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Phil Judd

Philip Raymond Judd (born 20 March 1953) is a , , and visual artist renowned for co-founding the influential band and his subsequent work with , as well as a prolific solo career spanning decades. Judd emerged from Auckland's vibrant mid-1970s music scene, where he co-formed in 1972 alongside while studying fine arts; the band quickly gained a for its eccentric theatricality and innovative sound, with Judd contributing as a primary songwriter, vocalist, and on early albums like Mental Notes (1975), for which he also designed the iconic cover art. His tenure with was marked by creative highs but ended amid personal and professional tensions; he departed in February 1977, briefly rejoined in 1978 for a short stint, and left definitively later that year to pursue independent projects. Following his exit from , Judd briefly aligned with punk outfit Suburban Reptiles and contributed to The Enemy (later Toy Love) before forming in late 1978 with bassist Mark Hough (aka Buster Stiggs) and drummer Dwayne Hillman. The band achieved significant commercial success in , most notably with their 1981 debut album Practical Jokers, from which the single "Counting the Beat" topped the New Zealand charts and became a number-one single in in 1981, as well as the Top 20 hit "One Good Reason." disbanded in 1982 after internal shifts, prompting Judd to release his debut solo album in 1983 and collaborate with former colleagues and Nigel Griggs in the short-lived group Schnell Fenster, which issued the album The Sound of Trees in 1988. Throughout the 1990s and 2000s, Judd maintained a lower profile, focusing on solo recordings, soundtrack compositions (including for the 1990 film ), and visual art exhibitions, while occasionally reuniting with for projects like the 1990 single "The Hard Road." His solo discography expanded notably in the and beyond, with releases such as Play It Strange (2014), (2016), (2019), Planet Sublime (2021), and the latest album My Life as a Ghost (2023), showcasing his enduring penchant for melodic complexity and introspective lyrics. Judd's multifaceted contributions have cemented his legacy as a pivotal figure in New Zealand's rock and pop history, influencing generations through his innovative songcraft and artistic versatility.

Early career

Split Enz

Philip Raymond Judd was born on 20 March 1953 in Hastings, New Zealand. In 1972, while attending the University of Auckland, Judd met Tim Finn, and the two soon formed the acoustic folk band Split Ends with fellow students Mike Chunn, Miles Golding, and Mike Howard. The group renamed itself Split Enz in 1973, altering the spelling to reflect their New Zealand origins (NZ) and adopting a more theatrical identity. Under Judd's influence, Split Enz rapidly evolved from folk roots to an eclectic and sound, characterized by angular guitar riffs, synthesizers, and surreal lyrics. The band became renowned for eccentric visuals—such as painted faces, mismatched costumes, and props—and highly theatrical live performances that blended , energy, and absurdity, setting them apart in the mid-1970s scene. Judd served as the band's primary , on several tracks, and a key co-songwriter alongside , contributing to their distinctive sound; notable examples include "Sweet Dreams" (written solely by Judd, a brooding single from 1976 featuring his haunting vocals), "Late Last Night" (also Judd's composition, a 1976 single with driving rhythms that highlighted the band's shift toward accessibility), and "129 (Matinee Idyll)" (co-written by Judd and , an instrumental originally released as a 1973 B-side and re-recorded for the 1976 album Second Thoughts, evoking cinematic whimsy). Split Enz released their debut Mental Notes in 1975 on , with Judd not only co-writing much of the material but also producing the sessions alongside and designing the surreal cover art—a painted tableau of members in bizarre poses, now held in New Zealand's museum. The captured their progressive, off-kilter style and achieved success in New Zealand, peaking at number 7. In 1976, embarked on their first international tour in , building a through relentless gigs and releases like the Second Thoughts re-recording of Mental Notes, which refined their sound for broader appeal. Judd's contributions were pivotal to this early momentum, helping establish as New Zealand's leading export and laying the groundwork for their breakthrough in , where Mental Notes reached number 35 on the charts. Creative differences with and the band's direction led to Judd's departure in June 1977, after which he briefly returned in early 1978 to participate in the Mental Notes tour. However, tensions resurfaced, culminating in his in October 1978, marking the end of his direct involvement and allowing Finn's integration. Judd's foundational role shaped Split Enz's innovative identity, driving their initial cult status and commercial foothold in and during the .

The Swingers

After leaving , Phil Judd formed in March 1979 in , , drawing from the remnants of the band Suburban Reptiles. The initial lineup featured Judd on guitar and lead vocals, Wayne Stevens (known as ) on bass, and Mark Hough (stage name Buster Stiggs) on drums. The band quickly established a presence in the local scene, performing initial gigs at venues such as , where they honed a punchy sound blending Judd's angular guitar riffs with energetic rhythms. In 1980, relocated to , , to pursue broader opportunities, and soon signed with the influential independent label . This move positioned them within Australia's burgeoning music industry. Their breakthrough came with the debut single "Counting the Beat," recorded in August 1980 at Festival Studios in and produced by , who emphasized a crisp, driving production that highlighted Judd's wiry guitar work and the band's tight interplay. Released in early 1981, the track became a massive , topping the charts in both (for three weeks) and New Zealand (for three weeks), where it spent over 20 weeks in the top 40. The song was the number-one charting single of 1981 in . As a quintessential anthem, "Counting the Beat" captured the era's upbeat, danceable energy with its infectious chorus and themes of youthful escapism, influencing subsequent and Australian pop acts and remaining a staple in retro playlists and media soundtracks. The success of the single propelled the release of their only album, Practical Jokers, in July 1981 on , also produced by Tickle and mixed at in . The album showcased the band's evolution into a lean, guitar-driven trio (with Hough replaced by Ian Gilroy on for the recording), featuring tracks like "Practical Joker," "One Track Mind," "Lovesick," "True or False," "More," "It Ain't What You Dance It's the Way That You Dance It," "," "Five O'Clock Shadow," "Funny Feeling," and "Tok Tok." While it received mixed reviews for its quirky songwriting and uneven pacing, Practical Jokers achieved moderate sales in and , bolstered by extensive touring across both countries, including headline shows and support slots that solidified their live reputation for high-energy performances. Despite the momentum, internal tensions escalated, including lineup changes—Gilroy switched to drums full-time, and "Snoid" McLennan joined on keyboards—and creative disagreements over material direction. These issues led to the band's dissolution in May 1982, after which Judd transitioned to a solo career, releasing his debut album the following year.

Mid-career projects

Schnell Fenster

Schnell Fenster was formed in 1986 in , , by former members Phil Judd on guitar and lead vocals, on drums and percussion, and Nigel Griggs on and backing vocals, alongside Australian guitarist Michael Den Elzen. The lineup briefly included keyboards from before he departed early on. Judd took on the role of primary songwriter and producer, drawing on his experience to craft the band's eclectic with influences. The group focused primarily on the Australian music scene, marking a collaborative effort among alumni to explore fresh creative directions beyond their previous band's legacy. The band's debut album, The Sound of Trees, was released in September 1988 through , featuring standout tracks such as the single "Whisper" and a cover of "Walk Away Renée." The record showcased Judd's songwriting, blending introspective lyrics with atmospheric arrangements, and Judd also contributed the album's cover artwork featuring one of his paintings. It achieved moderate commercial success in , earning a nomination for Breakthrough Artist – Album at the 1989 . To promote the release, Schnell Fenster undertook tours across and extended their live performances to in 1989, including support slots for on their Tour of Low Men. Schnell Fenster's second album, OK Alright A Huh Oh Yeah, arrived in 1991 on , representing a stylistic pivot toward brighter, more pop-infused compositions while retaining Judd's core songwriting and production oversight. Despite the band's continued emphasis on live shows in , the album struggled commercially and did not replicate the debut's . These challenges contributed to the group's in 1992, ending their run as a key vehicle for Judd's mid-career explorations in collaborative rock.

Film and television soundtracks

In the early 1990s, Phil Judd composed the original score for the Australian black comedy film Death in Brunswick (1990), directed by John Ruane and starring Sam Neill and Zoe Carides. The soundtrack featured 18 instrumental tracks, including the evocative title theme "Death in Brunswick," "The Last Straw," "Carl's First Confession," and "Sofia," which underscored the film's themes of cultural clash and personal turmoil. Released commercially on CD in 1991 by EastWest Records, the album highlighted Judd's ability to integrate rhythmic, rock-inflected motifs with subtler atmospheric elements suitable for cinematic tension. For this work, Judd received the APRA Music Award for Best Film Score in 1991 and was nominated for the ARIA Music Award for Best Original Soundtrack, Cast or Show Album in 1992. Building on this success, Judd extended his compositional efforts to television in the late 1990s, creating the theme music for the Australian crime drama series Good Guys Bad Guys (1997–1998), which aired on ABC Television and starred Marcus Graham as a maverick lawyer. The pulsating theme, composed by Judd, accompanied all 26 episodes across two seasons and captured the show's blend of humor, action, and moral ambiguity. It was included on the 1998 soundtrack compilation album released by ABC Music, alongside tracks from artists like Nick Cave and Regurgitator, and earned a nomination for the APRA Award for Best Television Theme in 1998. Judd's contributions to film soundtracks also included the score for (1990), a directed by Nadia Tass, where his music supported the narrative of youthful escapades and romance; for this, he won the Australian Film Institute Award for Best Original Music Score in 1990. Throughout these projects in the 1990s and early 2000s, Judd took on production roles, overseeing recordings that merged his established rock sensibilities with orchestral arrangements to enhance dramatic storytelling in Australian media.

Solo work

Early solo releases

Following the dissolution of The Swingers in 1982, Phil Judd transitioned to a solo career with his debut , , released in December 1983 by in and . The album was recorded across multiple locations, including , , and , reflecting Judd's peripatetic post-band phase. Several tracks, including "Dream 'N' Away," "Rendezvous," "Worlds Away," and "Always Tomorrow," were produced by at Sunset Sound Factory in , , while "Laydown" and "Concrete & Steel" were produced by Russell Dunlop and Bruce Brown at Alberts Studios in , and the remaining tracks were produced by Michael Letho and Judd at Mandrill Studios in . The ten-track album featured Judd's songwriting centered on themes of personal introspection and emotional distance, delivered in a new wave style with angular guitars, synth accents, and concise pop structures that echoed his roots but emphasized individual vulnerability. Key songs included the title track "Private Lives," an upbeat reflection on isolation, and "Is That It?," a brooding closer questioning fulfillment. Two singles were issued: "Dream 'N' Away," which received some in , and "Rendezvous," though the latter saw limited chart success. Despite promotional efforts, including Judd's tours across and to support the release, Private Lives achieved modest sales primarily in those markets and was later described as a commercial disappointment. Critics viewed it as a transitional effort, praising Judd's unencumbered songcraft for its melodic invention and lyrical depth while noting inconsistencies in production that diluted its cohesion. The marked Judd's first full exploration of autonomy, bridging his collaborative era to more independent pursuits.

Releases since 2006

Following his exclusion from the 2006 Split Enz reunion tour, Phil Judd returned to solo music production, marking a renewed focus on independent releases after a long hiatus from major-label work. His first post-reunion album, Mr. Phudd and His Novelty Act, was released in 2006 under a pseudonym, featuring self-produced tracks that blended rock elements with Judd's signature quirky arrangements. This effort was independently distributed and signaled Judd's shift toward complete creative control, recording primarily in his home studio, the Phudd Phactory, located in Eltham, Victoria, Australia. Judd's subsequent solo output has emphasized themes, exploring personal turmoil, existential reflections, and relationships through a of rock, psychedelic, and experimental sounds, often characterized by twisting melodies and unconventional chord progressions. In 2008, he released Love Is a Moron, a self-produced delving into emotional vulnerability with raw, edges. This was followed in 2009 by the collaborative project UNthinkables with former member Grierson, which incorporated Judd's experimental flair into duo-driven songs released via limited-edition CDs and digital formats. By 2014, Play It Strange showcased his maturing style, with tracks produced entirely at the Phudd Phactory and distributed through his website and . The pace of releases continued into the late and beyond, with UniQue (2016) earning strong critical praise for its melodic complexity and introspective lyrics, available digitally on platforms like and streaming services such as and . Similarly, (2019), also self-engineered at his studio, received positive reviews for its textured, one-man-band production blending rock introspection with experimental layers. Planet Sublime (2021) extended this approach, incorporating elements and themes of transcendence, while the most recent full-length, My Life as a Ghost (2023), further explored ghostly introspection and personal legacy through self-produced tracks released independently via . In 2006, Judd collaborated with band Pinky Tuscadero by producing their EP Look Your Best, though this predates integrations into his own solo trackwork. All albums since 2006 have been released through independent channels, including Judd's official website (philjudd.com) and , with physical copies like signed CDs available in limited runs. has generally highlighted Judd's consistent innovation and emotional depth, though his work remains niche, gaining traction among art-rock enthusiasts via streaming platforms. As of November 2025, Judd's most recent release is the single "" (December 2024), with a new album announced for 2026.

Other creative pursuits

Visual art

Phil Judd's engagement with visual art began in the 1970s alongside his music career, where he created notable album artwork for . His painting for the band's debut album Mental Notes (1975), a surrealistic depiction of the group members, served as the cover design. The original artwork is held in the collection of Tongarewa Museum of . In the , Judd shifted toward production, working primarily in . A key example is Sprout Salad (1984), a large-scale measuring 167.0 × 215.2 cm, which was acquired by the in 1985 through the Michell Endowment. His works from this period often incorporated personal symbolism drawn from his experiences, including stylized representations of bandmates and musical themes that echoed his time with . Judd has continued to produce visual art in later decades, with works such as drawings and watercolors available through galleries including Arts Inc. in Hastings, New Zealand.

Theatre and production work

In the early 2000s, Phil Judd composed original music for the stage adaptation of C.S. Lewis's The Lion, the Witch and the Wardrobe, marking a significant foray into theatrical scoring that built on his rock background while embracing orchestral drama. The production premiered in Melbourne in March 2003, where Judd's score, blending rock elements with full orchestral sound, was performed live by a 30-piece orchestra to accompany the narrative's fantastical elements. This project represented a deliberate shift from his earlier rock compositions with bands like to more narrative-driven, live-performance scoring, allowing for immersive theatrical experiences without reliance on pre-recorded tracks. Although no commercial recordings of the score were released at the time, the production's use of live orchestral performance highlighted Judd's adaptability in blending pop sensibilities with dramatic .

Reunions and legacy

Split Enz reunions without Judd

Split Enz reunited in 2006 for an Australian tour featuring , , , Nigel Griggs, and , marking the band's first major outing since their 1984 disbandment, though notably without co-founder Phil Judd. The tour, which included performances across multiple cities, focused on the band's classic hits from the late and early 1980s, drawing large crowds and reigniting interest in their legacy. Judd was publicly excluded from the lineup, a decision that stemmed from his earlier reluctance to perform live and ongoing tensions with former bandmates. Judd expressed significant bitterness over his omission in subsequent interviews, highlighting his foundational contributions to the band's early sound and songwriting. In a , he stated it was "galling to be left out of the reunion" despite being a founding member, underscoring a sense of despite his pivotal role in shaping Split Enz's initial artistic direction. This exclusion amplified Judd's feelings of being sidelined within the band's narrative, as the reunion emphasized the Finn brothers' era while largely overlooking his influence on albums like Mental Notes and Second Thoughts. By 2009, in another , Judd reiterated a lack of interest in live performances due to health concerns but acknowledged the improbability of future invitations, further emphasizing his detachment from the group's activities. Following the 2006 tour, made only sporadic appearances without Judd, including a one-off performance at the 2009 charity concert in alongside other Australian artists. These limited engagements kept the band's music alive in select contexts but did not lead to full-scale , maintaining Judd's absence amid unresolved interpersonal dynamics. In September 2025, Tim and announced a reunion performance at the Electric Avenue Music Festival in , , on February 27, 2026, marking the band's first show in nearly two decades. In November 2025, they announced the "Forever Enz" reunion tour for May 2026, comprising four Australian arena shows in , , , and , billed as the band's first tour in 18 years and focusing on their enduring classic hits. The lineup again excludes Judd, featuring , , , and , with the events tied to the band's 50th anniversary celebrations. This development reinforces Judd's longstanding perception of marginalization, as his co-founding status and early creative input continue to be underrepresented in the group's revived public image, despite his essential role in establishing Split Enz's innovative art-rock foundations.

Influence and recent tributes

Phil Judd is widely recognized as a pioneer of New Zealand's scene, having co-founded in 1972 with , where he shaped the band's pop sound that blended theatrical elements with innovative songwriting on early albums like Mental Notes (1975). His subsequent formation of in 1979 further solidified this influence, with the band's hit "Counting the Beat" (1981) exemplifying the punchy, energetic style that defined NZ and achieved chart success across . Through 's foundational legacy, Judd's creative partnership with indirectly impacted later acts like , as the band's evolution from Judd's era provided the platform for Neil Finn's entry and the group's broader international reach. In recent years, Judd's contributions have received renewed attention through archival releases and media retrospectives. The Enzcyclopedia Volumes One & Two , announced in August 2025 and released on November 14, 2025, remasters Split Enz's pre-Neil Finn albums, highlighting the Judd-Tim Finn songwriting duo's ambitious and theatrical compositions from the band's formative years. This five-CD collection, produced in celebration of Split Enz's 50th anniversary, underscores Judd's role in the group's early identity with high-fidelity transfers from original tapes. Documentaries and interviews have also paid tribute to Judd's enduring impact. Radio New Zealand's Enzology podcast series, with episodes broadcast in 2015, devotes segments to the band's origins, detailing Judd's songwriting partnership with and his influence on Split Enz's distinctive sound during their New Zealand gigs in the . Judd's story features prominently in music histories, such as AudioCulture's profiles, which describe him as one of the most significant talents from mid- New Zealand music. As of 2025, Judd maintains an active online presence via his official website, philjudd.com, which showcases his , artwork, and updates, fostering ongoing fan engagement amid discussions of recent releases like the Enzcyclopedia set.

Personal life

Early life and education

Philip Raymond Judd was born on 20 March 1953 in . Growing up in the region, Judd developed an early interest in both art and music, showing talent as a self-taught painter during his childhood. His secondary education took place in Hawke's Bay, where he nurtured these creative pursuits amid a rural upbringing influenced by local radio broadcasts of . In 1971, Judd enrolled at the Elam School of Fine Arts at the , studying fine arts for two years. It was during this time that he met , a fellow student, and the two began collaborating musically, forming the initial lineup of what would become Split Ends (later renamed ) with other university acquaintances. Judd eventually dropped out of his studies to focus on the band. Judd's early musical influences included , whose innovative songwriting and production shaped his pop sensibilities, as well as acts that inspired the experimental and theatrical elements in his initial compositions and performances. Prior to Split Enz's formal debut, he participated in informal gigs around with the nascent group, blending art-school aesthetics with these rock influences.

Health and legal issues

In the late 1980s, Phil Judd received a diagnosis of , which profoundly affected his personal and professional life. The condition led to severe episodes that prompted a significant hiatus from during the , as he focused on management through medication and therapy to stabilize his mood swings and regain creative control. In 2004, Judd suffered a that damaged his and uncovered chronic heart disease stemming from years of hard living. His recovery involved addressing these ongoing cardiac issues, which limited his physical stamina and delayed musical output during rehabilitation. Judd faced major legal challenges in 2009 when he was convicted in of three young sisters in his neighborhood, with the behavior— including following them to school and pony club, photographing them, and posing as a teenager on to contact one—dating back to 2004. He was sentenced to a 12-month suspended jail term and fined $2,500, later defending the actions as an aesthetic admiration rather than harm. In 2010, Judd was imprisoned for two weeks after breaching a against his ex-partner, an incident that exacerbated his public scrutiny. Following these events, he resided in the suburb of , maintaining a low public profile throughout the amid efforts to rebuild privately.

Discography

Albums

Phil Judd contributed to several influential studio albums during his time with in the mid-1970s, where he co-wrote and co-produced material that helped define the band's early sound. His subsequent projects with , Schnell Fenster, and solo endeavors expanded his stylistic range, blending , pop, and experimental elements. These releases, often produced with collaborators from the and music scenes, achieved varying commercial success, particularly in . The debut Split Enz album Mental Notes, co-credited to Judd for songwriting and production, was released on July 31, 1975, by in and . Produced by David Russell at Festival Studios in , it featured Judd's distinctive guitar work and eccentric compositions like "Walking Down a Road," peaking at number 7 on the New Zealand charts. The follow-up Second Thoughts, a re-recorded and expanded version of Mental Notes with additional tracks, was released in August 1976, also by . Produced by at in , it included Judd-led songs such as "Late Last Night" and reached number 18 on the New Zealand charts. With , Judd's post-Split Enz band featuring Mark Hough (Buster Stiggs) on drums and on bass, the group released Practical Jokers in 1981 on Ripper Records. Produced by in , the album showcased Judd's punchy style on tracks like "Counting the Beat," reaching number 70 on the Australian charts. Judd's solo debut Private Lives arrived in December 1983 via . Recorded in and produced by Judd alongside , Russell , and Bruce Brown, it featured introspective pop-rock songs including the title track, though it did not chart prominently. Schnell Fenster, formed by Judd with ex-Split Enz members and Nigel Griggs plus , debuted with The Sound of Trees in 1988 on (Australia) and internationally. Self-produced at Platinum Studios in , the album's eclectic tracks like "Whisper" led to a number 70 peak on the Australian charts. The band's second and final album, OK Alright A Huh Oh Yeah, was released in June 1991 on (Australia and ). Again self-produced, it experimented with and pop on songs such as "Heroes Let You Down," charting at number 117 in . Following a period of lower-profile work, Judd resumed solo releases in the , beginning with Mr. Phudd & His Novelty Act in 2006, followed by Love Is a Moron in 2008, a self-released effort blending rock and novelty elements. Subsequent albums included Play It Strange (2014), (2016), (2019), Planet Sublime (2021), and My Life as a Ghost (September 15, 2023), all self-released via , showcasing Judd's enduring songwriting in styles without major chart impact.

Compilations and soundtracks

Phil Judd's contributions to Split Enz compilations highlight his pivotal role in the band's early songwriting. The 1979 release compiles tracks from the group's initial singles and recording sessions, with most songs credited to Judd and , except for "Split Ends," written solely by Judd. This album captures the and influences of 's formative lineup, including Judd's distinctive guitar and vocal work. In 2025, the Enzcyclopedia Volumes 1 & 2 box set was issued to commemorate Split Enz's 50th anniversary, emphasizing the pre-Neil Finn era dominated by Judd's involvement. The collection includes 2025 remasters of the 1975 debut Mental Notes and its 1976 revision Second Thoughts, alongside a remixed version of The Beginning of the Enz on CD 4, plus rare outtakes and Eddie Rayner remixes of early Judd-Finn compositions like "Late Last Night" and "Titus." Available in 5-CD, 3-LP, and deluxe editions with Dolby Atmos mixes, it focuses on the Judd-led phase from 1972 to 1977. Judd composed original scores for film and television soundtracks, expanding his work beyond rock albums. For the 1990 Australian film , he created an instrumental soundtrack released in 1991, featuring 18 tracks including "Death in Brunswick (Version 1)," "The Last Straw," and "Sofia," blending atmospheric and thematic elements to support the thriller's narrative. Similarly, Judd provided the theme for the 1997–1998 TV series Good Guys Bad Guys, with his composition "Good Guys Bad Guys" appearing on the 1998 various-artists soundtrack compilation alongside tracks by artists like and & the Bad Seeds. Tracks from Judd's and eras have appeared as guest features in new wave retrospective compilations, such as selections in anthologies celebrating the country's punk and history, including "Counting the Beat" from . These inclusions reflect his enduring impact on Kiwi music scenes.

Awards and nominations

ARIA Music Awards

Phil Judd received two nominations for his contributions to album artwork and soundtrack composition. At the third annual , held on 6 March 1989 at the Convention Centre in , Judd was nominated in the Best Cover Art category for his graphic design on Schnell Fenster's debut album The Sound of Trees. The award went to for Crowded House's , with other nominees including Malpass & Burrows for John Farnham's and Robyn Stacey & Richard Allan for Died Pretty's Lost. As a core member of Schnell Fenster, Judd shared in the band's additional nominations that year for Breakthrough Artist – Album (The Sound of Trees) and Breakthrough Artist – Single ("Whisper"). In 1992, Judd earned a for Best Original Soundtrack/Cast/Show Album for his score to the film at the sixth , which took place on 6 March at the World Congress Centre in and marked the first televised ceremony, hosted by Richard Wilkins and . The category winner was Mario Millo for the Brides of Christ miniseries soundtrack, while other nominees included Not Drowning, Waving for Proof and the Original Australian Cast Recording for .

Other awards

In addition to his ARIA nominations, Phil Judd has been recognized for his contributions to songwriting and film scoring through several prestigious Australasian awards. Judd co-wrote the 1981 hit "Counting the Beat" with Wayne Stevens and Mark Hough for his band , which topped charts in and . In 2015, the song was retroactively awarded the APRA Silver Scroll—the highest honor for New Zealand songwriters—after being overlooked in its original year due to administrative issues with the awards process. The presentation occurred during the 50th anniversary ceremony of the Silver Scroll, highlighting the track's enduring influence on Kiwi rock. Judd's transition to film composition in the late 1980s yielded further accolades. His original score for the 1990 Australian comedy , directed by Nadia Tass, earned the Australian Film Institute (AFI) Award for Best Original Music Score, praising its blend of quirky pop elements that complemented the film's coming-of-age narrative. The following year, his soundtrack for the dark comedy (1990), featuring eclectic rock and orchestral touches, won the APRA Music Award for Film Score of the Year, underscoring Judd's versatility in adapting his roots to cinematic storytelling.

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