The laidback pop-reggae of double platinum album On the Sun was a noughties Kiwi summer soundtrack, and this golden hour-hued affair is a video to match. A Seedy trio (Barnaby Weir, Bret McKenzie, Daniel Weetman) head on holiday to the Coromandel for a smorgasbord of baches, pohutukawa rope swings, mussels on the barbie, and cricket on the beach. There's a nod to the sponsor's product as McKenzie pulls the Holden into the Tararu Store for a Fruju pitstop: one of the future Oscar-winner's earliest paid acting gigs was in an ice-block commercial.
Australian Idol winner Stan Walker made his acting debut in Tearepa Kahi’s feature film Mt Zion, as a potato picker from Pukekohe who dreams of supporting his idol Bob Marley at Marley's 1979 Auckland concert. This song from the film’s soundtrack combines Mt Zion’s reggae sounds with Walker’s more R’n’B/soul style. The video mixes scenes from the film with a performance from Walker (displaying the tattoos that were deemed too modern for a period piece, and had to be covered up for the movie).
NZ's first house record was a one-off studio project for Simon Grigg, Alan Jansson, Dave Bulog and James Pinker. With a nod to UK act MARRS' indie/electro hit 'Pump up the Volume' — and a sample from Indeep's 'Last Night a DJ Saved My Life' — it briefly featured in the UK club charts. The TVNZ-made music video borrows the record's original graphics (by novelist Chad Taylor) and marries them to a mash-up of 1960s black and white, music related archive footage (including C'mon) with the occasional novelty act and politician added for good measure.
Filmed in guitarist Chris Garland’s warehouse apartment, this video for the single from Betchadupa’s second EP dryly subverts the generic “band-rocks-the-party” template, with the addition of a jaded audience member doing a running commentary on Liam Finn and company’s efforts — his complaints subtitled over the punky, effervescent din of course. The clip marks an early directorial turn from Gerald Phillips, the reclusive figure behind legendary electronic act Phelps & Munro.
After a debut single that flirted with punk parody, this moody, accusatory follow-up firmly points Mi-Sex in the direction of the electronic influenced rock that will characterise their future sound — and make them one of Australia's leading acts in the 80s. In his leathers, lead singer Steve Gilpin has firmly said good-bye to his previous career in light entertainment. The video places the band members amongst outsized pieces on a giant chess board — a rather curious staging choice, perhaps, given that the king and queen in the lyrics are playing cards.
Winning Best Overall Video at the 2006 Radio Active Handle the Jandal Music Video Awards, Charlie ASH certainly made a splash with their debut video by director Sally Tran. The delightfully ramshackle clip for the raunchy number channels the DIY fantasy spirit of Michel Gondry as Rosie Riggir and the band inhabit a CASH-in-wonderland world of cardboard and cellophane sets, animation and colour. Caution: contains fondling of oversized instruments.
Rappers Upper Hutt Posse were the first New Zealand hip hop act to release a record (and one of the most radical). This reflection on troubles at home and abroad brings out a more reflective side. Against news footage of the Springbok Tour, Bastion Point and a host of international trouble spots, the sweet soul vocals of Teremoana Rapley and Acid Dread (aka Steve Rameka) float in and out of the raggamuffin toasting of MC Wiya (Matt Hapeta) and Dean Hapeta’s less than cheery weather forecast. This music video was one of the first to be funded by NZ on Air.
Prolific music video director Jonathan King delivers a simple but finely-executed clip with this anthem for the jilted. Although the band act like nothing is wrong and pull off an artful mime, it soon becomes clear that they have no instruments. Shot in extremely narrow focus, singer Julia Deans' sometimes wistful, sometimes sneering performance matches the brooding tone of the song, which topped the Kiwi charts despite initial disinterest from mainstream radio. The clip was shot at Verona Cafe on Auckland's K Road. 'Lydia' marked the third single from the band's first album Pet.
Thanks to You topped the New Zealand music charts three weeks after its release in 1967, and earned Mr Lee Grant the Loxene Golden Disc Award. In this performance on C’mon, introduced by the legendary Peter Sinclair, he performs the hit in a distinctive three piece suit against a changing psychedelic backdrop. Mr Lee Grant’s Kiwi tour was split between shows for his sometimes hysterical teenage fans, and cabaret shows for the adults. The combination made him one of the country’s most popular acts, and saw him named 1967’s Entertainer of the Year at the NEBOA awards.
Shona Laing's long musical career began with '1905', a song dedicated to Henry Fonda. At 17 years old, Shona took the song to second place on talent show New Faces in 1972. Early the following year it rose to number four on the NZ top 10. This short live clip, thought to be filmed at Christchurch Town Hall, captures Shona in extreme close-up, serving to magnify the emotional intensity of the song. Don't be fooled into thinking this is a mimed performance; her voice is absolutely spot-on, and the crowd reacts with rapturous applause.