Supergroove's 'Scorpio Girls' hit number three on the NZ charts in 1993 and was the band's first single to attain gold record status. It was also included as the opening track on their 1994 debut album Traction. The video, directed by Supergroove bass player Joe Lonie, translates the band's sense of fun and boundless energy to the small screen, combining live performance clips with footage of the band members, armed with torches and running through the old tunnels at North Head on Auckland's North Shore.
This cautionary tale about the perils of lost love comes from singer-songwriter Greg Johnson's third album Vine Street Stories (named for the address of the Auckland house where it was recorded). Director James Holt (a flatmate at the time) shot the clip on 35mm and gave it a rich, golden-hued setting of brocades, leathers, candles and curtains to showcase musicians including Pagan Records founder (and broadcaster) Trevor Reekie and Johnny Fleury (father of Zowie) on Chapman Stick. Boh Runga contributes vocals (around the time she formed her own band Stellar*).
Singer Marina Devcich had been working as an apprentice hairdresser when she won a Waikato talent quest. A signing to Viking Records and a name change to Maria Dallas followed. ‘Tumblin’ Down’ was written by Taranaki musician Jay Epae, and recorded at a session in Wellington. It went to 11 in the pop charts and won the 1966 Loxene Golden Disc Award. Later the song was used to score a series of Telecom ads in the mid-80s. Dallas recorded in Nashville, moved to Australia and had a trans-Tasman career — her single ‘Pinocchio’ topped the NZ charts in 1970.
This soulful ballad highlights Chong-Nee on the mic, backed by horns and strings. The song is taken from his debut album Just Getting By On Love (2006). Inspired by classic singers like Al Green, Chong-Nee set out to record a number of songs live, including this one. Befitting the song's old school stylings, director Martha Jeffries uses an extremely narrow colour palette. Jeffries also helmed the music videos for Chong-Nee singles 'Black Widow' and 'Scenarios'.
Inspired by an Australian musician who was drafted to fight in the Vietnam War, this song was first recorded by Aussie singer Ronnie Burns before Kiwi Craig Scott turned it into one of his biggest hits. Released in June 1971, Scott's version would go on to win the Loxene Golden Disc Award. These extended takes of Scott in action were likely cut together with footage taken from other angles — footage which is now missing in action. Thanks partly to regular appearances on music show Happen Inn, photos of Scott and his hair adorned bedrooms across the country in the early 1970s.
This militant debut from rappers Upper Hutt Posse marked New Zealand’s first hip hop record. Dean Hapeta announces himself with a history lesson proudly namechecking the great Māori warrior chiefs of the 19th Century — Hōne Heke, Te Rauparaha, Te Kooti — and their Māori Battalion successors. ‘E Tu’ is also a personal manifesto, with promises to preach the truth but not to brag or wear gold chains. Hapeta's down the barrel delivery carries a degree of confrontation rarely seen from New Zealand musicians up to that point.
This Janice Weaver song was originally recorded by American singer Morgana King (who played Mama Corleone in the first two Godfather films). Allison Durbin's epic version featured backing from Quincy Conserve and was produced by Howard Gable (who she later married). The biggest selling release by a New Zealand artist in 1968, it topped the local singles chart and won the Loxene Golden Disc. Durbin's performances from the televised Loxene awards show and a TV special have long since been lost but this grainy Australian TV clip of her finest moment survives.
In the tradition of novelty songs, ‘Culture?’ was catchy to the point of contagion. Fuelled by carnival keyboards, it was The Knobz response to Prime Minister Rob Muldoon’s refusal to lift a 40% sales tax on recorded music (originally instituted by Labour in 1975), and Muldoon's typically blunt verdict on the cultural merits of pop music (“horrible”). The giddy, hyperactive video comes complete with Muldoon impersonator (Danny Faye), and casts the band as the song’s 'Beehive Boys'. In the backgrounder, Mike Alexander writes about his time as the band's manager.