This video marked the directing debut of the multi-talented Chris Knox. Capturing the energy of The Clean's legendary first single, the clip memorably broke with local music promo standards (lip-synching, filming inside a studio etc) and set the template for Knox’s cheap but effective DIY method. He shot the band walking (and lying) on the street using a borrowed 16mm camera, set at a slow frame rate. He also played around with negative reversal film, to obtain some of the more distinctive images. 'Tally Ho' got to number 19 in the local charts; the band were "shocked and delighted".
Early standard bearers for the Flying Nun label, The Clean ended their first incarnation with this abrasive, rollicking, darkly-humoured take on the aging process (featuring backing vocals from Chris Knox and some Robert Scott trumpet). Ronnie van Hout, who designed much of the label's early artwork, turned his hand at directing for this clip. Without a budget, he utilised the Christchurch service lanes and aging inner city buildings which housed so many of the local music industry's bars, clubs and rehearsal rooms (and a succession of early Flying Nun offices).
Was there a cooler band in the world than The Clean in 1982? Skinny suits, round sunglasses, video performances aping the great old Monkees' moves but tuned to the "deadpan" setting. Rubbish dump. Derelict building. Cemetery. Check. TVNZ's Andrew Shaw travelled south to Christchurch to direct this one, but he kept the clip faithful to the band's style for this now iconic tribute to indie nihilism.
A Texan stops by "One Day At The Coffee Bar", and confronted by kaftan wearing, pot smoking beatniks, tries to enjoy a cuppa. Silly costuming, delightful comic timing and hammy performances afford this clip legendary status amongst NZ's finest.
The Great Unwashed were an eclectic spin-off of legendary band The Clean. 'Neck of the Woods' comes from the later, louder period of their short existence. The accompanying video has a touch of experimental film to it. Alongside trademark Flying Nun primitive animation, and stand-in guitarist Stuart Page wearing a loopy mask, the lyrical mentions of sun and moon are imbued by psychedelic lightshow effects, ala 2001: A Space Odyssey (although on a somewhat tighter budget). The video was allegedly shot at TVNZ Christchurch’s studios, on the Miss New Zealand set.
This cascading pop song from Wellington band Fur Patrol’s debut EP Starlifter accompanies an early music video from director Greg Page. Julia Deans and her band mates appear mired in concrete in a suburban swimming pool which begins to fill — but they play on, apparently oblivious to the rising water. The pool was owned by neighbours of Page’s parents in Palmerston North, who were happy to indulge him, but it was Fur Patrol who suffered for Page’s art as they coped with water that was very cold and not especially clean.
Nearly two decades before Mighty Boosh comes this loopy confection. With its missing visage line "I left my face, in outer space" you know this is going to be one trippy song — and the wild and spacey video is totally in keeping with the track. There’s UFO imagery and all sorts of other mad things thrown in, including a dinosaur skeleton and a vacuum cleaner played like a guitar. And it must be one of the few music videos to feature a band member wearing a peggy squares crochet poncho. The clip won Best Music Video at the 1993 NZ Music Awards.
David Kilgour, looking particularly dapper in a blue and white polka dot shirt, plays the high living rock star in this Stuart Page directed video. The backstage party and driving sequences were filmed in Dunedin and feature David's brother (and fellow Clean member) Hamish and local identities including Martin Phillipps (from The Chills) as the chauffeur. The live performance was shot at the Powerstation in Auckland and the paparazzi sequence takes place at Auckland International Airport. Special mention should be made of the "brick" mobile phone.
John Clarke created an unofficial Kiwi national anthem when his alter ego Fred Dagg first released 'We Don’t Know How Lucky We Are' in 1975, simultaneously celebrating and poking fun at national pride. This video is a 1998 update of the song, instigated by TV's SportsCafe. Times change, but the recipe remains the same: "good clean ball and for God's sakes feed your backs!" Alongside a roll call of celebrities, politicians and sports stars — Sean Fitzpatrick, Chris Cairns, Zinzan Brooke — Clarke spreads the grateful gospel at the United Nations.
After achieving commercial and critical success as part of pioneering Flying Nun band The Clean, David Kilgour began releasing solo work in the early 90s. His first single did not disappoint. The matching video relocated the avowed Dunedinite to Auckland, and sees Kilgour cruising around and on — and swimming fully clothed in — Waitematā Harbour. The video also features Kilgour's kaleidoscopic collection of Converse shoes, which seem to change without prompt. The song was the lead single off Here Come The Cars, which reached 35 on the NZ music charts.