Midnight Oil’s 1990 album Blue Sky Mining consolidated a breakthrough to global recognition begun three years prior with Diesel and Dust. Both records not only consolidated the band’s musical approach but also sharply tempered its ability to infer universal significance from specific topical subjects. Even as the latter effort is still pertinent to the current state of affairs around the globe, the former release remains particularly relevant to an America in virtual shambles near the mid-point of 2020.
As with its counterpart, hooks are integral to the LP’s best-known tunes. But, tempting as it is to sing along with “Blue Sky Mine,” it’s difficult if not impossible to become sobered by the connection to events arising from the pandemic. For instance, are the workers fighting asbestos poisoning Down Under better or worse off than the employees in United States’ meatpacking factories? And is there a greater or lesser distinction in Australian class than American? Midnight Oil is ultimately asking how toxic is such an arbitrary hierarchy to the greater good of a nation.
Rather than pontificating, posing questions and offering keen observations has always been this group’s preferred tactic in expressing its political and social concerns. “I can’t take the hands from my face….There are some things we can’t replace” is the sorrowful whisper of Garrett’s as it alternately echoes and leads the band through “River Runs Red;” a mournful tale of the unrelenting ravages rent upon the environment (due in part, but not wholly, to climate change), this is like each and every track on this seventh Oils album, an idea distilled to its essence. No cuts go on longer than just shy of six minutes here and most, regardless of length, seem much shorter in duration because so much is going on.
This stalwart band addresses matters that often resound (loudly) in existential terms and the dense layers of voices and instruments reflect the complexity of their perceptions. For instance, as Peter Garrett so precisely enunciates the words to “Stars of Warburton,” his vocal delivery mirrors sleek musicianship in motion through the tightly-knit arrangement, all of which movement serves to more fully imprint upon a listener the sentiments on which the imposing singer expounds. Likewise, Rob Hirst’s drums and Bones Hillman’s bass churn out the rhythm on “King of the Mountain,” while the (acoustic and/or electric) guitars of Martin Rotsey and Jim Moginie mesh in a similar piston-like action during “Forgotten Years,” a cautionary about repeating the mistakes of history.
Still, there is no preaching from The Oils on Blue Sky Mining. On the contrary, in its eleven songs, the near half-century-old unit proffers a series of discerning commentaries through which it parses the various contradictions and paradoxes at the very heart of issues it chooses to confront. For instance, “One Country” sounds ironic (sarcastic?), at least on first hearing, until the swell of the string section highlights the necessity of local/national/global unity. Further reaffirming the concept of democracy in action, various combinations of band members and individuals alone compose their original material. Everyone in the band sings too, and in yet another practical illustration of diversity, Midnight Oil shares production credit with Warne Livesey who further contributes touches of keyboards (as does the aforementioned fretboard Moginie).
The quintet refuses to oversimplify for the sake of sloganeering. So, as the ensemble rolls at a deliberate gait through another taut piece of orchestration on “Mountains of Burma,” the contrast of the two sonic elements renders implicit (but unmistakably so) their view of violence as intrinsic to imperialism: it’s a subject as pertinent to the aborigines of the Oils’ homeland as Native Americans in our country. And lest these men seem impersonal to a fault in their activism, the relentless insistence of their playing on “Movers and Shakers” underlines the need for intimate personal connection: ” I can shake, I can move, but I can’t live without your love.”
Blue Sky Mining comes to an unsettling conclusion in the form of “Antarctica.” Admittedly, this song is a stark depiction of isolation, but it’s also a recognition that the desire for solace and respite from the outside world is never wholly dormant, even within the most engaged of us. Midnight Oil suggests that even such a paradoxical stance should not allow for complacency or self-congratulations, a viewpoint as rousing and provocative as the very sound their music on this thirty-year-old album.
5 Responses
Great thoughts, just a couple things to correct: “I can’t take my hands from my face; There are some things we can’t replace” is from the song “King of the Mountain”, not “River Runs Red”. And while Martin Rotsey (guitar) is probably physically capable of singing, he never has a mic on stage and as far as I know, has never contributed vocally to a Midnight Oil album.
Thank you for reading and complimenting the piece. Duly noted on the mis-assigned lyric, but the point remains valid on the wrods themselves as well as Garrett’s singing within the band dynamic. And speaking of which, Rotsey is credited with exactly that, ‘singing,’ on the album liner, so…an inside joke within the group maybe?
I’ve been following this band for about 40 years.
This is as fine an illustration of their way as ever has been written.
I’ve never heard them play a live gig without an harmonic improvisation here and there, so there’s always this bright light to capture.
BSM is important song about mistreated workers, a critique of the harshest shades of capitalism ending in social relief.
All musicians should have something to say.
Thanks for your article, prescient and crisp.
Where is Garrett now while his fellow countrymen are being murdered and enslaved by the Great Reset / New World Order agenda? He sits silent while lethal injections are practically being forced on EVERYONE in his beloved country! Women, children and aboriginals all are being systematically murdered and tortured in the name of “safety” and getting back to normal! LIES! Where are you Peter? Are you part of the solution or the criminal, genocidal police state that is so concerned about your welfare that they are literally beating you into compliance?!?! All Hegelian Dialectic at play while Mr. Garrett looks the other way.
By Lethal Injections I assume you’re referring to the Covid vaccine. Hate to burst any bubbles but he spoke positively about vaccinations at a recent concert. So maybe you might want to take this brand of crazy to a Kid Rock review.