I endevoured to prove it by taking her twice more that afternoon, but a bit more comfortably with her laying on the table for one session, and I for another. She seemed well satisfied by the end of the afternoon, but no further stocktaking was done. In the following weeks we regularly engaged in ‘Stocktaking’, as we came to call it. After Buggs had left the premises at the end of the day, Marguerite and I would engage in ‘giving each other pleasure.’ During our stocktaking adventures, I underwent a change of name. From Raymon, I had gone on to Raymond and from there to Ray. I think Marguerite found it more convenient during stocktaking to call out ‘Ray,’ rather than ‘Raymond.’ At the same time, it was revealed to me that ‘Marguerite’ was not her real name, which was ‘Margaret.’ Again, for stocktaking convenience, this was reduced to ‘Maggie.’ I was having a wonderful time. Going to work had never been such fun, and it certainly beat working at the supermarket, when the only sex was a. She didn’t go to night clubs like Jane, Jacquie and me. She wasn’t interested in folk music like Andrea. The music she most enjoyed had to have energy, power and an instant impact. And this proclivity had to be overlaid somehow on the groove-based rhythm and melody that we were contributing to the Crystal Passion mix. Within a week of Judy approaching Crystal, she was a full member of the band and joined us at the disused retail unit we’d hired to rehearse the remaining few songs for the Passing Passion album. It was Judy who’s the chief author of the sound that rock critics like Polly Tarantella rate as the very best of Crystal Passion. This is ironic, of course, given that Judy Dildo is portrayed as the arch-villain in Polly’s account of the Crystal Passion tragedy. In fact, I’d say that if it hadn’t been for Judy Dildo’s impact on the band, it’s highly unlikely that Polly would ever have been attracted to Crystal Passion and her music at all. The track that Professor Simon.
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