After three years of playing live, the first single from Th’ Dudes was this classic, chiming piece of pop written by Dave Dobbyn. The video was made at TVNZ’s Manchester St Studios in Christchurch. With Dobbyn taking lead vocal, there was no onstage role for Peter Urlich — so he sits at a table in the foreground of the empty nightclub set. Assistant floor manager Peter Bain-Hogg plucked a passerby off the street to play the waitress. The song would become an enduring Kiwi classic — three decades later, it closed out the final episode of Outrageous Fortune.
Utilising split screen and a home movie-style aesthetic, this video for this Benny Tipene single practically screams summer. Starring Tipene and friends out on a road trip in the sun, the video has the crew playing in the grass, swimming and sailing, and eating fruit by the water. The single saw plenty of airplay off its December 2013 release, helped in part by its use in a Coca-Cola advertising campaign at the time. The song appeared on EP Toulouse, which was nominated for Album of the year at the 2014 New Zealand Music Awards.
This slow-burning Ian Morris/Dave Dobbyn song was the B-side of Th’Dudes first single ‘Be Mine Tonight’. Music videos for both songs were shot in a day at TVNZ’s Christchurch studios, in the era before the music video boom – back when, as Dave Dobbyn puts it, “the state made your videos”. A relatively straightforward performance piece, with some outsized masks for visual relief, it has the band largely entering into the spirit of things — with the exception of Dobbyn who shows up at one point with a strange spot on his forehead, before managing a manic stare.
Featuring a marine odyssey told through cutout-style animation, this Paul Hershell-directed music video compliments a chilled out tune from Opensouls’ acclaimed debut album Kaleidoscope. After a nature focused opening, the cheerful demeanour begins to dissipate as the soft red textures become more harsh. A pirate attack sees the video descending below the waves, introducing a world of calming blue. But submarines and sea mines abound, mirroring the song’s relaxed exterior which hides the energetic trumpets underneath.
Chris Knox mines his immediate, 1981-era surroundings for this elaborate stop-motion clip. Record players go crazy, sleeping bags swallow people, and hardly anyone on screen seems to have a face. On the telly are Springboks and protests, plus the Ready to Roll top 20 countdown. And all this unravels a full two decades before editing programme Final Cut Pro made homespun hip again, and directors like Michel Gondry (The Science of Sleep) started popularising the craft aesthetic.
As band member Haddon Smith points out, "you get the feeling Richard Bell knows what he's doing". And having produced renowned music videos for the likes of Depeche Mode, U2 and Nirvana, you have to agree with him. Bell's captivating concept, astute editing and spectacular set unite to deliver a thing of pure delight. "We designed our own rooms. Mine is essentially my room in Auckland recreated in a small cube in an old warehouse somewhere in Christchurch!" Haddon Smith - April 09
Beneath the escarpments, the gold miners have perished as Wellington rockers Flesh D-Vice come thundering out of the wastelands of a Wild West desert landscape from hell. This studio performance video was made for a 1985 single. For all of the serious intent on display, 'Flaming Soul' is practically a torch song compared to some of the band's more ferocious outings and there are some lighter touches to be seen: a guitar lead plugged into the sand and lead singer Gerald Dwyer nonchalantly lighting his cigarette from the inferno of a flaming oil drum.
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.