Midnight Oil are legends of the Australian 1980s Rock scene. Led by singer Peter Garrett, the group raised some important inequalities and injustices to the mainstream eye, particularly that of Indigenous Australians, who live a completely different life to that of the average Australian, even at the time of writing. After a tour with Indigenous music groups in 1986 (the Warumpi Band and Gondwanaland), Midnight Oil sharpened their focus musically and decided to deliver a concept album (unusually so for the time) about the nature of suffering experienced by Indigenous Aboriginal and Torres Strait Islander peoples of Australia, along with pressing environmental issues of the time. Although many inside and outside of the music scene of the time criticised the band and notably, Peter Garrett, for their political approach, this album was seen as the peak of the band’s musical powers. This was way before Peter Garrett infamously left singing duties of Midnight Oil to join the Australian Labor Party and became an MP in Kevin Rudd’s government, which some may say was highly hypocritical of him to do so. Regardless, this is the album that Peter Garrett and Midnight Oil should be remembered for. Let’s hear it and hopefully, it still sounds as good today as it did in 1987.

Beds Are Burning begins with some cool keyboards and launches into a very 1980s-sounding song indeed. Peter Garrett sings almost immediately, and to be fair, he isn’t the greatest singer ever. The lyrics are very important here, mind you. This is a great song from the start, however. It’s about the opportunities and rights taken away from the Aboriginal and Indigenous peoples of Australia, and the chorus is very anthemic and moving per se. This is a very touching musical song, and it sounds very excellent to this day. Peter Garrett proves himself to be an unlikely star musically here, and the mixture of intelligent (yet highly political) lyricism and catchy Pop/Rock stylings makes a direct impression on one when one is listening to it. Sadly, the Aboriginal peoples of Australia have not yet been able to receive just acknowledgement in a world and society that does not accept them. Nonetheless, all commentary aside, this is a moving, emotional and excellent song overall. It is a fantastic tune, and worth repeat listens. The chorus is incredibly moving, and the instrumentation and playing present is fantastic to listen to. The ending is great, suspenseful and animated.

Put Down That Weapon begins with chorus chorus-loaded guitar and enters into another decent and suspenseful tune with great 1980s sounds and a naturally great set of melodies and tunefulness about it. To be clear, this is an anti-war song that works well. Peter Garrett’s delivery of political vocals and intent makes clear sense to those who are on the left of politics, and he illustrates this lyrically heavy music in a clear, concise way. Murder, inside and outside of warfare, should be avoided at all costs and this lyrical concept is set to music. There is an interesting musical change in the second half before this goes back to the keyboard-heavy music. Nonetheless, a very cool song that illustrates well the horrors of warfare, set to 1980s mainstream Australian Rock music. It continues the consistency of this album well, and the music and lyrics match each other well. A really good listening experience. It ends with a Surf Rock-sounding conclusion. Excellent.

Dreamworld begins with a much more upbeat musical feel, and it is about the degradation of modern society at the time. With references to Norfolk Island and other areas in Australia, this is something that many Australians can click with and identify with in an iconic way. Indeed, tourism is a big part of the Australian economy and Peter Garrett reveals why so in a song of loss. This is more of a musically based piece than a lyrical one like the tracks before it, and it sounds anthemic, musically decent and joyful. A really reflective tune and something worth listening to, even today, there is a loud mesh of instrumentation in the solo section. This is much better than the Hoodoo Gurus trashy Pop/Rock of the time as well. It ends with an extended solo section with edited and modified guitar parts that sound backward. A good, solid tune.

Arctic World begins with some eerie keyboard sounds and some looped percussion to match. This sounds great and has some piano thrown in for good measure. This is an imaginative tune for sure. Peter Garrett sings emotionally here, despite the fact he sounds like he smoked a lot of cigarettes over his time. This is a song about not wanting to become a sensationalized figure of history. Surprisingly unpretentious, in a lyrical way. Musically, it is matched with violin, piano and other interesting textures. Sure, it sounds very 1980s (and is a bit dated as a result) but it nonetheless, works. A beautiful, wonderful and joyful listening experience throughout, this is a bittersweet ballad that works incredibly well. A tune that works well, it does sound sweet and pleasant throughout. Midnight Oil was on fire here, and this album so far proves that to be the case. A good song, it sounds strange in the outro. It ends with a prolonged instrumental section and segues into the next song.

Warakurna begins with some nice acoustic guitar arpeggios and keyboard sounds throughout. This sounds very artistic and enjoyable. As one can probably guess, this is a song of reconciliation and reflection on the failure of British culture and its impact on Australian history. Peter Garrett’s singing is something that isn’t overly impressive, but musically and lyrically, this has a great purpose. Nonetheless, this song is from an Australian perspective of rejoining a bond of trust between the Aboriginal peoples and the British-based people who originally colonised Australia. There is a good guitar and electronic drum solo in the second half of this song, and it shows that Midnight Oil indeed, could play as well as write and sing. Sadly, the tragedy of the Indigenous peoples of Australia is overlooked, to this very day, notably by most politicians who run the country. A call to arms for those who live in Australia, this is a deep musical statement. It ends with glorious guitars and sounds good overall. Good tune, once again.

The Dead Heart is another hit from this album. It begins with acoustic guitars and snappy drum beats, along with some interesting Electronic sounds. Some hummed harmonies enter, and this is a song that had heavy radio rotation at the time. A pleasant and upbeat listen, this continues the political and social concept of this album. It sounds like a statement from the Aboriginal and Torres Strait Islanders from a bunch of Caucasian Australians. A really awesome listen through and through, this was released during the peak of Australian Rock music, and the music here is very much in line with that sound. Regardless, this upbeat tune is brimming full of anger, and this is very different from your typical band’s lyrics. With lyrics about how corporations have more of a say than the common people do in Australia, this is still relevant to this day. A pleasant Pop/Rock tune that must be listened to be understood, Peter Garrett’s vocals are a bit laughable, but the music is great and works well. A very interesting listen, although right-wing types may not enjoy this overly political music. A really Poppy and upbeat listen for such an angry song. The outro is irresistibly good. A worthy listen.

Whoah begins with some nicely strummed acoustic guitar and a touch of percussion. It quickly launches into another highly political song that sounds really great. It is about the religious overtones and culture that the British brought into Australia upon colonisation of the country. It is a sad and strange musical piece about the hypocrisy of religion and how it can destroy people. For all its political purposes, this is a sharp statement set to minimal Pop/Rock music of the time. Just as good as the other songs on this album. It has a solo section with harmonies, an organ and plenty of spacey 1980s sound effects. Regardless, an interesting and good tune to listen to, this music points out despair and disappointment on this song. A good and decent listening experience. It ends with more organs galore.

Bullroarer begins with some strange mechanical sounds and quickly enters into a good Rock ballad with clean, Fender-styled guitars. This song is about travelling throughout Australia by car and other traditional outback adventures. The guitar is particularly prominent here, and Peter Garrett sings about outback Australian folklore. Indeed, this is along the lines of the fact that most people outside of Australia stereotypically think that Aussies are like Crocodile Dundee or Steve Irwin. Peter Garrett sounds good here with his hollering-styled singing. Regardless, an upbeat and somewhat less political tune to hear. Towards the middle is a neat guitar chord progression that sounds very upbeat. A very good song, although many may see this as dated today. It partially is, but the music does make sense to the listener. An awesome listen throughout, and something that Rock and 1980s music fans can easily appreciate today. Much more texture-based than song-based, this does sound really gloriously good. It has some interesting guitar parts to match and sounds very picturesque. Good job Midnight Oil, it fades out slowly at the end. A nice tune.

Sell My Soul begins with catchy guitar parts and sounds quite awesome. This is about selling one’s soul out, likely for political and money-based purposes in a world of mediocrity. This is a deep, warped and interesting statement from Midnight Oil and singer Peter Garrett. A good listening experience, although this is clearly not one of the stronger tunes of this album. Nonetheless, this continues the concept of the album and the musical flow present as well. Some interesting guitar work is here, and it looks at how the USA dominated the West at the time, for better or worse. A really good listening experience at hand, this music is a strong representation of what not to do. A short three-and-a-half-minute-long listen, and very good indeed.

Sometimes sounds very dated from the start. Still, it’s okay. It has some pseudo-Reggae guitar parts, much like The Police had before these guys were at their peak. This is a song about revolting against authority, and this song makes a lot of sense to those out there who support minority political parties (such as the Greens party in Australia) and it is short and bittersweet, yet again. Peter Garrett was very left-wing back in the day, and to this day encapsulates the spirit of that in Midnight Oil’s music. The song is good, and it should be a call to arms for all of those who need a voice of Socialistic means in their lives. Again, very political. There is a key change in the second half of the song, and this music makes sense if you have heard the rest of the album so far. Another solid listen. It ends with sustained electric guitars.

Gunbarrel Highway is the final song on this album. It continues the themes and concept of Australia out and about. It’s good to hear this sort of thing. Australia is, after all, more than simply just Sydney and Melbourne, there is a huge and interesting country to explore out there, especially by a four wheel drive with your mates. Nonetheless, this song is notable for being taken off the USA release of the album due to a noticeable lyrical profanity here. Having said that, it’s not hugely offensive. The second half has some deep and moody guitar riffing, before resuming back into the song at hand. This again tackles partially the need for reconciliation between the Anglo-Saxon peoples and the Aboriginal/Torres Strait Islanders out there who live in Australia. A good song to finish up with.

This is a very, very good album and a consistent listening experience throughout. It is a highly political listening experience, which no doubt is not everyone’s cup of tea. Still, Midnight Oil’s best album is here and it is a good moment of Australian history and storytelling in just over three quarters of an hour. The concept, music and picturesque lyrics are well done for an Australian band. Should you listen to this album? It is recommended for those 1980s music lovers who need a good dose of left-wing politically aware lyrics and music. Be warned, if you support Trump, you will not enjoy this, however.

Decent, varied and musically important.

8/10