The early Midnight Oil played sporadically around Sydney's northern beaches during 1977, expanding their reach after Garrett received his law degree that summer. By 1978, they were gigging five nights a week and had found support in 'alternative' radio station 2JJ. Record companies were less adventurous, and after being turned down by all the major labels in Australia the band formed their own, called Powderworks, recording their debut, Midnight Oil (1978), in an economic ten days. It was a fine declaration, establishing a rootsy pop sound.

Following its release, the band's militant, socially active side began to emerge. They played an anti-uranium-mining benefit at the Sydney Town Hall, and went on to gig in support of Greenpeace and the Tibet Council. In 1979, they turned their attention to business practices in the local live music circuit. Unhappy with the monopoly operated by local promoters and agents, they formed their own booking agency, blacklisting any venues they felt overcharged the public.

Head Injuries (1979), their second album, went gold in Australia, helped by a national hit single, "Cold Cold Change". After a personnel change -James left the band in 1980 due to ill-health, and was replaced by Peter Gifford -a mini-album, Bird Noises, followed - again achieving gold status in Australia. Then came Place Without A Postcard (1981), recorded in Britain with producer Glyn Johns, but drawing heavily on Australian history in its lyrics. It went platinum at home and yielded a major chart single, "Armistice Day".

Armed with a sheaf of politically charged songs, the Oils returned to Britain late in 1982 to record the 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 album. The crowning glory of this trip was a night supporting The Who. However, they turned down their hosts' offer to support on an up-coming US tour, and headed back home, where the album spent a staggering two years in the Top 40.

Following 1984's Red Sails In The Sunset album, Garrett took his political involvement a stage further, announcing that he was going to stand for a seat on the Australian Senate, on a Nuclear Disarmament Party slate. He received 200,000 votes and was only very narrowly defeated. After participating in the Artists United Against Apartheid project in 1985, Garrett focused his attention on racism closer to home, writing a track for a documentary about the Aborigines, and taking the band on the 'Black Fella White Fella' tour along with Aboriginal group, the Warumpi Band.

These experiences provided the subject matter for the Diesel And Dust (1987) album, which went gold in a day and platinum in three in Australia, and had the largest ship-out in the history of the country's record industry. Its stand-out track, "Beds Are Burning", reached the US and UK Top 20, too, drawing attention for a world tour (with New Zealander Dwayne 'Bones' Hillman replacing Gifford on bass).

If the Oils ever considered subduing their lyrics for mainstream success abroad, it must have been a fleeting thought. After the world tour, they returned with Blue Sky Mining (1990), which was as biting as any previous release, its title track written for the thousands of Australians who had contracted cancer while working as blue asbestos miners. The following year, the band was back on the road, rocking out to mass enthusiasm, as evidenced by a great live album, Scream In Blue (1992).

They returned to the UK and US charts with the 1993 album, Earth & Sun & Moon, and remain one of the most enjoyable, honest and committed acts around. Their most recent recording, Breathe (1996 Columbia) keeps the environmentalist faith and Garrett's screaming for justice is as loud as ever.

From The Rough Guide To Rock, by George Luke

(Note: this article has not been approved for reproduction.)