Recorded after their new label Mushroom Records Australia demanded ballads, 'Last Night In The City' is a moment of a departure from the hard rock that Knightshade were known for. But the song proved to be their biggest hit, clawing its way to number nine on the New Zealand singles chart in December 1989. The video has the band playing in a moodily-lit recording studio and features a double neck guitar à la Jimmy Page, a mystery woman, and lead singer Wayne Elliott lamenting lost love. The song was produced by American recording veteran Jim Faraci (Ratt, Poison).
'Trippin'' was the debut single and biggest hit for early 90s North Shore rockers Push Push, who were powered by the lung-filled squall of future media personality Mikey Havoc. It spent six weeks on top of the Kiwi singles chart, propelled in part by this highly effective, and award-winning performance video from Chris and Tim Mauger. The clip provides ample testimony to the power of guitars, hair, t-shirts, that voice, and a healthy dose of strobe lighting. It's worth noting that, even at this formative stage of his career, Mr Havoc isn't exactly shy of the camera.
From Shihad’s first album Churn, the video for 'Derail' is a dark and unsettling affair, recasting everyday Kiwi pursuits in a tense, almost disturbing manner. It’s directed by ex-Supergroover Joe Fisher (now known as Joe Lonie), who marries their dissonant riffs and twisted time signatures to black and white footage of horse racing and punters at the track. Added to the kiwiana gothic mix is some serious looking gumboot tossing, churches and religious imagery: cows and power pylons, golf, bumper boats, roller coasters and dodgems.
Problems marks the beginning of a fruitful collaboration between Salmonella Dub and director/animator Steve Scott (working here with co-director James Littlemore). The video features a lone wanderer stuck in a scorched earth desert. The briefcase of money he carries is useless in such a place, and despite stumbling across a detention centre and signs of civilisation (in the form of dystopian power plants and pylons) our wanderer keeps on his aimless lumber. Not even a trusty fake moustache gag can glean a laugh or stop him in his tracks. If only it were to rain...
From The Phoenix Foundation’s second album Pegasus, ‘Hitchcock’ is an eerie “electro noir” instrumental tribute to the great film director. Reuben Sutherland’s remarkable clip (which he shot, directed, animated and edited) features a choreographed army of Russian Lada cars — created out of images shot with a stills camera and layered 90 times. What follows is a surreal, conservation-themed revisiting of the Cold War as the electric powered Ladas of the ‘Petrol Crimes Bureau’ are pitted against a gas guzzling 4x4 (bedecked with the Stars and Stripes).
Released as the follow-up to Emma Paki’s acclaimed debut (‘System Virtue’) this song was produced by Neil Finn. It made it to five on the local charts. Prolific music video director Kerry Brown (Four Seasons in One Day, AEIOU) helms the redemption story. Paki — in full-colour and fern headdress — sings about the power of pounamu, while actor Cliff Curtis (Once Were Warriors, Fear the Living Dead) plays a roadie adrift in the city in black and white. When things go awry on K Road outside McDonalds, Curtis heads to the bush for spiritual succour from Paki in a waterfall.
‘Still in Love With You’ dates from 1978's O Zambesi, the album that yielded Dragon ‘Are You Old Enough’, their first (and only) number one hit in Australia. One of a series of hook-laden singles penned by keyboardist Paul Hewson, 'Still in Love' became another live staple for the Auckland prog-rockers turned Aussie pop stars. A straight down the line performance video shot against a white-washed studio, the video works thanks to the star power of lead singer Marc Hunter, who brings to the party all of his swagger, charisma and coiffed hair. The band bring their sunnies.
Despite the enduring success of the title track, ‘Love You Like I Should’ was the big hit from Dave Dobbyn’s first solo album Loyal. It’s an upbeat rocker complete with horns which Dobbyn has described as a “rant”. The lyrics echo the album’s themes of love and loyalty but the message of defiance to the “powers that be” seems to hark back to the messy, failed prosecution he faced after the Queen Street riot. The video captures the energy of song and performance as Dobbyn confronts the camera and backing singer Margaret Urlich models her gaucho look.
Herbs visited the troubled East Coast town of Ruatoria in 1987, bringing music and aroha. They left with a documentary and this music video, which shows the band meeting and performing for the locals. Both The Power of Music and the music video were co-directed by Lee Tamahori (Once Were Warriors ) — in one of his earliest turns as director —and cinematographer John Day (Room that Echoes). The ode to love and harmony was judged Best Music Video at the 1987 New Zealand Music Awards.
Taking as its subjects a boy discovering new sounds on the radio and a soundtrack that gives purpose to a woman’s life, ‘Misty Frequencies’ is a soulful hip-hop hymn to the power of music. Che Fu’s music video places the singer and his band in a giant Tetris-like computer game before plugging into a bush setting (locations representing his musical yin and yang of technology and passion?). A magic mushroom prefigures the tree ferns collapsing in a heap of CGI bricks. ‘Misty Frequencies’ won the 2002 APRA Silver Scroll for Che Fu and co-writer Godfrey de Grut.