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).
This Betchadupa video opens with frontman Liam Finn performing in a recording studio; the other band members are soon revealed playing to unusual, sometimes unprepared audiences. Drummer Matt Eccles plays an impromptu gig in a lift, Chris Garland entertains boogying kindergarteners with his guitar, and Joe Bramley on bass harasses shoppers in a cinema foyer. By the end, the band are back together. Taken off Betchadupa's self-titled EP, the catchy track was nominated for a 2000 Silver Scroll songwriting award. Lead singer Finn was around 16 at the time.
The Katene Sisters were a Shortland Street creation — a vocal group from the past of nurse Jackie Manu (Nancy Brunning), who reformed for a talent quest. The other members were her cousins, but only one (Annie Crummer) appeared, allowing nurse Carrie Burton (Lisa Crittenden) to step in. Though they didn’t win, they were given a brief life outside the show when this song (written by Crummer and ex Holidaymaker Barbara Griffin) peaked at number three in the NZ charts. The video shows them getting down to business in the recording studio, with Crummer in her element.
NZ's first house record was a one-off studio project for Simon Grigg, Alan Jansson, Dave Bulog and James Pinker. With a nod to UK act MARRS' indie/electro hit 'Pump up the Volume' — and a sample from Indeep's 'Last Night a DJ Saved My Life' — it briefly featured in the UK club charts. The TVNZ-made music video borrows the record's original graphics (by novelist Chad Taylor) and marries them to a mash-up of 1960s black and white, music related archive footage (including C'mon) with the occasional novelty act and politician added for good measure.
This brooding collaboration with Ladi6 from Shihad frontman Jon Toogood's other project The Adults, is yet another departure from his hard rocking day job (although guitarist Shayne Carter briefly raises the temperature). Director Sam Peacocke's split screen video was shot at legendary Auckland studio The Lab (where The Adults recorded their debut album). Ladi6 anchors one side with a typically soulful performance while Toogood (uncharacteristically playing bass), Carter, drummer Gary Sullivan and engineer Nick Roughan are all serious intent beside her.
With 'Turn from the Rain', The Veils added their name to the prestigious list of bands who have recorded at London's famed Abbey Road Studios — a list which includes The Beatles, Pink Floyd and Radiohead. According to frontman Finn Andrews “The room there is so musty and still … you want any sound you make to be worth disturbing the grand silence for.” The idea of making a video at Abbey Road arrived at 2am in a Hackney flat; the performances were shot on 16mm film, an appropriately retro touch considering the venue. The recordings were later released on The Abbey Road EP.
Inspired by the words of poet James K Baxter, ‘Let Time Be Still' was one of 12 songs recorded for 2000 tribute album Baxter. With help from studio whizz Joost Langeveld, Greg Johnson goes for a spare, percussive approach which puts the lyrics of Baxter's early love poem at front and centre. The video merges blue-washed images of Johnson in and around Jerusalem, with the long-haired, mokoed object of his affection. In 2010 the poem was given a more classical treatment by composer Te Ahukaramū Charles Royal.
This militant debut from rappers Upper Hutt Posse marked New Zealand’s first hip hop record. Dean Hapeta announces himself with a history lesson proudly namechecking the great Māori warrior chiefs of the 19th Century — Hōne Heke, Te Rauparaha, Te Kooti — and their Māori Battalion successors. ‘E Tu’ is also a personal manifesto, with promises to preach the truth but not to brag or wear gold chains. Hapeta's down the barrel delivery carries a degree of confrontation rarely seen from New Zealand musicians up to that point.
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.
This feelgood classic was written in Wanaka on the first Blerta tour, for the group's kids' shows. The hope was that a children’s show would win over local audiences when Blerta's busload of merry pranksters rolled into a new town. The song's concept was inspired by a Margaret Mahy story, reshaped by Geoff Murphy. Corben Simpson composed the music, and actor Bill Stalker narrates. It became a top 20 single, but a video was never made. This clip — combining new scenes, and old footage of the Blerta bus and varied escapades — was created for 'best of' film Blerta Revisited.