The lyrics highlight the personal losses that would result from nuclear warfare – it’d be impossible to keep enjoying life if the US and Russia started dropping bombs on each other. ‘Hercules’ is a leaner, more live-oriented production, which sounds not unlike The Replacements while also revealing the Oils’ anthemic flair. The EP went to number one in Australia, but it’s not as commercially sculpted as the subsequent LP, Diesel and Dust. ‘Hercules’ shows up on the 1985 EP, Species Deceases, which is further evidence of the sizzling hot steak Midnight Oil had become by the mid-1980s. It’s a sad song, but one that also could strike electricity through a crowded pub venue. These songs worked better when presented as commentaries, such as with ‘Kosciusko’, which looks at how Europeans drove Indigenous communities away from country and claimed ownership of sacred sites without any consultation. Their songs often spoke on behalf of First Nations peoples, which could easily be seen as problematic, but they deserve credit for never glossing over the tragedies inflicted by white Australia. While I’d refrain from giving them too much credit, it’s fair to say Midnight Oil’s persistent focus on Indigenous dispossession helped bring these matters into the wider public consciousness. ‘Kosciusko’, Red Sails in the Sunset (1984) Garrett adds a new verse to the live rendition, calling out governments who don’t care about “young Australians,” “nuclear weapons,” “resources and the environment,” and “anything else other than their exclusive, cynical chase for power.” Yep, sounds familiar.ĥ. The majority of tracks from Red Sails featured in the band’s famous Oils on the Water performance, which took place on Sydney’s Cockatoo Island in January 1985. The targets of its lyrics are down here on earth, however, with Hirst and Garrett trading lines directed at populist politicians who’ll say whatever it takes to get elected. ‘Generals’ is one of the record’s more outwardly new wave-inspired tracks, giving prominent airtime to some space-age sample pads. ‘When the Generals Talk’ kicks off Red Sails in the Sunset, which could be the Oils’ most consistent set of songs. ‘When the Generals Talk’, Red Sails in the Sunset (1984) It’s worth noting that ‘US Forces’ is damn catchy, too. It’s a grand compliment to Midnight Oil, who were always committed to rattling the cage of the unscrupulous establishment. When Garrett was running for a seat in federal parliament in 2004, then-Foreign Minister Alexander Downer called attention to ‘US Forces’, claiming it could jeopardise US-Australian relations. The lyrics zero in on the US military’s tendency to meddle in the affairs of any nation whose leader’s principles are out of step with their own. It’s built around a call-and-response exchange between an acoustic guitar riff and Garrett’s vocals. ‘US Forces’, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982)Ĭompared to the frenzy of ‘Only the Strong’, ‘US Forces’ is one of the more circumspect tracks on 10-1. It’s a dynamic and over-the-top post-punk song that makes bands like PiL sound conservative by contrast. Whether the narrator is a prisoner or a lone, frustrated citizen is unclear, but the central point sticks – so much is out of our hands to the point of being paralysing.ġ0-1 was the first in a quadrilogy of front-to-back classic albums from the Oils and ‘Only the Strong’ finds the band firing on all cylinders. ‘Only the Strong’, track two from 1982’s 10-1, is told from the perspective of someone who feels powerless in a world of strongmen. Political themes showed up in the writing of all three, but it’s not all they wrote about. Songwriting duties were split between Hirst, Garrett and guitarist Moginie throughout the band’s career, with Hirst and Moginie being the more prodigious of the trio. Garrett mightn’t be the most technically gifted vocalist, but he was always a charismatic presence out front, which is beautifully amplified in the ‘Back on the Borderline’ recording. They’re on display here courtesy of drummer Rob Hirst’s trademark percussive athleticism. It’s essentially a new wave rock song akin to Elvis Costello or The B-52’s, but the Oils already had a thing for arena rock theatrics. The album’s standout track, ‘Back on the Borderline’, remains a live staple to this day. The label issued their self-titled debut album in 1978, but it wasn’t until the following year’s Head Injuries that the seeds of the band’s greatness would begin to flower. They ditched Farm in favour of Midnight Oil and together with manager Gary Morris formed the label Powderworks. By 1976, they’d decided to take the band seriously. They went through a variety of lineup changes while completing university degrees and finding their footing on the Northern Beaches music scene. Midnight Oil formed in the early 1970s as Farm. ‘Back On the Borderline’, Head Injuries (1979)
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