HARDING – Designer
LAU – Midnight And Closedown
This marked Parish’s first venture into the area of folk music.
JESCA HOOP – Stonechild
It’s hard to think of a more suitable partnership than this one – the unique, unclassifiable music of Hoop combined perfectly with John’s inventive approach.
John Parish: I think the Jesca Hoop approach came though the This Is The Kit connection as they shared label/management. There are some records I’ve made that for whatever reason do not get the attention I think they deserve. Order Of Romance, the second album I did with Jesca is one of those. Totally original, brilliant lyrics, great arrangements (by Jesse MorningStar), and wonderful songs. I hope that over time more people discover it.
Jesca Hoop: From John, I learned that less is more. That expression is paramount. Far more important than technical excellence is the feeling generated by expression. Jon is focused and serious in a lighthearted and gentle way, without the pretence of male dominance I’ve too often experienced in this field. He is welcoming and collaborative and puts you at ease soon enough. There were times he omitted pieces of my work, which really got to me… but he was right. Less was more. To make records with John is to gain a new friend. Someone you can call on, and have round for dinner.
2021
DRY CLEANING – New Long Leg
This collaboration, created partly during the pandemic, was greeted with great critical acclaim and reached number 4 in the UK chart as well as charting in America.
JOHN MURRY – The Stars Are God’s Bullet Holes
An unlikely partnership, perhaps, with the very distinctive American songwriter bouncing ideas off Parish at Rockfield and producing an album of great character.
THE GOON SAX – Mirror II
PARQUET COURTS – Sympathy For Life
2022
ALDOUS HARDING – Warm Chris
EELS – Extreme Witchcraft
DRY CLEANING – Stumpwork
JESCA HOOP – Order Of Romance
All these productions demonstrate how artists who work with John always come back for more – and that he, in return, is a faithful and supportive friend.
2023
PJ HARVEY – I Inside The Old Year Dying
Recorded in London, this was very much an ‘in-house’ production, with all the instruments being played in the studio (party improvised) by Polly Harvey and John and the content reflecting their shared West County backgrounds. Then, with the whole band, they set off on a lengthy world tour including Japan and Australia. The album reached number 5 in the UK chart and was nominated for a Grammy. An interesting note is that the distinctive cover art for this album and its two predecessors was created by John’s wife Michelle Henning.
Parish and Harvey are famously private about their musical relationship, seldom commenting in public. All that John will say is that it’s “impossible to sum up in a paragraph. We’ve been friends and colleagues for nearly forty years. We love and trust each other. We’re family.”
A SAVAGE – Several Songs About Fire
BLACK COUNTRY NEW ROAD – Live At Bush Hall
NADINE KHOURI – Another Life
John had worked on several occasions with this understated Lebanese singer, who also performs with Adrian Crowley, who, as shown below, has now also recorded with John.
2024
JANE WEAVER – Love In Constant Spectacle
Probably the most “electronic” record that John has made.
EMILY LOIZEAU – La Souterraine
2025
ADRIAN CROWLEY – Measure Of Joy
In conclusion, we asked John if he has a general “philosophy” which guides him in his work.
John Parish: I don’t know if this is a philosophy exactly, but what I’ve learnt from nearly forty years of producing is that a high mutual level of trust and respect between artist and producer is the most important thing. If that is in place, you have the possibility of making something great together. I trust my instincts in the studio, I try to be open to ideas from any corner while keeping intact a sense of direction. I hope to earn a degree of trust from the artist that enables them to experiment freely, and to hear other ideas – from myself or other musicians involved – in the knowledge that the end result will be good.
