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The Real Thing: 26 Years of Midnight Oil
reviewed by dan heaton
In the fall of 2001, five Australian rockers
reappeared in the United States for one of the most
anticipated tours of recent years. Well, at least this
was the case for a small cache of devoted fans. The
typical music-listening personage had long forgotten
Midnight Oil except for a rare instance of hearing the
hit single "Beds are Burning" over the retro airwaves.
Are those guys still making music? Is the raw passion
still there? The answer to both questions is a
resounding YES.
During an energetic October night at the House of
Blues in Chicago, the Oils step onto the stage
supported by a melodic Aboriginal-sounding tune.
Without saying a word, they quickly roar into the
thundering guitar chorus of "Redneck Wonderland." This
title song of their blistering 1998 album soundly
exclaims that the years have not removed the fire from
their music. An attack on Pauline Hansen and the One
Nation Party in Australia with lyrics like "it is
vision free, it's poor bugger me, something less than
grand," this track remains as hard-hitting as their
best efforts. Upon its conclusion, the band quickly
shifts gears to "Bullroarer" - a driving,
guitar-driven melody from their 1987 classic Diesel
and Dust. Although these tunes are remarkably
different, they both utilize the energy and worldly
awareness that has characterized Midnight Oil for more
than 20 years.
The recent concerts were especially notable for the
inclusion of brand-new tracks that would eventually
appear on Capricornia, released on February
19th. During this particular night, the group reveals
three impressive, harmonious tracks that match the
best songs of the evening. "Too Much Sunshine"
emerges early in the set and offers rough edges
reminiscent of 1978's Head Injuries album.
Sporting a repetitive, yet catchy chorus and energetic
guitars, this tune captures the essence of the
Capricornia sound. "Luritja Way" comes next and
exudes charming acoustic melodies with lyrics
concerning life away from the cities. Even given some
harsh realities, it stays positive with such lines as
"Oh guiding light you will shine/you'll pick me
up/you'll hold me up." Near the show's conclusion,
they present the thoughtful words of "Golden Age" -
the first radio single. It opens with "All the screens
are filled with heroes and losers/but the sky's still
filled with stars." This earthy, upbeat sentiment
dominates Capricornia, which represents their
best work since 1990's Blue Sky Mining.
"I don't need no fire and brimstone warning
I've been a long time punching bag
I won't run no race where there ain't no prize
Take a look at my face
Can't you see this ain't no lies" - Powderworks (1977)
Originally formed as Farm, they became Midnight Oil in
1976 with the arrival of law student Peter Garrett.
His giant, bald-headed presence has been the
marketable image of the band since its early days.
During their frenzied live shows, he jerks around the
stage with arms swinging in all types of odd
contortions. In 1984, Garrett lost a narrow election
to the Australian Senate, and he often speaks publicly
about social and environmental issues. However,
Midnight Oil is much more than its charismatic
frontman. Drummer Rob Hirst and guitarists Jim Moginie
and Martin Rotsey have also been part of the band
since its inception. Bass player Bones Hillman joined
them in 1988, following the release of Diesel and
Dust. All five members contribute to the
songwriting process, and their concerts showcase
expert musicianship, especially from Moginie. While
performing, he stands nearly motionless and immersed
within his deft guitar playing. On Capricornia,
Moginie receives either a solo or co-songwriting
credit for every track, which places much of its
success on his shoulders.
Following the release of Earth and Sun and Moon
in 1993, Midnight Oil embarked on a lengthy and
exhausting world tour that covered much of the United
States and Europe. Both "Truganini" and "Outbreak of
Love" received significant airplay on alternative
radio, and audiences still packed amphitheaters to see
the band. Unfortunately, the subsequent years saw a
sharp drop in overseas touring and promotion from the
record label. In 1996, they released Breathe, a
more laid-back collection that did not offer easily
accessible singles. Although not one of my favorites,
this album still includes some remarkable tunes, but
they do not fit into the narrow-minded marketing
concepts of greedy executives. Redneck
Wonderland followed and appeared perfect for
airplay on today's more "extreme" alternative radio
stations, but it hardly drew a mention outside of
Australia. Thankfully, Capricornia appears
poised to avoid the unfortunate fate of its worthy
predecessors.
"Where will you live when the fields are falling
Where will you live when the feedlots calling
Everybody standing in the treetops saying
Where will you live? Where will you live?" - "Tone
Poem" (2002)
Capricornia displays an emotional connection to
the land that exists away from the hectic and crowded
nature of the cities. The title is taken from Xavier
Herbert's 1938 novel set in the Northern Territory,
and the tunes connect with the raw nature of this
land. "Mosquito March" utilizes quick beats and evokes
the concept of finding answers to life within the
wilderness. While the Oils don't suggest that everyone
leave their homes and venture into nature, they do
attempt to describe the simplicity and beauty of this
land. "Been Away Too Long" exclaims: "Fresh air soft
landing/so good to be home/this bruised world's got
its beauty/it's where I belong." Placed over a catchy
rhythm, this track takes a basic approach and
wonderfully transmits the lush feelings generated by
nature. The exact meaning of the lyrics may not be
known, but the passion is evident without specific
knowledge of the band's mindset.
The sentiments of this new release hearken back to
ideas often expressed by the Oils throughout their
long history. "Underwater" - Breathe's opening
track - strongly exclaims the power of the natural
world to overcome any obstacle placed upon it by
humanity. "No one can make her, no one can break her
down/Underwater, over land." This affection for the
land also permeates tunes that veer more towards the
social commentary that is the hallmark of the band.
The Diesel and Dust single "Dreamworld" is a
perfect example with its forthright statements about
the problems of rampant development. With verses like
"So farewell to those Norfolk Island pines/No amount
of make believe can help this heart of mine" to its
melodic chorus stating "Your dreamworld is just about
to end," this song skillfully conveys these ideas.
"Conquistador of Mexico, the Zulu and the Navaho
The Belgians in the Congo, short memory
Plantation in Virginia, the Raj in British India
The deadline in South Africa, short memory
The story of El Salvador, the silence of Hiroshima
Destruction of Cambodia, short memory" - "Short Memory" (1982)
Touring only a month after the terrorist attacks on
September 11th, Midnight Oil appeared to have an
important opportunity to speak out about the troubling
issues concerning our world. Their songs (including
"Short Memory") often discuss the necessity in
understanding the past and realizing its connection to
current events. Unlike U2 - who altered their shows to
honor the victims in over-the-top (yet effective)
fashion - the Oils took a much more subtle approach.
During the shows, Garrett spoke with calm sincerity
about the aftermath of the attacks. He said: "One of
the reasons for coming here is not to forget what's
going on, but it's to recognize that whatever else is
going on, life still goes on as well. The one way to
deal with this kind of nonsense is to not let it stop
us from doing the things that we want to do." Although
this may appear out of character, this sentiment
actually corresponds perfectly with the ideals
presented by the band throughout their career. They
seldom take the Rage Against the Machine-type avenue
and scream incessantly with little effectiveness.
Instead, the music does the talking to try to open the
minds of listeners to a larger view of the world.
Office workers in Manhattan witnessed a peculiar sight
during their lunch hour on May 30, 1990. Situated
outside of Exxon's offices was a flatbed truck with an
Australian band playing rock music. Displaying a
banner stating "Midnight Oil makes you dance, Exxon
makes us sick," the group played a quick six-song
concert to draw attention to the disastrous oil spill
in Prince William Sound. At the closing ceremonies of
the Sydney Olympics in 2000, Midnight Oil played "Beds
are Burning" to a massive worldwide audience. More
notable than the music was the single word "sorry"
printed across each member's black outfit. Intended to
criticize the Australian government for their
continued unfair dealings with the Aborigines, this
message brought significant attention to the issue.
These are the types of actions that embody the heart
and soul of this band. Within a musical framework,
they have discussed pivotal issues often ignored by
our governments.
"We carry in our hearts the true country
And that cannot be stolen
Follow in the steps of our ancestry
And that cannot be broken" - "The Dead Heart" (1987)
Midnight Oil achieved unbelievable popularity across
the world following the release of Diesel and
Dust in 1987. Much of the material was inspired by
the Blackfella Whitefella tour through the Aboriginal
communities in 1986. Joining the legendary Warumpi
Band, they discovered the unfortunate state of
Australia's native people. These travels helped to
create some of the band's most inspired songwriting up
to that time. This trip helped to produce standout
tracks like "Warakurna," "The Dead Heart," and the
worldwide hit "Beds are Burning" - a melodic tune that
discusses the need for Aboriginal land rights. While
this song has brought their music to a much larger
audience, it also placed them into the ridiculous
category of a "one-hit wonder." Regardless of any
silly labels, the passion still flows strongly through
Midnight Oil's music. At the Exxon protest, Peter
Garrett takes a nasty fall from a high speaker during
"Sometimes" and lands flat on the stage. Without
missing a beat, he climbs back onto his perch and
finishes the rocking tune. This moment has always
defined the band in my eyes and showcased their
long-standing resilience.
Back at the House of Blues, the Oils bring drummer Rob
Hirst to the front for an intimate acoustic set
featuring "Beds are Burning" and "Short Memory." These
moments may lack the rocking punch of other entries,
but they draw a closer connection with the audience
that carries throughout the remainder of the show. As
the band cranks through the energetic hits "King of
the Mountain," "Truganini," and "Forgotten Years," the
crowd becomes more and more enthusiastic. By the time
they close the encore with "Read About It," the venue
is flooded with incessant claps and cheers. Have long
have these guys been around? Twenty-six years and
still going.
{www.midnightoil.com}
Issue 9, April 2002 | next article
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