Music Video
The music video is set up like camera rolling. It starts out at a highway in Australia and moves to show lead signer Colin Hay. The verse comes in and he starts walking along the railing. He then gets up on the railing and looks like he's going to jump but then gets down. He then walks over and walks past Ron Strykert and John Rees having a conversation. Then he continues walking and then he walks past the camera. Then it goes to a side view of his face as he sings the first line of the chorus. Then it fades into his eyes just to go back to a full view of his side singing the second line of the chorus. Then it goes to a view of his face as he turns away from the camera. Then he turns to a second camera. After he is walking along sidewalk of the street then crosses. While crossing he stops in the middle of the road to say, " Smell the desperation." Then he walks out of a place while passing a very lit up street. He stops to look through a restaurant window. Again he turns away from camera one and turns to camera 2. He sings sideways to the camera while slides of pictures of the street appear in the background. Then he turns to the camera. Then it shows a close up of the guitar playing the solo. Then it shows a close up of the saxophone. Then a camera is on the ceiling while he jumps on the bed screaming the verse. Then they go to a chair where he finishes singing the verse. Then he leaves his room to go upstairs and outside. Then it finishes with him overlooking the city from his balcony.
Read more about this topic: Overkill (Men At Work Song)
Famous quotes containing the words music and/or video:
“Nearly all the bands are mustered out of service; ours therefore is a novelty. We marched a few miles yesterday on a road where troops have not before marched. It was funny to see the children. I saw our boys running after the music in many a group of clean, bright-looking, excited little fellows.”
—Rutherford Birchard Hayes (1822–1893)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)