MIDNIGHT OIL

In 1971, drummer Rob Hirst, bass guitarist Andrew James, and keyboard player/lead guitarist Jim Moginie were performing together. They adopted the name Farm in 1972, and played covers of Cream, Creedence Clearwater Revival and Led Zeppelin songs. They placed an advert for a band member and Peter Garrett (ex-Rock Island Line) became their new vocalist and synthesiser player, and began introducing progressive rock elements of Focus, Jethro Tull and Yes, as well as their own material. Garrett was studying at Australian National University in Canberra, so Farm was only a part-time band. They played for the northern Sydney surfing community, and by 1975 the band was touring the east coast. In late 1976, Garrett moved to Sydney to complete his Law degree. Farm then became a full-time group and so changed its name to Midnight Oil by drawing a name out of a hat, leaving behind Television, Sparta and Southern Cross. Midnight Oil came from the Jimi Hendrix song, "Burning of the Midnight Lamp".

After changing its name to Midnight Oil, the group began to develop an aggressive, punk-hard rock sound for their pub rock audiences. Guitarist Martin Rotsey joined in 1977 and Midnight Oil, with their manager Gary Morris, established their own record label Powderworks. In June 1978 they entered the Alberts Studio in Sydney with producer Keith Walker, from local radio station 2JJ, to record their debut eponymous album, 'Midnight Oil', which was released by Powderworks in November 1978 and peaked at #43 on the Australian albums charts. Midnight Oil's first single "Run by Night" followed in December, but had very little chart success, peaking at #100 on the singles charts. The band built a dedicated fan base, initially restricted to Sydney, which was extended to other Australian cities through constant touring – performing some 200 gigs in their first year. They became known for their furious live performances, which featured the two guitarists Moginie and Rotsey, the drumming and vocals of Hirst and the presence of the towering, bald Garrett as lead singer.

The 'Midnight Oil' LP disappointed some critics as it did not capture their powerful live performances, with undemanding playing and Garrett's vocals sounding stilted. Their second album 'Head Injuries', released on Powderworks in October 1979, was produced by former Supercharge member Leszek Karski. It mixed solid guitar rock with progressive flourishes and was an improvement by highlighting the group's strengths and growth. It peaked at #36 and by mid-1980 had achieved gold status. In April 1980 founding bass guitarist Andrew James left because of ill-health and was replaced by Peter Gifford (ex-Huntress, Ross Ryan Band). Further interest in Midnight Oil was generated by the popular 'Bird Noises' EP, also produced by Karski, which peaked at #28 on the Australian singles charts. One of its four tracks was the surf-instrumental "Wedding Cake Island" named after the rock outcrop in the ocean off Sydney's Coogee Beach.

The band's third LP 'Place without a Postcard', released by CBS Records in November 1981, was recorded in Sussex with English producer Glyn Johns (The Rolling Stones, The Who). Creative tensions between the band and Johns plagued the recording and the group were not totally happy with the outcome. Johns had an arrangement with A&M Records and they asked Midnight Oil to return to the studio to record material suitable for an American single release – they refused and returned to Australia. 'Place without a Postcard' peaked at #12 on the albums charts and related singles "Don't Wanna be the One" and "Armistice Day" reached the Top 40 in Australia.

Driven largely by commercial pressures to stay with reliable chart-toppers and teenage pop sensations, the Australian music industry in the mid-1970s cast a dismissive eye toward most bands with an alternative outlook. Although consistently championed by Sydney alternative rock station Double Jay and its FM band successor Triple J, Midnight Oil was almost totally ignored by Australia's mainstream commercial radio stations in their early career. Manager Morris developed a reputation as one of the toughest managers and became notorious for banning critics or journalists, who were usually given free admission to concerts, for writing unfavourable reviews. Writer and critic Bruce Elder, in a mid-1980s newspaper review described their music as "narrow and xenophobic....Midnight Oil were: a kind of antipodean pub rock version of Queen life-denying, sexist, secular and bigoted endless touting of Australia and all things Australian—Bruce Elder quoted in Crème de la Phlegm: Unforgettable Australian Reviews (2006), ed.:Angela Bennie. ISBN 0-522-85241-6

In retaliation, Morris banned Elder from Oil's shows permanently. Elder later recanted, describing them as the only Australian band to have developed a truly Australian sound. The frostiness of Midnight Oil's relationship with the traditional music media quickly saw the band develop a strong "street cred", and a reputation for making no compromises with the music industry. In the early 1980s the band was scheduled to appear on an episode of the all-powerful Australian Broadcasting Corporation (ABC) TV pop show Countdown, but on the day of the show they were bumped" from the line-up. Countdown required artists to mime their songs during 'live' performances, Midnight Oil and Morris insisted they perform completely live and have their sound engineer supervising – neither side backed down. According to Countdown producer Michael Shrimpton, the band had arrived late for rehearsal, and due to the show's very tight schedule and budget there was a strict policy that latecomers were not allowed to appear, and as such they were told they could not perform that day. In response, the group declared that they would never appear on the show, a promise they faithfully kept. Countdown presenter Molly Meldrum shaved his head bald, imitating Garrett, for its final show on 19 July 1987 and expressed regret that Midnight Oil had never appeared on the show.

Fans of the group were drawn to the band's "us and them" mindset, and fan loyalty to the Oils' ideas and music was fierce. Two venues at which they built significant fan bases from their early live performances were the Sydney northern beaches pub The Royal Antler at Narrabeen and the Bondi Lifesaver club near Sydney's Bondi Beach. Politically oriented rock of the style produced by the band was something of a new concept for the Australian music scene, and Peter Garrett quickly earned a reputation as one of the most charismatic and outspoken musicians in the country. He recalled that there were dangers in playing the pub scene: "You get booked into a pub or hotel, say in the western suburbs of Sydney. Halfway through your set, two large, drunk truck drivers decide to have a fight. They're beating each other up and careening towards the corner where the band is set up. Meanwhile, everyone else is going, 'Aaah, turn it down, I'm trying to watch TV.' Try to contemplate that as an environment to play music in every night for three years".— Peter Garrett quoted in The Big Australian Rock Book (1985) published by Rolling Stone Magazine, ed.:Ed St John, ISBN 0-9590615-0-9

Their Australian breakthrough and first international recognition came in 1982, with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, which included the singles "Power and the Passion" and "Read about It". The album peaked at #3 and "Power and the Passion" peaked at #8. The album also includes their denunciation of American military interference in foreign affairs in "US Forces" and their critique of imperialist repression in "Short Memory". 10 to 1 was recorded in London during September and produced by Englishman Nick Launay, who had previously worked with acts including The Jam, XTC, Peter Gabriel, PiL, Gang of Four and The Birthday Party. Launay worked on several other major Australian recordings in this period including INXS' 'The Swing', Models' 'The Pleasure of Your Company' and The Church's 'Seance'.

The album remained in the Australian charts for 171 weeks. It retained their live energy but was more adventurous and radical than previous work. Their ascendancy was signalled by a series of concerts on the release of the album at Sydney's Capitol Theatre, one of which was filmed and recorded and later released on their 2004 'Best of Both Worlds' DVD. The band also played their first shows outside Australia during this time, with the album being released in US on Columbia Records, where it charted in 1984 on the Billboard 200; in the UK it was released on CBS.

Midnight Oil undertook more politically motivated benefit concerts, including organising the Stop the Drop Nuclear Disarmament concert in 1983 which received a United Nations Media Peace Prize. 10 to 1 was followed by 'Red Sails in the Sunset' in October 1984, which was recorded in Japan, produced by Launay again. It peaked at #1 for four weeks on the Australian charts and charted on the Billboard 200. Singles from the album were released in US and UK but had no chart success. Whilst the album showed an overreliance on technical wizardry, their lyrical stance was positive. The band continued to expand their sound and explore themes of politics, consumerism, militarism, the threat of nuclear war and environmental issues. The album cover by Japanese artist Tsunehisa Kimura featured a photomontage of Sydney – both city and harbour – cratered and devastated after a hypothetical nuclear attack. Live concert footage of "Short Memory" was used in the Australian independent anti-nuclear war movie One Night Stand. A promotional video for "Best of Both Worlds", later on Best of Both Worlds, received airplay worldwide on cable music TV station MTV.

In January 1985, Midnight Oil performed Oils on the Water, a concert on Goat Island in Sydney Harbour to celebrate Triple J's tenth birthday, before a select audience of fans who had won tickets in a radio competition. The concert was filmed, simulcast on ABC-TV and Triple J, and released on video, which was remastered for their 2004 Best of Both Worlds DVD. In December 1985 the four-track EP 'Species Deceases' produced with Francois Kevorkian was released by CBS/Columbia; it peaked at #1 on the Australian singles charts for six weeks. 'Species Deceases', featuring the track "Hercules", featured a return to their pub rock sound with hard hitting firepower.

Midnight Oil spent several months in 1986 on the Blackfella/Whitefella tour of outback Australia with indigenous groups Warumpi Band and Gondwanaland, playing to remote Aboriginal communities and seeing first hand the seriousness of the issues in health and living standards. The tour was criticised by some journalists for being a one-off event instead of a long-term attempt to build bridges between communities. The band was galvanised by the experiences and made them the basis of 'Diesel and Dust', released in 1987 and produced by Warne Livesey. The album focused on the need for recognition by white Australia of past injustices involving the Aboriginal nation and the need for reconciliation. Peter Gifford left the band before the album's release due to extensive touring schedules, and was replaced by Wayne Stevens [Bones Hillman], formerly of The Swingers.

'Diesel and Dust' peaked at #1 on the Australian albums charts for six weeks, #21 on the Billboard 200 charts in 1988, and #19 on the UK albums charts. "Beds Are Burning" was their biggest international hit single, peaking at #6 in Australia, and #17 on the Billboard Hot 100, #6 on the UK singles charts. "The Dead Heart" peaked at #6 in Australia and charted on the Hot 100 and in the UK. "Put Down that Weapon" also charted in Australia, while "Dreamworld" charted on Billboard's Mainstream Rock Tracks and at #16 on its Modern Rock Tracks.

At the Australian Recording Industry Association (ARIA) 1988 Awards ceremony, Midnight Oil won "Best Cover Artist " for 'Diesel and Dust' and both "Best Single" and "Best Song" for "Beds Are Burning". A fracas developed between Morris, accepting awards for Midnight Oil, and former Countdown compere Ian Meldrum who was presenting: Meldrum objected to Morris making political commentary from the podium.

There were concerns about 'Diesel and Dust' and Midnight Oil's attempts to express indigenous issues to white urban audiences – namely, the question "who holds the power to tell whose history?" The lyrics of "The Dead Heart" tell the story of colonisation from an indigenous point of view but some critics felt they reinforced the "primitive"stereotype. Use of the bullroarer was criticised as belonging to sacred rituals, and therefore not appropriate for rock songs. "The Dead Heart" had been written in response to a request by organisers of the 1985 ceremony to return control of Uluru to its indigenous caretakers; Midnight Oil had originally resisted adding an indigenous group to a concert bill, but the organisers insisted, arguing that the band would reach a wider audience within the predominantly Caucasian urban centres. Midnight Oil requested that allroyalties from the song go to indigenous communities. In addition, two indigenous groups, Warumpi Band and Gondwanaland, toured with them.

Following the 1988 American tour in support of 'Diesel and Dust' with Australian band Yothu Yindi, Midnight Oil launched the 'Burning Bridges' album with various artists contributing, including Paul Kelly, Scrap Metal, Coloured Stone, Hunters & Collectors, James Reyne, The Saints, Crowded House, INXS and Yothu Yindi. All sales proceeds were donated to the National Coalition of Aboriginal Organisations. During 1989–1993 and 1998–2002 Garrett was the President of the Australian Conservation Foundation, whilst during 1993–1998 he was on the International Board of Greenpeace. In 1990 Midnight Oil played an impromptu lunchtime set in front of Exxon headquarters in New York with a banner reading, "Midnight Oil Makes You Dance, Exxon Oil Makes Us Sick," protesting the Exxon Valdez oil spill the previous year.

In February 1990, 'Blue Sky Mining', produced by Livesey, was released by CBS/Columbia. It peaked at #1 on the Australian Recording Industry Association (ARIA) albums charts. It stayed at #1 for two weeks in Australia and had Top 5 chart success in Sweden, Switzerland and Norway. It peaked at #20 on the Billboard 200 and #28 on the UK charts. The album was more defiant and outspoken; the single "Blue Sky Mine" describes asbestos exposure in the Wittenoom mine tragedy. The single peaked at #8 on the ARIA singles charts, top 15 in Norway and Switzerland, #47 on Billboard Hot 100 and #1 on both their Mainstream and Modern Rock Tracks charts and appeared on the UK charts. The second single, "Forgotten Years," was more moderately successful, reaching #26 on the ARIA singles chart, #97 in the UK, #11 on the Mainstream Rock Tracks, and #1 on the Modern Rock Tracks.

At the 1991 ARIA Awards ceremony, Midnight Oil won 'Best Group' and an 'Outstanding Achievement Award' and 'Best Cover Artist', 'Best Video' and Album of the Year for 'Blue Sky Mining'. Morris, accepting awards for Midnight Oil, was criticised for a speech lasting 20 minutes. 'Scream in Blue (Live)', their June 1992 live album produced by Keith Walker, contained material from concerts between 1982–1990, including "Progress" from their Exxon Valdez protest gig. It peaked at #3 on the ARIA albums charts; Top 50 in Austria, Sweden and Switzerland; and appeared on the Billboard 200.

Midnight Oil's 'Earth and Sun and Moon' album, produced with Nick Launay, was released in April 1993 and also drew critical acclaim and international success, peaking at #2 on the ARIA albums charts, top 20 in Sweden and Switzerland, Top 50 on Billboard 200, and top thirty in the UK albums chart. The single "Truganini" referenced multiple issues, including the 'last' Tasmanian Aboriginal, the treatment of indigenous artist Albert Namatjira, the Australian flag debate, and republicanism. Liner notes for the single claimed "Truganini was the sole surviving Tasmanian Aborigine, the last of her race, when she died in 1876." The Tasmanian Aboriginal Centre, representing over 7000 contemporary Tasmanians, called for the single to be boycotted as it perpetuated a 'white' myth about the extinction of Tasmanian Aborigines.

Their Native Title claims hinged upon establishing links with ancestral lands. Morris responded with, "My suggestion to these people is to stop shooting themselves in the foot and let a band like Midnight Oil voice its appeal to White Australia on behalf of Black Australia". Critics contended that Morris disparaged Indigenous Australians' ability to represent themselves and overestimated Midnight Oil's ambassadorial powers while diminishing their errors, while some indigenous activists saw benefit in Midnight Oil's highlighting of the issues. Nevertheless, "Truganini" released in March peaked at #10 on the ARIA singles charts, #10 on Billboard Mainstream Rock Tracks and #4 on their Modern Rock Tracks charts, and top thirty for the UK charts. Peter Garrett issued an apology for the mistake in the liner notes. In 1993, the band also participated in the Another Roadside Attraction tour in Canada, and collaborated with The Tragically Hip, Crash Vegas, Hothouse Flowers and Daniel Lanois on the one-off single "Land" to protest forest clearing in British Columbia.

'Breathe' was released in 1996. It was produced by Malcolm Burn and had a loose, raw style with almost a low-key sound. It peaked at #3 on the ARIA albums chart and had Top 40 success in New Zealand and Switzerland. They returned to #1 on the ARIA albums charts with the compilation '20,000 Watt R.S.L'. in 1997 on Sony Records, which achieved 4×Platinum sales. Later albums, 'Redneck Wonderland' in 1998, 'The Real Thing' in 2000 and 'Capricornia' in 2002 again reuniting with producer Warne Livesey, all charted into the ARIA Top Ten.

In 2001, when Australasian Performing Right Association (APRA) surveyed 100 music industry people for their Top 10 Best Australian songs of all time, "Beds Are Burning" was voted #3 behind The Easybeats' "Friday on My Mind" and Daddy Cool's "Eagle Rock". At the 2001 APRA Awards ceremony "Beds are Burning" was shown on video and introduced by Australian Democrats Senator Aden Ridgeway as an indigenous spokesperson on Reconciliation. "Power and the Passion" was also listed in APRA's Top 30 best Australian songs.

Garrett announced his decision to quit Midnight Oil on 2 December 2002, to refocus on his political career. In the 1984 federal election, Garrett had stood for the Australian Senate under the Nuclear Disarmament Party banner, and narrowly lost. He won the seat of Kingsford Smith at the 2004 General Election for the Australian Labor Party and was selected as Shadow Minister for Climate Change, Environment, Heritage and the Arts. On Thursday, 29 November 2007, Prime Minister elect, the Hon Kevin Rudd MP, named Garrett as Minister for the Environment, Heritage and the Arts. The other members of the band continued to work together but not under the Midnight Oil name, bringing the band's career to a close.

After a warm up gig the previous evening at the Manly-Warringah Leagues Club the band, including Garrett, reunited to perform at the WaveAid concert on 29 January 2005, to raise funds for the victims of the 26 December 2004 Indian Ocean tsunami. The concert, which took place at the Sydney Cricket Ground, also included performances by Powderfinger, Silverchair, Nick Cave, John Butler Trio, Finn Brothers and others.

On 29 October 2006 Midnight Oil was inducted into the ARIA Hall of Fame with ARIA chairman Denis Handlin describing them: "For 30 years, on their journey from inside Sydney's Royal Antler Hotel to outside the Exxon Building in New York, the Oils have always led from the front. They spoke to us – and to the world – in a uniquely Australian way. Their music speaks first – it's powerful, it's uncompromising, it's unique rock music that inspires, entertains and will last forever. My favourite Oils lyric, which summarises it all is: 'It's better to die on your feet than live on your knees"—Denis Handlin, 2006

On the evenings of 12 & 13 March 2009 a reformed Midnight Oil, with Garrett, played at the Royal Theatre in Canberra. The following day, 14 March they headlined the Sound Relief concert in Melbourne. This event was held at the Melbourne Cricket Ground (MCG) to raise money for victims of Victoria's February bushfire disaster. The event was held simultaneously with a concert at the Sydney Cricket Ground. All proceeds from the Melbourne Concert went to the Red Cross Victorian Bushfire relief. Appearing with Midnight Oil in Melbourne were Augie March, Bliss N Eso with Paris Wells, Gabriella Cilmi, Hunters & Collectors, Jack Johnson, Kasey Chambers & Shane Nicholson withTroy Cassar-Daley, Kings of Leon, Liam Finn, Crowded House, Jet, Paul Kelly, Split Enz and Wolfmother.

On 4 May 2016 it was posted on the band's website that Midnight Oil could be reforming and touring again in 2017. In February 2017, the band announced it would embark on The Great Circle 2017 world tour starting in Brazil in April 2017.Their first show of the 2017 reunion was at Marrickville Bowls Club on 9 April, ahead of the official kickoff 13 April at Selenas, Coogee Beach Hotel. In May 2017 they returned to the USA for the first time in 15 years, with tickets for all shows sold out (their last US tour was in 2002). Prior to the USA, the band toured to South America during the month of April. Finishing their USA tour (Part 1) with a gig in Vancouver, Canada, the Oils headed off to tour Europe in mid June before touching down in South Africa, then Singapore for single shows then a second run in USA and Canada (Part 2) with 6 shows, in LA, NY, Montreal, Vancouver, Cleveland then finally Minneapolis, finishing up on 29 August. The band then made its way to New Zealand with gigs in Auckland and Christchurch, before heading back down to Australia perform its first leg of the tour on 2 October in Alice Springs.

In March 2018, the band announced the release of a new documentary film entitled Midnight Oil: 1984. Directed by Ray Argall, the film primarily consists of previously unseen footage from the band's tour in support of 'Red Sails in the Sunset'. The film was given an Australian cinematic release in May 2018, an Australian DVD/Blu-ray release the following July and a limited North American and New Zealand cinematic release that August.

One of the Great Circle tour's final concerts was held on Armistice Day at The Domain, in Sydney on 11 November 2017. Both shows at the Domain (the band also performed there on 17 November) were filmed and recorded, being turned into the live album and film Armistice Day: Live at the Domain, Sydney. The film was given a one-night cinematic release on 24 October 2018. On 9 November 2018, 'Armistice Day' was released as a live album, as well as on DVD and Blu-ray.

In December 2018, the band announced a European and UK tour for June and July 2019. The band were also announced as the headlining act of the Big Red Bash festival, taking place in Birdsville, Queensland. In April 2019, the band announced headlining shows in Thirroul and Canberra as warm-up shows for their European tour. With the announcement came news that the band intended to record new material for a projected 2020 release.

On 7 August 2020, Midnight Oil released their first song in 18 years titled "Gadigal Land", with all earnings going to organisations promoting the Uluru Statement from the Heart. The song featured poetry spoken in the Gadigal language. It is the first song from a mini-album titled 'The Makarrata Project', whose name is related to one of the elements of the Uluru Statement, a Yolngu word approximating a peace agreement or type of treaty. "Gadigal Land" peaked at #5 on the Australian digital sales song chart. 'The Makarrata Project' was released on 30 October 2020 and reached #1 in the Australian albums chart on 6 November 2020.

On 18 May 2021, Midnight Oil announced on Twitter their thirteenth album, with the working title 'Show of Hands', was scheduled for release during their performance at the 2021 Byron Bay Bluesfest. As the event was cancelled on mid-August, and the majority of lineup was confirmed for the 2022 edition (set to 14 April), the band's plans to release the album remained undefined for some six months.

On 28 October 2021, the band released on YouTube a video for their first single from the album, "Rising Seas". They announced the single on Twitter: "The uncompromising song, released on the eve of (COP26), adds the band's unique voice to billions of others around the world seeking a safe, habitable, and fair future for our planet." 

On 26 November 2021, the band officially announced the album 'Resist', which was released 18 February 2022. With the announcement of the album came the release of national Australian tour dates for 2022, which the band confirmed would be their last – while simultaneously confirming that the band will continue to make music together in the future. Resist: The Final Tour concluded on 3 October 2022, at the Hordern Pavilion in Sydney with a 40-song, three-and-a-half-hour set from the band.

Bass guitarist Bones Hillman died on 7 November 2020 of cancer at his home in the United States. The surviving members of Midnight Oil announced Hillman's death in a statement which remembered him as "the bassist with the beautiful voice, the band member with the wicked sense of humour, and our brilliant musical comrade."

Members

Jim Moginie (guitar, keyboards), Rob Hirst (drums), Andrew "Bear" James (bass),
Peter Garrett (vocals),Martin Rotsey (guitar), Peter Gifford (bass),

Bones Hillman [Wayne Stevens] (bass)

SINGLES

Run By Night

5 MAR '79

#100

Don't Wanna Be the One

26 OCT '81

#40

Armistice Day

24 MAY '82

#31

US Forces

29 NOV '82

#20

Power and the Passion

28 MAR '83

#8

The Dead Heart

11 AUG '86

#4

Beds Are Burning

24 AUG '87

#6

Put Down That Weapon

21 DEC '87

#32

Blue Sky Mine

11 FEB '90

#8

Forgotten Years

6 MAY '90

#26

King of the Mountain

5 AUG '90

#25

Bedlam Bridge

4 NOV '90

#46

One Country

14 APR '91

#51

Sometimes (Live)

26 APR '92

#33

Truganini

21 MAR '93

#10

My Country

27 JUN '93

#52

Outbreak of Love

12 SEP '93

#57

Underwater

1 SEP '96

#22

Surf's Up Tonight

24 NOV '96

#88

White Skin Black Heart

5 OCT '97

#80

Redneck Wonderland

22 JUN '98

#46

The Real Thing

12 JUN '00

#48

No Man's Land

26 MAY '03

#74

R


References

http://en.wikipedia.org/wiki/Midnight_Oil

http://top100singles.blogspot.com.au/