Year: 2012

Unitone Hifi “Sitting by the Phone”

“Sitting by the Phone” was Unitone Hifi getting very very pop. Peter at DubDotDash has the interesting tale behind the song – after Teremoana previously had a song rejected from Deepgrooves due to it being too political, Unitone Hifi teamed up with her and went in totally the other direction.

The video is even more pop, positively revelling in the song’s popfulness. In a bright cartoony world, Teremoana and two pals hang out by a swimming pool. Over behind a wire fence, we also see three dudes hanging out, playing cards – presumedly they are too busy shuffling to phone Teremoana.

Bobbylon busts in with a verse, offering the male perspective (he <3’s her too). MC Just One pops up for a rapped verse, but his argument is less convincing. “I’ll tell you one thing, G, I’ll call when I call,” he raps. Seriously, a guy calling a girl “G” is at least as awful as being called “bro” or “dude”. Instant deal-breaker.

Now, the important thing to remember is that back in 1992, the only people who had cellphones were businesspeople. So when Teremoana sings of sitting by the telephone, she’s talking about the landline in her house. But it is to the video’s credit that there is no phone in the video. Instead Teremoana’s hanging out in the sun, with her friends – not a lovesick shut-in. It’s a sunny, optimistic video – just right for seeing in the summer.

Best bit: the green screen pool, a good use of technology.

Director: Josh Frizzell
Ngā Taonga Sound & Vision

Next… extraterrestrial.

The Verlaines “Mission of Love”

At the end of this video, there’s a clip with James Coleman interviewing Karyn Hay about the video. She explains that the Verlaines’ American record label weren’t happy with the video because it didn’t contain enough “pop-star lip-synching”.

And indeed it’s a very non-commercial video. Despite being a lively pop song, the video goes for quite an abstract treatment. The video starts off seeming like a standard pop road video, with footage of rural New Zealand. But it’s shot in grainy black and white, with bleak scenes of lifestyle blocks. Even a trip to the beach in a bang-up old Valiant is stark, not sunny.

Later there’s colour footage of the back backstage at a gig, but it’s blurry and dimly lit. Hey, let’s throw in some kaleidoscope effects to make it even less pop.

But it’s not all bleak. Suddenly and unexpectedly there’s a drive-by on a field full of cherry trees, bursting with their brilliant pink blossoms. This leads to a live performance at the Glue Pot, where the band play to an almost empty pub, with a lone dancer grooving under a strategically placed pink spotlight.

So if you look at it in pop terms, yeah, it’s not a great pop video. But it is a great pop song with a cool video that has plenty of humour lurking within.

Best bit: The seven seconds of actual lip-syncing.

Note: keep watching after the video for the chat with director Karyn Hay.

Director: Karyn Hay
Ngā Taonga Sound & Vision

Next… call waiting.

Let’s Planet “Arm and a Leg”

Let’s Planet was the next project of former Chills drummer Caroline Easther. She played many instruments in the band and the Karyn Hay-directed video shows that, using rotating line-ups within the video. This was the only Let’s Planet song to have NZ On Air funding

Being a work of the early ’90s, the video makes liberal use of green-screen effects. Most of it involves Caroline or the full band against a wondrous backdrop, such as cows, flowers, a suburban street and ducks. The video also uses the grid digital effect, with lots of tiling, making the video look like the output of a Japanese photo sticker booth.

This video leaves me feeling a bit stuck. Nothing really happens in it, it’s just the band playing the song. Did the giant flowers have more impact in the ’90s when this sort of effect was new? Should the video have a bit of dirt amongst the flowers?

Maybe it’s ok for the video to be like this. Let’s Planet don’t seem to have an edgy rock side to them. They’re a sweet indie pop band who write thoughtful lyrics like “your indecision is costing everyone”. They almost seem to exist outside the realm of the regular world of music – a bunch of people who quite like making music, who recorded some songs and came up with an album. And they still appear to be doing stuff.

Director: Karyn Hay
Ngā Taonga Sound & Vision

Next… a lack of pop-star lip-sync.

The Katene Sisters “Keeping Up the Love Thing”

The Katene Sisters were a Shortland Street plot. It was revealed that nurse Jackie Manu (Nancy Brunning) had previously been part of an girl group called the Katene Sisters, rounded out by a couple of her cousins (who I assume were the Katene sisters). The trio reunited for a talent contest at Kennedy’s bar, ready to reprise their hit song “Keeping Up the Love Thing”.

One of the cousins was played by Annie Crummer, the other by an actress whose name is forgotten to the mists of time. But this sister wasn’t important, as the plot required her to get ill and drop out of the talent contest, with nurse Carrie Burton (Lisa Crittenden) stepping in as a last-minute Katene.

The result was a single that hit number three in the New Zealand charts and included this video which was uploaded to YouTube around the time of Shorty’s 20th anniversary celebrations in May 2012.

The video is simple but fun. Shot in black and white, it’s based around the trio singing the song in a recording studio. Pop star Annie dominates the song, overshadowing the two actors’ more restrained vocals, but the video gives plenty of time to the two soap stars.

We also get glimpses of the studio control room and I think that’s ex-Holidaymaker and Annie Crummer’s collaborator Barbara Griffin with a head full of luxuriant dreads, keeping an eye on things.

And that’s basically it. Occasionally there’ll be a dramatic close up of lips or an eye, but it’s mostly just the girls messing around, having fun.

The song wasn’t quite good enough for the fictional trio to win the talent contest. That went to Chris and Carmen’s disco number – Carmen was, after all, the Levin disco champion. And there have been other Shortland Street pop spin-offs – Dr Sarah’s sultry cover of the Buzzcocks “Ever Fallen In Love” made it to number 24 in the charts, but nothing has quite had the joy and energy of the Katene Sisters.

Best bit: Annie’s dramatic braid flick.



Director: Tristan Strange
Ngā Taonga Sound & Vision

Next… giant flowers.

My Conviction “My Conviction”

My Conviction was an early project of Kurt Shanks, best known as the bass player in Stellar. I think Andrew Thorne of Splitter was also involved – the two of them are now back together as touring Kurt’s solo work.

But let’s go back to 1993, where a flaky old copy of the “My Conviction” video, taped off an episode of Pepsi RTR, reveals a band full of really good looking young dudes.

It’s a laidback, grunge-pop tune with an adventurous melody. The video starts off with the band in a stark white studio. This is them, and there’s nothing else to distract the viewer’s gaze. Lead singer Kurt delivers his swagger with ease.

Next we meet the band outside, in a wasteland outside an old building. Because it’s the early ’90s, there are flannel shirts, but also above-the-knee shorts. I’d almost forgotten about those shorts. I think that style came from Pearl Jam.

As far as I can tell, the song didn’t chart. It wasn’t following Inner Circle and Bell Biv Devoe to number 15 in the RTR charts. This might even have been the only screening on New Zealand television. Listen to how excited announcer Daniel Wrightson sounds when he announces the upcoming videos, including the alarming 1993 remix of the Doobie Brothers’ “Long Train Running”. “My Conviction” is good song, but maybe it just wasn’t the right time for the My Conviction band. Shorter hair and slicker moves beckoned.

Ngā Taonga Sound & Vision

Next… the losing entry of the 1993 Kennedy’s talent contest.

Al Hunter “I Don’t Wanna Go To Work Today”

Country music singer Al Hunter’s ode to slacking was a single from his 1993 album “The Singer”. He was might not have been as cool as the Warratahs, but his album was critically acclaimed and, they say, should have turned him into a big star. Instead he’s more a cult figure, the discussion subject of many web forums.

We meet a sepiatone Al having his morning shave, going through the motions while his heart is in on holiday in St-Tropez. It appears he works in a dairy factory, which could be problematic if you weren’t really into milk. Then, away from this fantasy world, in colour, Al is performing the song with his band in front of a small crowd. Women with chambray shirts smile and awkwardly sway from side to side. That’s his fanbase.

Other things that Al would rather do instead of working: go for a hoon along the Southern Motorway, fantasise about “some film star in a negligee” (Keanu Reeves?) and get pissed in Paris. Man, if he’s that unhappy, why doesn’t he just quit?

Well, he does. He calls up his boss, gives notice and racks off to the Civic to see a film. Nice one. And the video ends with Al in the cinema watching a film of his favourite thing – playing with his band in front of the enthusiastic crowd.

Best bit: when the milk bottling plant gets jammed, which also serves as a metaphor.

Ngā Taonga Sound & Vision

Next… put your grunge shorts on.

Moana and the Moahunters “Peace, Love and Family”

After being part of the original trio of NZ On Air-funded videos, “Peace, Love and Family” was Moana and the Moahunters’ second funded vid, again directed by Kerry Brown. The song mixes up tikanga Maori with contemporary dance music, being probably the only pop song that starts with a staunch “Tihei mauri ora!” before launching into house beats.

The video isn’t trying to be cool (but does it anyway). It’s a joyful celebration of the values in the song – peace, love and family. We meet a large group of the Moahunter whanau. They’re having a good kanikani outside at what looks to be a traditional marae.

The serious verses are delivered with a matching visual tone. Moana earnestly singings the lyrics, overlaid with historic photos of Maori experiencing hard times. Her solution to these troubles? Why, peace love and family, of course. The colourful chorus kicks in and Moana’s joined by the Moahunters – Teremoana and Mina.

Back outside, everyone’s dancing it up, having a great time. This is not a world of the professionally choreographed music video. It’s uncles and aunties doing uncle-and-auntie dancing. And because it’s the early ’90s, everyone has their t-shirts tucked into their jeans.

The song turns into a bit of a free-for-all: Matty J pops up for a one-line cameo (“It’s not my problem, hey!”), Teremoana does a ragga rap, Moana has a sultry chant, and Mina finishes with a karakia

Best bit: the enthusiastic dancing from the lady in the pink powersuit.

Director: Kerry Brown
Ngā Taonga Sound & Vision

Next… October 1992: having a sickie.

Jules Issa “Dangerous Game”

Jules Issa made a moody dance version of “Dangerous Game”, originally by New Zealand reggae band Diatribe. Peter at Dub Dot Dash has a bit about both.

It’s a very stylish music video. Similar to the look of Moana and the Moahunters videos, Jules is elegantly dressed in contemporary Maori fashion. She’s shot in a black studio, dramatically surrounded by carved pou, with subtly changing mood lighting.

In another setting, Jules is accompanied by the dramatic shadow of a man brandishing a taiaha, busting some mau rakau moves. (I’ve said ‘dramatic’ twice already; it’s a very dramatic video). In this setting, Jules is also joined by another warrior and two women who join her in dancing, everyone but Jules is lit in shadows.

So far it seems inspired by the video for Soul II Soul’s 1989 hit “Back to Life”, but we can’t stay cooped up with that groove forever. It’s out onto the streets, where Jules and three cool dudes are casually hanging around the back of a building, behind a chain-link fence – music video shorthand for gritty and urban.

I like what this video has done. In the early ’90s, formation dancing was very popular, and with this being a dance track, it makes sense to have dancing in the video. But rather than go for generic club moves, “Dangerous Game” digs deeper into the themes of the song and uses both traditional and contemporary Maori movement.

Best bit: the urban excursion, getting a bit of fresh air.

Director: William Roberts
Ngā Taonga Sound & Vision

Next… February 1992: tuck in your t-shirt.

Verlaines “Tremble”

According to Wikipedia, Graeme Downes co-wrote this song with Robert Smith of the Cure. Yeah, I’ll buy that. That song has a great pop sound and does all sorts of clever musical things. But, hey, I’m here for the video.

It’s set in an unusual world, the sort of crazy place that only appears in music videos. A bird cage rotates. A grey-eyed woman gazes at the camera. A tiny figurine of Cinderella and Prince Charming dances around a table top. Ventriloquist’s dummies stare. But being as emerged in the symbol-laden world of music videos as I am, this kind of world feels pretty normal.

But my favourite video star is the elegantly dressed woman who runs into the arms of her sweetie and we discover he has a totally bandaged head. Unable to really look into his eyes, she turns to the camera as if to say, “Yes, I’m going out with a bandage-faced man. We are deeply in love. Are you shocked?”

The woman does a lot of running, either to or away from her mummified lover. She runs into a space with lots of eyes painted on the walls. Surely a cruel prank with her boyfriend’s optical disability.

While all this randomness is happening, the Verlaines are in their their own surreal world. They’re found in a black wasteland, with a dark tree in front of a dark blue sky. It’s all in a studio, which gives the setting even more of a surreal flavour.

It’s a strange experience watching this old video. I’ve previously been immersed in the higher-tech world of the late ’90s, where it started to be possible to make a pretty good looking video on a budget. So compared to that period, this old Verlaines video looks a little cheap and clunky. But then being over 20 years old, perhaps it’s time to appreciate it in a new light. Yah, so retro.

Best bit: the freaky smoking mannequin dude.

Director: Toby Parkinson
Ngā Taonga Sound & Vision

Next… February 1992: getting dangerous.

Weta “Got the Ju”

As with all the other Weta videos on YouTube, this one is short. It’s the last one minute and 28 seconds of the “Got the Ju” video, but that’s ok.

Like a lot of people, the first time I heard the song, I thought the chorus was controversially exclaiming “Got the Jew! Got the Jew!” But it turns out it’s slang – either short for juice or juju, depending on who you ask. And yes, this is what 90% of the YouTube comments are about.

It’s nice a nice, positive rock tune and the video doesn’t go any deeper than that. The video is directed by Reuben Sutherland who had previous worked with Weta pals Shihad. Unlike the previous videos that were a bit more high concept, this one is simple black and white concert footage.

The concert is somewhere in central Auckland – and the Sky Tower really makes it easy to positively identify Auckland settings. It looks like Aotea Square, or somewhere around that area. It’s a decent crowd and Weta appear to be goin’ off. It reminds me of seeing Aaron Tokona’s new project A Hori Buzz at Homegrown earlier this year. It was crazier, the audience was smaller, but there was the same sense of stagecraft. This is a band that knows how to perform.

Sadly this was the final NZOA funded video for Weta. Their next single “Calling On” had the mighty wallet of Warner behind it, intended as a vehicle to launch Weta in Australia. Except the band broke up, splintering in some rather interesting directions, which we’ll get to when the late ’00s roll around.

Best bit: the rock pose silhouette against the distant Sky Tower.

Director: Reuben Sutherland
Ngā Taonga Sound & Vision

Next… moody delights.