Chris Knox's grungy collage-style clip suits this mournful song perfectly. The sequence offering multifarious images of what “turning brown” might mean — from a deep tan to race-swapping — is a particular delight. The shot of Knox's daughter Leisha as a toddler, with the scratched in message "there is always hope" gives the clip a surprisingly poignant ending. In his ScreenTalk interview for NZ On Screen, Knox recalled it was a technical problem that led to him scratching directly onto the film, in the style of his hero Len Lye.
'Saint Paul' was one of the biggest hits by a NZ artist in the late 60s. Written about Paul McCartney by American producer Terry Knight, it borrowed liberally from Beatles songs (eventually with their publisher's permission) and played an early part in the "Paul is dead" conspiracy theories. Shane’s version went to number one and was the 1969 winner of the Loxene Golden Disc for local song of the year. This footage from the awards show comes complete with interview by host Peter Sinclair and as many groovy special effects as TV could muster at the time.
Chris Knox directs his own face in this video for his classic Kiwi love song. The camera gradually pulls out from an extreme close up of Knox's face to a living room full of family and friends. Jump-cutting on the beat, Knox, with trademark simple-but-effective style, effectively fuses lyrics, song and an impassioned performance. Interestingly, in his ScreenTalk interview, Knox says he now regrets using a solarising video effect in the later part of the clip.
Toy Love's decision to frolic amid the crucifixes in a Dunedin graveyard for this video offended some locals — but it was water off a punk's back for this free-spirited bunch. 'Good Old Joe' ( alongside 'Amputee Song') was the flipside to their third and final single, 'Bride of Frankenstein' . After eighteen frantic months, one album and nearly 500 gigs the band called it quits in late 1980. The clip begins with an excerpt from a group interview; Chris Knox thanks their fans for buying their debut album, and cracks up at a laconic aside from guitarist Alec Bathgate — 'it could have been worse'.
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.