MY MUSICAL DEBT TO THAT BASTARD, PHIL JUDD

Phil Judd, (With The Swingers) Counting the Beat

https://www.youtube.com/watch?v=fyclnTdrSOI

Many years ago, at a student party in Auckland, a young Tim Finn looked up and saw someone straddling a rooftop, above the madding crowd, clutching the chimney with a determined, purposeful look, taking the house to somewhere meaningful. The roof rider was fine arts student Phil Judd, whose musical knowledge in the heady early 1970's included Dvorak and the Vienna Boys Choir. Even today, Tim Finn -(with Bryan Ferry and Ray Davies counted among his own admirers)- might probably admit that he remains Phil Judd's biggest fan.

Later, Tim teamed up with Phil to write songs. "We were going to be bigger than the Beatles, no question", said Tim. There were magical times, guitarist Phil strolling the beach with Tim singing along,while improvising with natural percussion washed up on the beach.

Phil and Tim's band, Split Enz, played one of their earliest concerts at an event presaging the Sweetwaters Festival. Bewildered and aggressive Black Sabbath fans protested at Phil Judd's dogged mandolin playing. Today, though, I'm sure Ozzy Osbourne himself would find the recollection of such a sight hilarious.

Finn's desire to be bigger than the Beatles was prophetic. The YouTube generation's discovery of the early, Judd-driven, Split Enz classic album "Mental Notes", has been rated by American viewers as "New Zealand's version of Sgt. Pepper's."

Neil Finn, younger brother of Tim, Judd's replacement in Split Enz,was even dubbed "the new Paul McCartney" in 1993. At that time, Neil's group, Crowded House, was voted the world's best live performing band by Q magazine. It was Neil who witnessed the earliest collaborations between his brother and Judd on the porch at Auckland's Malmbury Villa.

His beautiful first-hand account of the magic in the liner notes to 1979's Beginning of the Enz makes for a first-rate piece of music journalism.

A quick skim through the best New Zealand music ever is interwoven with Judd's genius: Late Last Night, Sweet Dreams, 129 (Matinee Idyll), Spellbound, Counting the Beat, and the sensitive yet hard headed Fingers Crossed.

It was Neil Finn who encouraged Phil to record his first solo album in 23 years, the unsung masterpiece Mr Phudd and His Novelty Act. Every single song on this album is brilliant, treating the listener to a theatrical autobiography of New Zealand music's bravest pioneer. Judd's alter-ego, Mr Phudd, uses the variety entertainment of early Split Enz and Vaudeville to tell an unflinching story of modern life.

Falling off a Cloud is a delightful account of burnt toast and no hot water. Girl I've Never Met is about internet dating- "I'm in love with a concept, I don't quite get". Crazy Man is a deeply respectful ode to Judd's greatest inspiration, Spike Milligan. Mindf**ked mentions a short stay in "Ward 21".

It's all fantastic, brilliant, wonderful, ecstatic, and..... totally misunderstood by those who can't spend two minutes thinking about what one of the world's most under-rated musicians is saying.

Frustratingly, some New Zealand journalists have simply referred to the talent behind Mr Phudd as “erratic”, “typically twisted” and "scary".

But one thing just as annoying as a mistaken wanker is a perceptive bastard.

Phil Judd, in my view, counts as one such bastard and my songwriting is infinitely better for that.

In a move that surprised those aware of his hermetic existence, during the recording of his latest album, Judd dropped by to inbox me about songs posted on MySpace by The Gaelic Geordies. I know my music is good. Not to everyone's taste, granted, but well-written and diligently recorded.

Knowing of Judd's on-stage psychotic stare, and hearing of his past arguing with his fists, I entered into a stern exchange with him.

"Okaaay, matey. I GET IT!! You are angry about something".

That was it. He was onto it. Anger, as a visceral, honest response expressed musically. It isn't an emotion that I apply much when composing. Aggressive songs alone risk sounding obnoxious. But taking anger as the basic emotion, then fusing it with irony, humour, absurdity, social comment and observation, can make for a powerful song.

Look out for my newer stuff, once it's recorded. I'm still working on the lyrics, but I've been shouting and hooting my way through the guitar chords for some time now. It will go out as vote of thanks, as my musical debt, to that bastard, Phil Judd.

-ADAM GREENWELL- April 2008