This track by Auckland post-punk trio Blam Blam Blam became a theme song for the long, troubled winter of 1981, as New Zealand was wracked by division during the Springbok rugby tour. Poet and playwright Richard von Sturmer wrote the lyrics; the music was by Blams drummer Don McGlashan. The video features the band after dark on the roof of TVNZ’s old Shortland Street studios in Auckland, alongside fleeting shots of Kiwi celebrity lawnmowing. The dancing Marmite and Vegemite jars were originally created for a piece of political theatre written by von Sturmer.
This infectious clip marks one of the only Kiwi music videos to have been made independently of state television in the 1970s. Spats toured their eclectic brand of music from Blerta's old bus, then found fame after morphing into The Crocodiles. In this track vocalist Fane Flaws demonstrates a TV screen can make a valid performance tool, and regular Spats accomplices Limbs Dance Company add some moves of their own. The video was directed by Flaw's old Blerta colleague Geoff Murphy while Spats was on tour. 'New Wave Goodbye' ultimately ended up on Crocodiles album Tears.
“I’m as blue as a new tattoo...since I lost you” sings Graham Brazier on this first single from Hello Sailor’s 1994 comeback The Album. Loss is leavened by the harmonica and guitar of the band’s energetic brand of pub rock. In the black and white music video they cruise around in a Chevrolet, intercut with Auckland street scenes and a young woman in a leather bustier walking her dog. ‘New Tattoo’ peaked at five in October 1994, the band's highest chart placing. In a 2013 AudioCulture profile, Murray Cammick rated it "a strong addition" to the Hello Sailor canon.
The video for this Phoenix Foundation single features Bret McKenzie excavating a deep hole, in a landscape that evokes the work of Russian director Andrei Tarkovsky (although Loren Taylor's video was actually shot in a clearing close to Wellington's wind turbine). The band turns up to watch, and the man finds eye-opening liberation from his toil. Vocalist Samuel Flynn Scott credited inspiration for the song to musician Lawrence Arabia’s recipe for satisfaction: ditching dreams of success, in order to enjoy making music. The result was a finalist for the 2016 APRA Silver Scroll.
'Royals' took Lorde far indeed. The Auckland teen found herself topping the charts in ten countries, with her debut single (which she co-wrote with producer Joel Little). The award-winning music video has been seen a mind-boggling 680 million+ times online. The clip was born from conversations between Lorde and director Joel Kefali about what it was like to be a teen in Auckland. Kefali has said the intent was to "capture a mood, capture a particular (sometimes ignored) slice of teenage life". The American version of the video features slightly more of Lorde than the original.
Though gifted with a typically driving chorus, this Naked and Famous track evokes a state of limbo and dissatisfaction. Winner of a New Zealand Music Award for Best Music Video of 2014, Campbell Hooper's clip is permeated by mist and mysterious, possibly violent events. Is that a murder playing out on screen, or merely someone getting the firewood ready? Are those men doing exercise, or punishing themselves? And is that Michelle Ang getting out of the pool? Longtime collaborator Hooper directed the video in New Zealand and the band's base in Los Angeles.
Soul songstress Hollie Smith looks gorgeous in a fierce kind of way, in this clip directed by Preston McNeil. Auckland bars Hotel DeBrett and Sale St gleam, and there are clowns, stylish assassins and a mysterious crime. Not to mention celebrity cameos galore — including Danielle Cormack, future Westside actor Pana Hema-Taylor, and music TV hosts Shavaughn Ruakere, Nick Dwyer and Helena McAlpine. Topping it all off: surely the longest credits sequence in the history of Kiwi music videos.
'Land of Plenty' is a love letter to Aotearoa, featuring another take on the conversational vocal stylings heard on global smash 'How Bizarre'. Channelling his Niuean father's love of NZ, Pauly Fuemana namechecks favourite streets, Mt Ruapehu, white water and "open caves that glow supreme". Taisha Khutze (now in The Lady Killers) supplies some impressive vocal stylings of her own. In 2013 co-writer Alan Jansson joined Fuemana's widow in criticising what they saw as "noticeable similarities" between this top five hit, and the song for a 'Land of Plenty, Land of Quattro' car ad.
This music video features Greg Johnson sitting in front of a kaleidoscopic green screen, while the backdrop changes through green paddock to wavy blue, and everything in between. Alongside the Kiwi scenery, Johnson sings of a woman he is extremely keen to know better. The clip’s final shot reveals a different locale than expected. 'Cut to the Chase' is taken from 2000 album Sea Breeze Hotel, which NZ Herald writer Russell Baillie praised as expressive and wide-ranging.
The lyrics to Greg Johnson's ‘Looking out on Monday’ pay tribute to the satisfaction of sleeping in, and skiving off work; they also mention recognising that “failure is in your lover’s eyes”. Johnson's long time musical collaborator Ted Brown appears in the video as the friend who pops over to Greg's place (in Los Angeles?) to say hello. 'Looking Out on Monday' is taken from 2008's Seven Day Cure, which NZ Herald critic Russell Baillie called “one of the most fully realised Johnson albums yet”. The track was included in Dustin Hoffman / Emma Thompson romance Last Chance Harvey.