

Pagan and its sister label, Antenna, is the often unsung hero, and major player, of the New Zealand post punk indie scene. Whilst Propeller and Ripper may have set the scene, and Flying Nun garnered the reputation (and released far more records), Pagan was far and away the most successful independent label, and had a massive influence. And its influence goes beyond it’s own catalogue. It was Pagan that discovered Bic Runga and passed her on to Sony. Indeed the list of Pagan signed acts is quite incredible as this list, of the singles on the labels up to 2000, is clear evidence. Think Shihad, The Warratahs, Hallelujah Picassos, Strawpeople, Shona Laing, Ardijah, Tadpole, Greg Johnson, Relaxomatic Project, Pluto, Eye TV and many others. Indeed it can reasonably be argued that Trevor Reekie has the best set of A&R ears since the golden NZ pop days of the sixties. Perhaps ever.
Pagan existed from 1985 until the partners quietly shut up shop in 2005. It’s twenty year run is much longer than Flying Nun’s independent era (it was largely Murdoch owned from the mid nineties) and this list is testament to one of New Zealand’s greatest record labels.
Pagan managed to balance indie eccentricity with hits (and indeed was renown for turning those eccentrically indie records into hits) and was a goldmine, much plundered by the majors.
Pagan was started by Trevor Reekie, whose earlier history included some years in Europe plus stints running Terry Condon’s Stunn label, and Glyn Tucker’s Reaction imprint. It was originally a division of Mirage Films, with and an eye to soundtracks, but when Mirage ceased trading Reekie took over the label. One of the towering figures of NZ’s indigenous industry, he ran it continuously for the next two decades, with partner Sheryl Morris, then alone and then with a further partner, Tim Moon. Distribution was at various times with RCA, RTC / Virgin and then EMI.
The notes below are Trevor's own comments about each release, and a bit of label history..

Scott Calhoun was in Dave Dobbyn’s horn section for a while and also a member of Wentworth Brewster & Co
From the film Came A Hot Friday. Peaked at 33
Released after the Genre album. Remixed by Bruce Lynch. Radio wouldn’t touch it.
12" featured artwork from Gavin Chilcott. Amazingly hit the top 20 peaking at 19
From the album Live at Pips
From Genre
We released this twice but the first time no one would touch it with a barge poll – really frustrating coz we knew it should be a hit! It made radio uncomfortable the first time.
Simon Alexander, one time Grammar Boys member and a hugely accomplished muso and engineer

Peter Soloman, ex Techtone solo . A mate of Simon Alexander.
Recorded at Last Laugh Studios in Vulcan Lane, on 8 track
Ryan played bass for us in Car Crash set and then I heard Betty… so as soon as I stated Pagan I rang Ryan. This peaked at 15 but we hooked into South Auckland and to a certain extent bought the band into the CBD. They were a wonderful band.
Ian Morris. Chris Bourke sold me on Tex. I knew he was gonna do us good but it wasn’t gonna be this one but we managed to get Winter into a film.
We wanted to move forward from Genre and this was a taster to the big one South. Featuring Alan Jansson
Peaked at 14 and consolidated Ardijah’s reputation, but by then they were touring. The single got little airplay but the band and TV drove it.
Remixed in London by Liam Henshall. This record was kind of ahead of its time cos we didn’t have the technology to do what we really wanted to do.
A weirdo little obscurity from 2 Hamilton guys. Dobbyn was in Mandrill at the same time and came in and lent us his talents to it. Died without trace
From the film Queen City Rocker
I got Dave McArtney the music director's job on the Queen City Rocker movie . They needed a rock scene in the movie so Graham and Sailor recorded this Simon Alexander song
Johnny Bongo was John Quigley. This won Best New Band at the awards despite the band never playing a gig. Had a great clip filmed underwater by Jed Town
About here we switched from RCA to Virgin (under Brian Pitts)
Greg Johnson’s first recordings engineered by Paul and Mark of the Straw People before they were the Strawpeople
This version was remixed by Pete Wilson in the UK. Number 2 in NZ and 6 in Oz. It was reissued on the album South and released in America by TVT
My first sampler. Daniel Barnes was War Brides and David Parker came out of Rhythm Cage
The old Mindbenders hit. Our first number one single and radio lapped it up
By this time we were on TV with The Warratahs and TVNZ used it as a filler..

6 weeks at number one and the biggest selling single of the year. A cover of the little known Bill Withers song. Produced by Nigel Stone. Mirage Films (who originally set up Pagan) went into receivership at the same time but I'd set up an artist royalty acct with Noel (RIP) Agnew so the royalties were protected.
I convinced Ian Morris to make this recording he’d done with Rikki to be part of Tex Pistol. Then we found Paul Middleditch, a 20 year old genius video maker to make what is still a fantastic video
Went to number one. By this time I’d bought the label from the receivers.
From South. This is a great song and also had a Middleditch ‘one long shot’ video coz that was all we could afford. And he nailed it. But radio just didn’t wanna know. Fuckers!
How do u follow the biggest selling single of the year? This made number 6 but by then the band were in array. They came back from a tour of Japan and folded.
Smokeshop were such a great live band. Darren Watson just had this sound and notion of economy in his playing that is unique. Bruce Iglauer (Alligator Records), Robert Cray and George Thorogood all gave Smokeshop a thumbs up. From their first album
From their 2nd album Too Hot To Sleep, a song about Barry’s dad. By this time the The Warratahs were one of the hardest working bands in the country. They could play a gig anywhere and did!
By this time Greg had dumped This Boy Rob and joined the remnants of Car Crash Set which when u think about it was big of Nigel to relinquish the vocal seat.
By this time the tall poppy thing was clobbering us big time
This could have been a hit. We all knew David Parker had a hit in him except radio. Fuckers
Off the album Too Hot To Sleep
Still pushing the first album
Produced by Terry Moore from The Chills. Still nothing at radio.
I asked Airforce Studios which day the studio would never be able to book. Tim Foreman said Xmas day and Boxing Day. So I said we’ll give you $400 for both days and we’ll bring our own engineer (wee Terry). gregs parents bought in xmas dinner, girlfriends and mates were all around and it was one of the best xmas I ever had. The single flopped and it was truly a gem of a song ...! pop !
I finally got the PD from 91 FM to come see the show and these guys were a show. It cost them a fortune to go on the road ‘cos they had horn sections and backing vocals but that’s what Darren was chasing. Radio finally played us in time for the 2nd album So Glad.
This girl from Whakatane was only about 16 when we released this. We released her album on cassette only and with the money we saved not making a CD spent on the cheapest TV time we could find around the soaps during the day time, where housewives watch. It didn’t quite work but it certainly came close
NB : Its about here where singles were a huge problem because 7” vinyl was no longer made here or in Oz and CD singles were for us cost prohibitive, so it was a real issue of how to service radio . We were fucked actually and some good singles suffered as a result
This should have been a monster hit. An old Swingers song, immaculate production and remixes by the Straws … it was almost ahead of its time. We tried everything to get radio behind this and no one would play it – fuckers!
From the album So Glad
From the 3rd album Wild Card
Dunedin band with David Pine. I Love The News mentions Paul Holmes ‘how I love that little guy’

By this time Rhythm Cage folded and David teamed up with Dan Barnes and John Cooper. A cover of the old Johnny Nash song with the right production and it took a few weeks to knock Push Push out of the number one slot but we did.
This started off as a milk ad
By this time Virgin Australia was putting a bit of money for select projects on a first option basis. 91
I tried so hard to convince Virgin and EMI Australia to do this band. I knocked on every door in Sydney. No one wanted to know. Within 10 years Australia were claiming them as their own
It charted but Id stopped recording positions by then
From Everyday Distortions. By this time GJS were touring and this song was right on the mark but commercial radio wouldn’t play it coz it was too ‘alternative’ and BFM thought we were too commercial. 7th deadly Sin was one of my favourite recordings done at bFm with Mark Tierney in about 3 hours

From the album Wildcard. By this time the Warries were playing town halls up and down the country
I think it charted but it was a hard act to follow …
A side produced by Mark Tierney and the B side produced by Mike Hodgson from Pitch Black. With the beautiful voice of Bobbylon
Produced by Ian Morris. Southside are such wonderful people and I truly believed in this song but this was before Once Were Warriors and radio dismissed it
By this time we left Virgin and signed to EMI – then about 6 months later EMI bought Virgin and followed us to EMI
This was actually an AMP commercial (the one with the deck chairs) It went to number 6 and was on Al’s album The Singer which we made up at Radio NZ and added a few trax at Mandrill.

We were initially going in to do a different single. But Greg once he got us there played us this song which he’d written that day. So we changed tack and recorded this with Mark Tierney. It was recorded and mixed in one nite and ‘cos it had no drums I thought it stood no chance at radio. We promoted it thru retail where we did a competition saying to all the key chart shops that we would ring them in their lunch hours (peak traffic) and if they were playing the song in-store we would send them vodka which for some reason we had shit-loads off after some sponsorship thing. Suddenly it showed up on the charts and then radio picked up on it. It took off and hit top 10. Of course we were only about half way into the album and no body would advance us any money so we lost a huge opportunity although it’s the first time that we started seeing a cross over at gigs.
By this time Merenia was in Sydney. This song was a ballad, always a hard call but she was a great singer and pulled it off. But radio wouldn’t go near it – had a great video made by Niki Caro who went on to do Whale Rider
A Chris Knox song.
I really believed in this band ‘cos they pulled big crowds live but radio just never gave them a shot .
A John Hiatt song from World Service. So good and criminally ignored by radio .
Ted used to support us at Greg Johnson Set gigs. Now he lives in LA with Greg. A monster singer who won Most Promising Vocalist at the Tuis.
Great song ignored by radio
From their 4th album Big Sky
Great B side on this recorded live at Progressive

Produced by Andrew Brough. A young Dunedin band promised a lot but kind of drifted away
By this time Virgin Oz were sort of financing some of their recording but wouldn’t go the full way. It cost them and us ‘cos the Straw left for Sony… Ted Browns song
Before they went to America and changed their name to Eye TV. I truly loved The Nixons. They were onto a sound.
I loved this song and the recording we did at Airforce. Greg let me layer it with dulcimers and nylon string guitar. It’s a truly great song but radio didn’t get it – surfaced on Vine Street Stories.
If ever there was a great song, If Ever You Need was it.. of course no one would play it . Fuckers
The Smokefree Rock Quest winners and we released the winning band
By this time I think we’d given up with radio so this was a pretty lateral choice for a single, but we were building towards the Vine Street album and this was our first recording with Nigel Stone (aka Noodle Stain) producing. We nearly all went mad making Vine Street. We drank shitloads ‘cos we moved Nigel’s mobile studio into Greg’s house.
By this time EMI were helping us out ‘cos EMI Oz reneg’d on a deal we thought we’d done with them... The shit going on behind the scenes for the making of this album was incredible. EMI (NZ) MD Kerry Byrne (who was himself Australian) fudged the figures to bail us out. He was a true gent that man!
Recorded with Malcolm Wellsford. This was to set up the debut album
Sung by Fiona McDonald. Ignored by radio and it’s brilliant – fuckers
Billy TK is an incredible guitar player, and so was his dad, who was in Human Instinct.
In 1994 we re-released Southside of Bombay What’s The Time Mr Wolf (with same cat number) for the 2nd time. I’d seen a rough cut of Once Were Warriors and even tho it didn’t have the finished dialogue or music at that stage, I realized that it had the potential to go really big. I alerted the band and this time we got it right, the band were ready to tour and the film turned into a hit much of that was driven by the song. Audiences were coming out of the theatres singing it. Radio still didn’t really play it except for the Maori stations but it locked in and went to number 3.
From Vine Street. Should have been a hit. It was ignored
The band had all their gear stolen so they recorded an acoustic album. By this time Luke Casey was drumming and they were showing huge potential. They’d done one tour of America

Once again no real support from radio and yet this song has gone on to become a perennial. We released Vine Street straight after this single and EMI went all out on it. To give them their due, once radio heard it they kind of recognised it for the body of work that it still is but it was a bit late…fuckers
Winners of the Smokefree Rock Quest
Still one of the singles Im most proud off. This track featured Mina Ripia from Moana and the Moa Hunters. Maaka McGregor (SOB drummer and producer) and Mina have gone on to form Wai 100%
(Tks 2,3 & 4 were recorded live at CBGB’s, New York). The band changed their name because there was already an American band of the same name. Eye TV toured the States again to support the release of their album there.
With Boh Runga added to the ranks … produced by Dave Dobbyn . Radio ignored it – fuckers

Around this time Nigel stone and I recorded Bic Runga in Wellington before she moved up to Auckland. We never released that recording and eventually sold it to Sony who released it as B sides to Drive. Quite a few Pagan players played on those initial Bic sessions.
I’d originally started the Antenna label to release electronic music. Mainly my own projects Cosa Nostra and Trip to The Moon. But then we decided to separate the labels. Move all the cutting edge stuff over to Antenna and leave all the roots orientated stuff (Warratahs, Barry Saunders, Paul Ubana Jones, Al Hunter) on Pagan.
Darcy really was a gem. One of the greats but he never lived long. I remember when I first played it to EMI and they couldn’t believe I was serious - it rocketed into number 5 first week
Recorded with Chris Van de Geer. These songs showed up on their 3rd album Birdy O
They won the Rockfree Rock Quest with Elevator..a genuinely funny song
Finally Eye TV got close to the hit that took too long to come.. Finally radio and Eye TV started to connect
The genius of Buzz Moller…
Peter McLennan also from the Picassos made the video. You can see it here
Trip is myself and Tom Ludvigson from Bluespeak, a fantastic musician.
All recorded live at the Blur concert
First big chart single for Eye TV. Huge at radio.
This band were a machine. They worked and just never stopped. EMI were behind it and the band drove it. From the album Buddhafinger which went on to deliver 7 singles. Too many in retrospect but hey, once you’re on, you’re on! Alright was the biggie. The album went triple platinum and to number 2.
Their 2nd top 20 single in a row. Eventually surfaced on the album The Fire Below. I saw them play this at Sweetwaters 99 and it soared. They never sounded better.
From Red Light Syndrome
I actually recorded hours of Sam but he let us give his rendition of his poem to producer Jon Cooper and muso Ted Brown who re-constructed it. Every library should have a copy. Paul Casserly, Straw Person, made Sam a great clip.