Herbs released this ‘no nukes’ single the same year David Lange smelt uranium, while debating nuclear weapons at the Oxford Union. The video mixes on-the-beach Pasifika dancing with shots of the band performing at Western Springs, and protests against US nuclear warships and submarines visiting Kiwi waters. DIY visual effects show the band looming over Mt Eden Prison, and nuclear explosions punctuate the laid-back reggae beat. From 1984’s Long Ago album, the song was written by then frontman Willie Hona, keyboardist Tama Lundon and Rob Van De Lisdonk.
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.
Julie Hermelin's (Sarah McLachlan, Luscious Jackson, Moby, Ben Folds Five) mesmerising video shows the band playing while NYC streetlife passes by ... in reverse. A clever if not confounding concept when considering the band's performance, which appears to be forwards. Extraordinary processing and grainy contrast further enhance this one take time-space wonder. Note the man "reconstructing" an apple with his mouth.
With a chorus to do any football terrace proud, the final single from Th’ Dudes (featuring Dave Dobbyn, Peter Urlich and Ian Morris) became one of the great Kiwi drinking songs. It was actually written in Sydney to parody hard-drinking pub crowds; the lyrics namecheck Sydney landmarks (The Coogee, The Cross) and delights unavailable back home (Spanish shoes, falafel). Shot in Wellington's booze barn-like Cricketers’ Arms, the video showcases the excitement of the band’s live show, and offers a snapshot of bar culture in early 80s New Zealand.
After making music overseas as part of theatre troupe Red Mole, Jan Preston and Neil Hannan headed home and founded the band that would be known as Coup D'Etat. Preston took lead vocals on this, their debut single. The video — by cinematographer Leon Narbey — sees her performing in a little red dress, while ex Hello Sailor guitarist Harry Lyon continues the colour theme. Then they head out on the highway. 'No Music on My Radio' proved a sadly apt title: local radio showed little interest. The band soon hit the airwaves (and the top 10), with 'Doctor I Like Your Medicine'.
'One Will Hear the Other’ offers all the trademarks of a Shihad classic — epic guitars, driving drums and a chorus tailor-made for joining in at one of the band’s legendary live shows. Directed by Australian Toby Angwin, and shot in Shihad’s then hometown of Melbourne, the video features performance footage of the group projected on to central city buildings, alongside a narrative implying this is the work of a group of guerilla street artists. The song was the lead single from 2008’s Beautiful Machine album, which debuted at number one on the New Zealand Top 40 chart.
Not exactly a music video, more a prototype. This promo film clip for the Kiwi classic was taken from the band's appearance on the Aussie TV show Bandstand in 1964. It's black and white and very basic, but the band has zoot suits; high slung guitars, as was the way of the time; and all the right moves. A very young-looking Ray Columbus has the beginnings of a Beatles hair-do, and is forever captured in time doing the legendary 'mod's nod'. This was the first time a film clip of a band performing was used for promo purposes in NZ.
Don McGlashan has never been scared to use New Zealand place names in his songs, and never more so than here on the Mutton Birds’ classic debut. His imagined back story for a man he saw from a bus window one day — a resident of the fabled “half way house, half way down Dominion Road” — is a tale of loss and redemption set on one of Auckland’s busiest arterial routes. Fane Flaws directed the shots of the band, while the colour footage (showing glimpses of forgotten shops and a less multi-cultural streetscape than can be seen today) was shot by Leon Narbey.
The video for this chart-topping single uses bright colours and split screens to highlight each player in the band. Along the way band members take a moment to show which person (or in one case, animal) is special to them. Six60 fans were encouraged to jump on board and take photographs of the special people in their lives, which were displayed on the band’s official website. The hook-laden single went double platinum; 'Special' offered the first taster of their second album, which — like the first — was titled Six60.
With its swirling keyboards and dark lyrical concerns (in keeping with the fraught year NZ was embarking on), 'Jumping Out a Window' has become a classic (with a slot in APRA's Nature's Best Top 100). The third Pop Mechanix single, it shows the influence of the friends the band was starting to make — produced by Split Enz' Eddie Raynor and the debut release on Mike Chunn's boutique XSF label. The TVNZ made clip is firmly of its time and one of the broadcaster's more literal efforts (no mean feat in itself) — featuring windows and jumping.