The second single from Kimbra's debut album Vows is a plea to a disconnected and emotionally unavailable male character to abandon the dark side and embrace the world. Against a dazzling, infinite white background Kimbra and her crew are a riot of colour as they attempt to win over this would-be object of her attentions with song, dance, colour, tambourines and confetti. Australian director Guy Franklin's video was shot in Melbourne and features a cameo appearance from the young girls who appeared in Kimbra's previous video 'Settle Down'.
Drawing from Dimmer's debut album I Believe You are a Star, this early video effortlessly channels the minimalist cool that would be a Dimmer trademark. The set is dark, dominated by a red-lit 'Dimmer' sign likely inspired by one showcased in Elvis' iconic 1968 comeback special. The vocals are provided by four males in white suits — including a pint-sized version of Dimmer founder Shayne Carter, and, briefly, his late father. The first, long in gestation Dimmer album signalled a new stage in Carter's career, with sparse grooves dominating over guitars.
The music video for this 1987 Satellite Spies single is a straight down the line performance piece, focusing on vocalist/songwriter Mark Loveys. After scoring a hit single in 1985 – 'Destiny in Motion' – Satellite Spies won Most Promising Band and Most Promising Male Vocalist at that year’s NZ Music Awards. This single was recorded for their second album, which would finally be released in 2011 as Us Against the World. The album was made without guitarist Deane Sutherland, who left the group in 1986 — and later launched a band of the same name in Australia. Rock’n'roll!
The making of this Anika Moa video arguably puts the singer's heady early rise in a nutshell. American label Atlantic Records flew an executive down to New Zealand to monitor proceedings, and ensure that the singer looked as slim on screen as possible. Moa and director Justin Pemberton came up with the idea of Moa lusting after every male she passes. The taxi is driven by actor Antony Starr (before Outrageous Fortune). As for Moa, she soon returned home from the US. A local top five hit, the song ended up on the soundtrack of Julia Roberts romance America’s Sweethearts.
Directed by Rollo Wenlock (founder of video production tool Wipster), this dark, moody music video was shot in a studio with a lot of cooking oil, dodgy transmission and some flickering fluorescent lights. If you like watching well-oiled male torsos, you’re in luck. After gaining a new drummer, the band reinvented itself as Villainy, and went on to score NZ Music Award-winning albums Mode.Set.Clear. and Dead Sight.
This cover by Ted Brown and the Italians of the 1966 hit for the La De Da's focuses on the rock in the psychedelic rock original. Directed by Chris Jackson (Impressions), the no-frills video is all moody blues and reds, cut together with Brown and the band seen in naturalistic colour through a fisheye lens. Brown had won a Tui NZ Music Award for Most Promising Male Vocalist the previous year. Trivia: the Artie Kornfield and Steve Duboff-penned song was also covered by The Bangles. In 1995 Darryl 'DLT' Thomson remixed Brown’s version as the theme music for TV3 music show Frenzy.
Nostalgia can take many forms: and certainly many a middle-aged memory swirls back to this early Sharon O’Neill video, a nostalgia further fuelled by the long lack of a decent quality master copy. The classic clip about romance in foreign climes — or perhaps a romance that unfurled somewhere else entirely — opens with O’Neill’s backlit image reflected in the water. But it is the scenes of O’Neill in a rippling pool wearing a shark tooth earring that seem to have left the longest impression on males of a certain vintage.