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Old and new, both good21 July 1993 Old and new, both goodSecond Wind
Judy Small's latest album, produced as she turns 40, reflects a shift in focus for her musical style.
In 1992, during a tour of Australia with US legend Ronnie Gilbert, Judy had the opportunity to work with piano accompanist David Bates. A creative collaboration developed which ignited a spark at a time when Judy was feeling low on inspiration.
The songs on Second Wind reflect a new breadth in her music. The styles range from the well-known classical ballad to music hall, and the introduction of a strong jazz influence enhances the appeal of several of the tracks.
The politics include stories of people's lives, Aboriginal struggle, AIDS and some more satirical pieces on modern life and the business lunch.
In the Year of Indigenous People, “Sacred Ground” is an appropriate and moving contribution to land-rights and the never relenting struggle of Aboriginal people. It also features Ruby Hunter and Archie Roach on vocals, along with Joe Geia on didgeridoo.
With the current sensationalism around Mabo, Small puts the issue into context: “In arrogance and ignorance they raised their bloodied flag / But they couldn't kill the spirit in the land”.
“Final Cut” offers an insight into the experiences of families affected by the closing of the mine in Rhondda Valley in Wales, yet many others will be able to identify with the anger and frustration of losing your livelihood in the recession.
In this haunting ballad, she relates the memories of previous generations who died working the mine and the way the 1984 miners' strike changed the women of the town.
The other particularly striking track is “A Man Among Men”, in honour of the mainly gay men in Australia living with AIDS. It is a tribute to their resilience and loving in the face of hostility and lack of understanding.
The Best of the '80s presents a selection of popular favourites from Small's last 10 years of recording. Her best political and social comment includes the antiwar “Mother, Daughters, Wives” and “You Don't Speak For Me” challenging the conservative voices who claim they represent the silent majority.
Her witty satire on contraception, “The IPD”, and the isolation of being a lesbian in a narrow community in “Annie” are also featured on the compilation.
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