I remember we did the playback and Nick just looked at me said, we did it. “Things just seemingly appeared on that record, like the way things came together. Making the record didn’t seem about that actually, that was his thing going on there, but it just seemed like something else going on in the room and making that record on a daily basis was like a revelation. “You can’t talk about a broken heart unless you’ve had one and the death of a child, you just don’t have any reference for. Ellis says only a parent who’s lost a child can understand the grief that Cave went through. The album is suffused with grief over the death of Cave’s son in 2015. “With Ghosteen, when we made it I just remember thinking at the time wondering if Nick and I could collaborate again after that.” I don’t really care what anybody else thinks apart from those who are in the immediate circle working on it. I’ve never put something out just thinking it’s OK. It has to feel like the best thing I’ve ever done and I’ll only let it out when it’s met certain requirements in the way that I feel about it. “I’ve always been driven by this idea that I have to be engaged in the project that I’m working on. In the book, Ellis describes making Nick Cave’s 2019 album Ghosteen as the best two weeks of his life and thought it was so good he considered ending his career there. “It wasn’t health for me but it was also what I was doing with music, which is what I really cared about, I was probably getting to the point where I would be unemployable soon because I was difficult to work with and unreliable.” I knew I had to decide one way or another what I was doing. I was sort of caught up in the whole drugs and alcohol thing and I had been for a good decade or more. “I could see that the future didn’t look particularly bright for me. He also made the permanent move to Paris and got clean and sober. It’s a very special relationship.”ġ999 was an important landmark year for Ellis apart from swiping Nina Simone’s gum. I’ve been really lucky with Nick that we’ve been able to maintain a friendship over the last 25 years and also maintain a creative relationship. “I went in there and at the end of the day he said, do you want to come in for the rest of the week, and I’ve sort of been with him ever since… you don’t really know at the start of something when it’s going to end and what’s going to happen. They met again a few years later through a mutual friend who told Cave that Ellis played in Dirty Three and Cave invited Ellis into the studio. To Mick’s credit, he spent the whole day with me and I had to play it over and over again.”
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“I remember it was a terrifying experience because Mick Harvey had written this string arrangement and I’d forgotten how to read and it was all really high and I can only play about 10 notes on the violin. They met again in the early 1990s when Cave and the Bad Seeds were writing Let Love In and when into to play some strings for them. “Everyone used to come around like Nico and Johnny Thunders whenever they were in town and Nick turned up and I met him, but literally from down the corridor.” He first met Nick Cave in the mid-80s when he was living with a drug dealer. He gave me this key to this world and it’s that thing of taking on the dream of your parents, which definitely seemed to be the case for me.” “It was like the greatest magic trick I’ve ever seen, I couldn’t believe it. I put so much stock in vibration and this transmittance of what I felt was coming from music when I listen to it and I think writing the book helped me realise that any spiritual belief I have, I put it all toward vibration.”Įllis says his father played music and, when he was around six years old, he asked his dad how he did it and his father said it was easy and took a book of poetry, started playing a few chords, and sung it to him. “The first time I heard John Coltrane, I believed, and I still believe, that I was listening to the voice of God. They just seemed like incredible stories to me but somehow this sense of spirituality was imbued within me and I think, somehow, I transferred that into vibration and musicians and performers spoke to me. “I was told there was a God when I was very young and I went to church and I was told the Bible stories and I didn’t really know what any of it meant and I couldn’t really visualise what any of it was. This audio is not downloadable due to copyright restrictions.Įllis tells Kim Hill that Nina Simone was one of several people that meant a lot to him and the gum was a sort of holy relic for him.
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