715. Midnight Oil / Red Sails in the Sunset. 1984. 3/5

Midnight Oil had been on an increasing trajectory since their emergence on the music scene in 1976, and the release of their self-titled debut album two years later. Beginning as an underground surfer scene band, the quintet had gained footholds into the Australian music scene over the course of those passing years, refining and redefining the landscape around them, and in the process finding their voice both musically and lyrically. Through their albums such as “Head Injuries”, “Place Without a Postcard” and their genre and chart crashing “10, 9, 8, 7, 6, 5, 4, 3, 2, 1”, Midnight Oil had found its audience and was beginning to reveal just what their key issues were, utilising their music to promote those to the world.
The aforementioned “10 to 1” album had brought the band its biggest success to that point, showing that they were not just a one trick pony, incorporating some different styles and experimenting with the music they produced. For the follow up to that album, the band decided to record in Japan with Nick Launay staying on as producer. Their record company apparently pushed for the band to record a more commercial single so that they could push for better opportunities in the US, something about which drummer Rob Hirst was quoted as saying “this is the album, take it or leave it”. The opportunity was there for the band to continue with their bold statements, and this was certainly the case for the album cover, designed by Japanese artist Tsunehisa Kimura, which depicts Sydney Harbour after a hypothetical nuclear strike. It is a stark image, and one that stood out in the record racks in the music stores. The end result was an album that again pushed the band’s boundaries, and also became their first number one album in Australia, and also charted in the US. And thus came the album that was appropriately named “Red Sails in the Sunset”.

The majority of “Red Sails in the Sunset” is not as outwardly energised or powerfully belligerent musically as the previous album. Though while the music may be more progressive and experimental, the messages in the lyrics don’t hold back. The opening two tracks are the singles released from the album, starting with “When the Generals Talk”, one of only two Midnight Oil songs where drummer Rob Hirst takes on the lead vocal role. This then explodes into “Best of Both Worlds”, one of only two songs on this album that could be said to draw upon the frantic live sound the band had performed with to this point of their career. It’s still a great song, combining all the best parts of the band in one belligerent hit. This then leads into a different kind of theater. On “Sleep,” the band reflects on the struggles faced by indigenous Australians, touching on themes of land rights, cultural identity, and the impact of colonization something that would continue down the track. Peter Garrett, as he often does, is almost speaking directly to you through the speakers. “Minutes to Midnight” refers to the doomsday clock, which is set in regard to how close the world is to either the threat of nuclear war or catastrophic destruction. The lyrics evoke an urgency, to remember our past and take meaningful action now. This is a song performed almost acoustically throughout, allowing the vocal merging harmonies to dominate the track over the drums and guitars. “Jimmy Sharman’s Boxers” tells the story of the travelling boxing troupe led by the eponymously named promotor in the early 20th century, and how his indigenous boxers were mistreated and the hard life they led as a result. The song itself draws out beyond seven minutes, rising and falling as the story is told, riding the wave of the anger and despair throughout. Side One then closes out with the horns and brass instrumental of “Bakerman”.
Side Two begins with “Who Can Stand in the Way” that covers the gamut of issues that the band is concerned by and wants to see action on - First nations people's rights and abuses, environmental issues, the rich still getting richer, and the power and abuse of the media. All of these issues are covered in other songs over the years. From here the album moves to arguably its finest moment, “Kosciusko”, a great combination of all guitars acoustic and electric, those amazing drums, and the combination of voices led by Rob Hirst again as lead vocalist for only the second time. Again speaking of the harsh existence that the first nations people have suffered, the energy and power and emotion of this track makes it an all-time classic. One of the greats. “Helps Me Helps You” comes at you in describing the idea of ‘you wash my back and I’ll wash yours’, but how the quid pro quo is not always returned. The three final songs on the album settle right back into a slow and maudlin style. “Harrisburg” reflects on the Three Mile Island nuclear reactor incident near Harrisburg, Pennsylvania, which occurred in 1979, and centres on the band’s theme that nuclear disarmament is one of their key principles. "Bells and Horns in the Back of Beyond" laments the loss of our amazing green spaces and natural landscapes to development, while pushing for consideration to be taken in how this affects us all. And the final track “Shipyards of New Zealand” moves into an atmospheric trance in discussing ambition and reality, and the quest for purpose and fulfillment. It is a defining way to finish the album, with a much slower and less momentous attack than the band has done in the past.

When this album was released, it was enormous. It exploded through Kiama High School where I was in Year 9, and the world outside that. People praised it to the high heavens, the singles were wash boarded over the radio, and it was lauded as a continuing rising high-water mark in the band’s career.

I didn’t like it.

1984 for me saw bands like Queen and The Police as big influences in my life, and dominating my listening. I adored the previous album, and was still listening to it often when this was released. And in many ways I guess that is what was a problem for me, because while the lyrical messages here were just as important and concerning, the absolute anger and passion outwardly that they had come with on the previous album was missing, and for me that was a big thing. It was confirmation for me that I was looking for something more out of music generally by this stage of my young life, that I wanted more energy and momentum in my music, something I would find some 12 or so months later in a different genre altogether. So when I heard this album on its release, given that the majority of the tracks here are so different from what I had loved on the previous album, I felt rather ambivalent about it.
Eventually, many years later, and older and perhaps more open to the kind of music that this album holds, I found it far better to listen to, but the same feelings I had when I was 14 still survive today.
I listen to this album today and I find it fine. It feels like it is aimed at my current age generation. It feels more like an easy listening album compared to the albums that preceded it, and also what was yet to come. The singles were the most outlandish of the tracks along with “Kosciusko”, and the ones that still light this album up when you listen to it.
I’m sure there are many people out there who are of a different opinion to me when it comes to this album, given its immense popularity at the time. But as much as I love this band and some of the songs off this album, “Red Sails in the Sunset” never quite fit for me.