'Lyin' in the Sand' closed Hello Sailor's self-titled debut album in 1977, the song's languid South Seas vibe providing respite after 'Gutter Black' and various guitars. Inspired by a spontaneous South Pacific parody from vocalist Graham Brazier one night, it was written by guitarist Harry Lyon after observing how Takapuna's smart set took their beach for granted. TVNZ filmed the band playing live in a Christchurch studio in 1978, just before the band set off to try to make it in LA. Lyon sings, so Brazier is absent; drummer Ricky Ball's hula confirms that the band’s tongue was in its chic.
This song is taken from the only new album released in the 1990s by Kiwi music legends Hello Sailor. In an AudioCulture profile of the band, writer Murray Cammick praised the Dave McArtney-penned track as one of two strong additions to the Hello Sailor canon (alongside song 'New Tattoo', also from 1994). The music video features the band playing (on a Ponsonby street, in a derelict building) intercut with archive clips (famous sporting moments, returned servicemen, Edmund Hillary, hikoi, the Beatles tour), echoing the song’s lyrical themes of waning memories and nostalgia.
This performance by Hello Sailor was recorded by TVNZ in Christchurch, at the Civic Theatre in Manchester Street. Singer Graham Brazier (who passed away in September 2015) is said to have written the classic song about love, destruction and hurt in 15 minutes. It was a last minute addition to the band’s debut album (and their second Top 20 single of 1977, reaching number 13). 'Blue Lady' was later considered as a possible theme song for an Australian police show. It would have been a strange choice: this Blue Lady came from the wrong side of the tracks. It was junkie slang for a hypodermic syringe.
Hello Sailor perform the classic single from their debut album, for TVNZ's cameras. 'Gutter Black' features what composer Dave McArtney called the band’s trademark “whiteman’s attempt to play that ska rocksteady beat” — plus the distinctive sound of amped-up drums and handclaps. 'The song was originally titled 'Sickness Benefit', with lyrics mentioning “dole bludgers living in Ponsonby” — as revealed on a 1996 greatest hits compilation. Reconstituted as 'Gutter Black', the song took on a new lease of life as the opening theme for TV's Outrageous Fortune.
In late 1769 Captain James Cook first reached New Zealand, charged with charting the area. Peter Elliott chronicles Cook's journey in this award-winning four-part series. This first episode looks at his first encounters with local Māori, on the east coast of the North Island. While some greeted Cook with pōwhiri, others took exception to the murder and kidnapping the Europeans brought in spite of their declarations of peace. Amongst the locals Elliott meets on the coast is a young sailor in Tauranga who bears a striking resemblance to America’s Cup winning sailor Peter Burling.
As soon as the guitar line of 'Blue Lady' sparks up, the sea of perms, sweaty denim and cigarettes starts jumping. The Legionnaires (Hello Sailor reincarnated) were one of several top Kiwi bands to record live Radio With Pictures specials at Auckland's Mainstreet Cabaret during the 1980s. Their eight-strong set list contains bonafide hits like 'Blue Lady' and Graham Brazier's ode to his Liverpudlian roots, 'Billy Bold'. Another highlight is a moody rendition of 'Remember The Alamo' from guitarist and singer Dave McArtney's Pink Flamingos' catalogue.
This popular C4 series counted down 100 moments in New Zealand music history, scouring the archives en route to number one. Taken from episode three, this musical moment covers the time bands Hello Sailor and Dragon shared digs. Musos Graham Brazier and Todd Hunter, alongside music writer John Dix (Stranded in Paradise), provide the goss on the early 70s 'Ponsonby Rock' scene revolving around Mandrax Mansion — where members of the bands lived, played and partied hard. Brazier quotes lyrics from an unrecorded song about the then working class suburb.
A bold reveal of a rose tattoo opens this 1980 documentary on contemporary Kiwi tattooing. Then, a potted history of the practice punctuates visits to parlours on K Road and Hastings, plus the studios of industry legends Steve Johnson and Roger Ingerton. Interviews with tattooists and their canvases roam from stigma, the perils of permanence, and motivations for inking; to design tropes (sailors, serpents, swallows) and tā moko. Commissioned by TVNZ for the Contact documentary slot, the Geoff Steven film chronicles a time when “folk art has become high art.”
This 2001 Mercury Lane episode is based around pieces on author Maurice Shadbolt, and OMC producer Alan Jansson. With Shadbolt ailing from Alzheimer’s, Michelle Bracey surveys his life as an “unauthorised author” (Shadbolt would die in 2004). Next Colin Hogg reveals Jansson as the “invisible pop star” behind OMC hit ‘How Bizarre’ and more. The show is bookended by readings from Kiwi poets: Hone Tuwhare riffs on Miles Davis, Fleur Adcock reads the saucy Bed and Breakfast, and Alistair Te Ariki Campbell mourns a brother who fought for the Māori Battalion.
Gary McCormick heads west to Raglan, to ask "What goes on here? Why do people live here? What do they do?". To find out he goes surfing on the famous left-hand point break, hangs with hippies and Dave McArtney, catches Midge Marsden and the Mudsharks at the Harbour View Hotel, and discusses land rights with kaumatua Sam Kereopa. The recipe — McCormick as genial small town anthropologist discovering the locals — earned this a 1989 LIFTA award, and inspired long-running series Heartland. McArtney composed the soundtrack; Finola Dwyer (An Education) produces.