In the wake of 2 nice, somewhat hi profile mentions in UK MOJO mag's 'Post punk' issue TopTen Lists ,
now Andy Weatherall in a Two Lone Swordsmen Int. giving Judy's 1982 Adrian Sherwood produced "Pal Judy" Album some props it seems time to give her props here as well ...
Judy is one of the originals ,
one of the people who lives doing and trying things as the ideas kept coming.
Easy to say 'she was there' with the likes of old friend
Patti Palladin (in SNATCH) ,
Brian Eno (many stories here , one basically saying that for every 'father of ambient' - there had to be a 'mother' too)
or John Cale ("The Man Who Couldn't Afford To Orgy" , and more) , as she created her own reasons she was there in the interesting stretch of the London /NY mix of the day .
And so by now , I believe we will see Judy and her works out there again , and her recent works seeing light of day as well .
I know that the collaborations we have done over the years are all quite special and a couple should be coming out this year ...
* "Blueprint For Aural Cathedrals" a future facing soundesign
imagining a world where Judy hears her own voice /vo's coming out of Bank ATM's , Airline announcements and 'Mind The Gap' Tubeway ms' replaying forever .
On the "Nowthenafter" collection of mostly electronic , downtown NYC Artists I produced for Harvestworks .
* "Black Market" by SNATCH will be on the
"nowave/protoelectro" Collection of 1979 -1984 musik I am producing on now .
* Judy and Ed Tomney are just finishing her new version of the 'ol song "Yellow Rose Of Texas" for a Public Domain music Ep we are doing
Then i think "Pal Judy" will be up for that 21st C remix ...
Some Notes by Judy from "Pal Judy" inner
written in 1991 on occasion of the "Pal Judy" cassette on ROIR
'So "Pal Judy" flies again.
It was recorded during the last moments before the record companies regained control after punk had caught them in a coma. Writing liner notes ten years later , I can see several reasons this album is unique. We were a regular UN of players so there was an opportunity to avoid the cliches that regularly identify records as being English, American , white reggae and so on. Very rarely do renegades get a luxurious studio like
The Manor to play R&D (research & design) in without a record company overseer.
Also , regardless of how much it makes me flinch now,
there just aren't that many 'angry young women' documents.
There were always veiled innuendos , whenever my incredible luck or lifestyle were mentioned, that I hadn't suffered enough.
That point of view had to accept a notion of John Cale and Eno as philanthropists while overlooking all the nights spent with Patti Palladin making tape loops move around strategically placed milk bottles in her doll house -sized front room studio.
We laughed too much for sufferers.When we needed a bass ,
I went out and worked 20 pounds up to 250 playing blackjack at a Knightsbridge casino .
My options were always different and if it all looked easy and lucky , all the better .'
Sometimes you gotta fight
for your right