By SoDak
My mother supported my musical addiction when I was young. She would regularly drop me off at Budget Tapes and Records, a small shop in the middle of Rapid City, South Dakota. While she sat in the car, reading a book, I would flip through the vinyl and then look at the cassette tapes. The import section was more of a miscellaneous grouping, as it had punk, metal, and new wave records that were from both domestic and international bands. In 1982, I had no idea who Midnight Oil were, nevertheless, I bought their record Place Without a Postcard (1981). I thought the cover was simple and interesting. I played the record over and over, entranced by the buzzing guitars, the vocals that sounded at times as if they were spit out, the way the songs would build into big choruses, the sharp lyrics, the range of songs and emotions, and brilliant drums. I was hooked. I loved bands that seemed like they were punk even if their music was not necessarily representative of that.
When I had extra cash from delivering newspapers, I would pick up additional records by the Oils, starting with the two records from the 1970s. But it was the two records that followed Place Without a Postcard that blew my fucking mind. 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982) incorporated synthesizers in an effective way. The melodies were stronger. The Oils could move from a slow song such as the opener “Outside World” to a rocker like “Only the Strong” effortless, building the emotional tension in a powerful way. The songs still had the aggression, anger, and frustration, while incorporating more beauty. The music was spacious and swelled with emotional weight. The whole record is excellent. “Short Memory, “Read About It,” “Power and Passion,” and “U.S. Forces” are favorites. At the start of “Read About It,” Rob Hirst starts off hitting the cowbell and then quickly sets the groove, as the jangly acoustic guitars join his drums, creating a captivating beat, as was so common with this band. Every time I hear this song, I can’t help but sing along.
The rich get richer, the poor get the picture
The bombs never hit you when you’re down so low
Some got pollution, some revolution
There must be some solution but I just don’t know
The bosses want decisions, the workers need ambitions
There won’t be no collisions when they move so slow
Nothing ever happens, nothing really matters
No one ever tells me so what am I to know
You wouldn’t read about it, read about it.
At that time, with the Cold War in full swing, Ronald Reagan pushing further military expansion, not-so-cold interventions, and nuclear supremacy delusions widespread, it was always refreshing to hear rock bands criticizing these issues. Midnight Oil actively participated in anti-nuclear campaigns. Their song “U.S. Forces” was one of the manifestations of this commitment, warning “U.S. forces give the nod/It’s a setback for your country/Bombs and trenches all in rows/Bombs and threats still ask for more/Divided world the CIA/Who controls the issue/You leave us with no time to talk/You can write your own assessment.” Hirst’s drumming is relentless, establishing the heartbeat and the foundation for most of their songs. At the same time, he brought finesse and mastery. On the “Power and Passion” these elements are captured with a wonderful drum solo.
Most of the members of the Oils were songwriters, collaborating in various combinations, crafting their unique approach and sound. Hirst was one of the main contributors, penning beautiful, poignant songs. He composed many of the harmonies for the songs. On Red Sails in the Sunset (1984), he sang lead vocals on “When the Generals Talk” and “Kosciusko.” The latter song addresses the expropriation of Indigenous lands and environmental destruction associated with the colonial processes in their home country Australia. The drums are superb. Hirst’s lead vocals are powerful, complementing Peter Garrett’s vocals with emotional depth.
While the Oils were constantly evolving, experimenting, and developing their craft, they were consistently extraordinary. They wrote intelligent lyrics directing attention to the world at large, making significant connections. They were also grounding, offering hope, noting the possibility for a better world. To listen closely, to immerse yourself in the Oils music can been weighty—it is a gift that should be taken for granted. Ever since I picked up one of their cassettes in 1982, they have been near and dear to my heart. I was ecstatic when they regrouped and recorded new music. (See the review Null and I wrote of their last record, Resist (2022): https://tickleyourtaint.blogspot.com/2022/04/midnight-oil-resist-sony-2022.html). When they announced their retirement from touring, they left open the possibility of continuing to write new music. With Hirst’s recent death, this is unlikely, unless they happened to have recorded some music over the last few years. I still need bands like Midnight Oil, especially given the state of the world. For now, I will keep listening to their records, while recalling the night Null and I went to Denver to see them perform, as we stood there singing along with giant smiles, both moved and happy.
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