Four Seasons in One Day

Crowded House, Music Video, 1992

This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.

The Gravy - Series Three, Episode One (Little Bushmen vs Auckland Philharmonia)

Television, 2008 (Full Length Episode)

This episode of the Sticky Pictures’ arts show covers a 13 July 2008 concert that combined the musical talents of the Little Bushman with composer John Psathas and the Auckland Philharmonia. Trinity Roots alumnus Warren Maxwell is the frontman for Little Bushman and is a behind-the-scenes guide as they prepare their trademark psychedelic blues for Psathas (Olympics 2004 opening ceremony score composer) to wrangle for orchestral collaboration. Philharmonia met harmonica in one-off gig at Auckland Town Hall. The doco was directed by Mark Albiston.

Nature

The Mutton Birds, Music Video, 1992

This muscular early 90s cover of The Fourmyula’s pastoral 1969 classic comes from the first album by Don McGlashan’s band The Mutton Birds. The award-winning music video was directed by Fane Flaws — the first of six he made with the band (after previously working with McGlashan on The Front Lawn’s Beautiful Things clip). Guest vocalist Jan Hellriegel features amongst the battery of kaleidoscopic and psychedelic digital effects used to evoke the joys of nature. In 2001 the original tune was voted best NZ song in 75 years by songwriters’ association APRA. 

C'mon - Series One, Final Episode

Television, 1967 (Full Length Episode)

This is the final episode in the first series of New Zealand's classic 60s pop show. Host Peter Sinclair seems to have no idea that the show will return for another two years. Meanwhile Mr Lee Grant, Sandy Edmonds, Herma Keil, Bobby Davis, Tommy Adderley, a rocking Ray Woolf and the Chicks run through the big hits of 1967, managing to compress 21 songs into a frenetic half hour. Sinclair promises "big sounds, fun sounds, wild sounds" as the show ranges from blues-rock through ballads and 'Edelweiss', to a nod to the children watching with 'Ding Dong the Witch Is Dead'.

C'mon - Series One (Episode)

Television, 1967 (Full Length Episode)

The NZBC's premier 60s music show was the ultimate pop confection, complete with hip presenter Peter Sinclair, hyperactive go-go dancers, pop art set and breathless pace. In one of two surviving episodes, regulars Mr Lee Grant, Herma Keil and Billy Karaitiana cover the hits of the day, with help from guests The Gremlins (previewing the psychedelic pop of their song 'Blast Off 1970'), 50s rock'n'roll pioneer Bob Paris, and "southern songbird" Bronwyn Neil. The show is rounded out with a medley of nostalgia favourites — including a cameo from Sinclair.

She Speeds

Straitjacket Fits, Music Video, 1987

A triumph of imagination and creativity over budget, this now classic Jonathan Ogilvie clip cost just $250 to make, and the song is probably their best known. Coloured cellophane and a projector created the far out psychedelic look on the band members’ underwater heads; the performance shots capture the Fits on the back of a truck, going through the Lyttelton tunnel. The ever-cool Shayne Carter snarl is supported by an almost-mullet — apparently self-styled.

Spot On - First Episode

Television, 1974 (Full Length Episode)

This first episode of this much-loved kids series explores all things to do with lighthouses. It begins with a visit to Nugget Point; then things get eclectic. Earnest informational TV is interspersed with psychedelic graphics, cartoons, a sea shanty ("I want to marry a lighthouse keeper"), and funky lighthouse-themed songs. We meet Don (a lighthouse stamp collector); uncover the mysteries of how a ship fits into a bottle; and the three young presenters deconstruct their attempts at painting lighthouses, including a fine abstract effort from co-presenter Ray Millard. Classic.

Pedestrian Support League

Street Chant, Music Video, 2015

With its video filmed in a cramped Auckland flat, 'Pedestrian Support League' was the lead single off Street Chant’s long-awaited second album, Hauora. As the band play on, a psychedelic array of everyday kitchenware flies by in the background. The claustrophobic flat is appropriate — lead singer Emily Littler describes the lyrics as about “just your typical Kiwi shithole flat life filled with paranoia, depression and anxiety.” The album received critical praise upon its release, and the single was was one of five finalists for the 2016 APRA Silver Scroll Songwriting award.

How Is the Air Up There?

Ted Brown and The Italians, Music Video, 1994

This cover by Ted Brown and the Italians of the 1966 hit for the La De Da's focuses on the rock in the psychedelic rock original. Directed by Chris Jackson (Impressions), the no-frills video is all moody blues and reds, cut together with Brown and the band seen in naturalistic colour through a fisheye lens. Brown had won a Tui NZ Music Award for Most Promising Male Vocalist the previous year. Trivia: the Artie Kornfield and Steve Duboff-penned song was also covered by The Bangles. In 1995 Darryl 'DLT' Thomson remixed Brown’s version as the theme music for TV3 music show Frenzy.

Rain and Tears

The Hi-Revving Tongues, Music Video, 1969

‘Rain and Tears’ was inspired by a reworking of Pachelbel’s ‘Canon in D Major’ by Greek prog rockers Aphrodite’s Child (featuring Vangelis and Demis Roussos). Auckland band The Hi-Revving Tongues had their biggest hit with their version, which topped the New Zealand singles chart in 1969. This footage is from the Loxene Golden Disc contest, where they won the group award, and were nominated for best song. It’s a restrained performance which gives little hint of the band’s more psychedelic sound  — or their enthusiasm for onstage pyrotechnics.