Halestorm – Back From the Dead (Album Review)

Halestorm's 2022 release, their fifth studio album Back From The Dead, is a triumphant album that is not only on par with their prior records, but in many respects trumps all that has come before. Loaded with raw energy, captivating lyrics, and Lzzy Hale's signature powerhouse vocals, Back From The Dead stands as a fierce testament to the band's evolution and enduring spirit and is amongst the best albums released in 2022.

Back From The Dead also marks Halestorm’s greatest album artwork to date as it’s evocative of their musical style and portrays the emotive frustrations of the last few years into a piece of visual art that would look incredible on the larger vinyl canvas. While I’ve yet to pick up a release on vinyl, the Hi-Res Lossless Apple Music stream, an Apple Digital Master, is simply exquisite. It’s so enjoyable that I question if I need the vinyl counterpart, but that is a null thought as the artwork is worthy of ownership alone. Nevertheless, it’s wonderful to hear modern hard rock music recorded, mixed, and mastered so well, for it is the exception rather than the norm.

That said, as it pertains to the Dolby Atmos surround sound mix, also on Apple Music, it isn’t as hard-hitting and rocking as the stereo mix and sounds a little muddy in places. The treble is dialled back and is, subsequently, a little less pronounced, but Hale’s vocal is also a little distant in the surround mix. It’s as if the album was recorded for stereo and then mixed to the surround format as an afterthought. I’m all for Atmos mixes when done with intent, but I certainly don’t believe it should be done for the sake of ticking a box. 

Back From The Dead is a killer blues-based hard rock opener that sets the tone for the entire album. It’s Halestorm 101 and while it may not break new ground, you know exactly what to expect and Halestorm delivers. 

Wicked Ways is one of Halestorm's greatest recordings. Hale’s incredible vocal is the magical element that ensures Wicked Ways is a highlight of the album. Naturally, it isn’t only Hale’s prowess on the microphone that makes such an impact for the band is on fire throughout this hard rock masterpiece. Wicked Ways is what can only be called a stadium-filling tune and if you don’t agree, may I suggest you listen again and turn the volume up to 11.  

Strange Girl is the perfect follow-up to Wicked Ways. The tempo may be a little slower, but the hard rock and heavy metal core elements remain present. With Strange Girl, you’ll be met with a wall of sound but that’s far from a bad thing, especially for this style of music. It's emotional and raw and Halestorm has never sounded this good. 

Brightside is best described as an album-only tune with killer rhythm and guitar elements. It’s a solid rocker that keeps the album flowing and sometimes that is all that is required. 

The Steeple is groovy and is, as with the entire album, proof that rock and roll isn’t dead. There’s no doubt in my mind that The Steeple will be incredible when performed live for if Hale’s vocal delivery or the guitar solo doesn’t get you, the tribal nature of the song will. 

Terrible Things slows the tempo considerably, but it’s a beautiful song and Halestorm has the musical chops to deliver both ballad-styled tunes and heavy hitters alike.

My Redemption slowly brings us back to rock elements more frequently associated with Halestorm and while I wouldn’t suggest that My Redemption is a standout song, it’s another album-filling tune that ensures Back From The Dead remains a memorable album experience. 

Bombshell is nu-metal meets heavy metal meets rock and roll. There’s a plethora of elements to appreciate with Bombshell and it’s one of those songs that will likely take multiple listens in order to fully appreciate. When you find the musical elements that speak most to you, Bombshell quickly becomes a wonderful addition to the album and Halestorm’s expanded catalogue of music. For me, it’s the bass tracking and Hale's vocal, for they are the backbone of the song.

I Come First has a killer introduction. That riff and Hale’s vocal dexterity are exceptional. The result is an addictive toe-tapping head-bopper that is thoroughly enjoyable. 

Psycho Crazy, from the very first note, puts me into a pleasurable bass coma. Unfortunately, as the song progresses, the focus on the bass element is reduced within the mix. Subsequently, I’d suggest that Psycho Crazy is a little overproduced in that it is trying too hard and should have fewer musical elements, thereby allowing for a cleaner recording and overall presentation of an otherwise solid tune. 

Raise Your Horns is simply magnificent. While I’ve mentioned it countless times throughout this review, Hale’s vocal is spectacular. She truly has never sounded better and if Raise Your Horns doesn’t leave you impressed, you’re listening wrong for Hale is one of the greatest vocalists the world has ever known and even after all these years, she’s just getting started.

While Back From The Dead demonstrates Halestorm's musical growth and experimentation, it’s an album that provides further validation to their unwavering dedication to the hard rock industry, their fans, and to the music itself, for Back From The Dead is full of electrifying performances.

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Meat Loaf – Bat Out Of Hell (Album Review)

Bat Out Of Hell is an absolute classic and while few would dismiss its importance to the history of recorded music, most of us would agree that it’s a landmark album. It's a shame, however, that the sonic quality has never really lived up to the hype, but more on that later.

Released in 1977, Bat Out Of Hell, produced by Todd Rundgren and penned by Jim Steinman, has left an indelible mark on music history with its bombastic melodies, theatrical storytelling, and Meat Loaf's unmatched powerhouse vocals. It really is the complete package and there isn’t a bad track to be heard on the album. Certainly, some songs may appeal more to you than others, I know that is the case for me, but when you combine them in the chosen sequencing, Bat Out Of Hell becomes more than just a collection of songs for it is an album experience first and foremost. 

Aside from the music, the album artwork is also legendary and yearns to be seen on the larger vinyl canvas. Unfortunately, despite trying various editions, I’ve yet to find a vinyl copy that is mastered exceedingly well. Truth be told, there probably isn’t one definitive edition as Bat Out Of Hell has never been an album that will please audiophiles. Its recording is somewhat raw, thereby limiting the quality of the output, but in a strange dichotomy, that aspect adds to the appeal of the album. 

The problem that exists when recordings lack a little spit and polish from the production stage is that by the time it has been mastered, or additionally remastered, and then delivered to the music-loving consumer, the magic of the album tends to be severely reduced. In other words, you’ll hear the songs but there are moments whereby Bat Out Of Hell is sonically closer to muzak than music. Yes, dear reader, it can be that bad and while highly touted editions exist, it’s a case of once bitten twice shy. Plus, and this will drive vinyl purists insane, I thoroughly enjoy the Hi-Res Lossless stream, an Apple Digital Master, from Apple Music. 

Don’t get me wrong, I’m not suggesting that the Apple Music stream offers the definitive edition of this classic release, but I find that it is the least offensive with a smoother top end and a little fuller sound in the mids. The low end of the audio spectrum is still lacking on the Apple Music stream, unfortunately, but if we consider that to be part of the album’s style, I can live with that.

Of course, the stereo mix isn’t the only option available on Apple Music for the album is also presented in Dolby Audio. You’ll notice that I didn’t say Dolby Atmos and that is because Apple Music also delivers the legacy SACD and DVD-Audio surround sound mixes; if the record label delivers it to them. In this case, I believe it is taken from the 2001 surround mix counterpart, sans the two bonus tracks, but the lack of complete liner notes means that this is pure conjecture on my part. Despite that, the sonic presentation of the surround mix is fuller and more spacious than the stereo counterpart. I almost want to say that I prefer it, but some elements leave me a little unsure and displeased. The low end is a little muddier, by comparison, and after listening to the stereo mix for decades, the shift to a multi-channel mix can take a little getting used to. As always, our musical perspectives are subjective and there are numerous mixed opinions relating to the 5.1 surround mix on QuadraphonicQuad. My advice would be to find the version you’re happy with and stick with it. For me, it is the Hi-Res Lossless stereo mix from Apple Music.

Bat Out Of Hell is a sprawling rock opera that sets the tone for the entire album. Meat Loaf's passionate vocals combined with Steinman's poetic lyrics make this an unforgettable anthem.

You Took The Words Right Out Of My Mouth (Hot Summer Night) has the classic Steinman spoken intro that works well with the song, but I find the musicality of this track to be a little campy and rather dated. That doesn’t mean I don’t like it, anything but, it’s just an aspect such as this that would likely deter modern listeners who have yet to fully grasp the musical impact Meat Loaf had throughout his career. Regardless, this nostalgic ballad is infused with both rock and pop sensibilities and before it’s over, you’ll likely find yourself singing along to a song that very easily could have come out of the ABBA camp.

Heaven Can Wait is a beautiful heartfelt ballad that will leave a lasting impression for it’s, arguably, Meat Loaf’s greatest recording. 

All Revved Up With No Place To Go kicks the album back into high gear with this high-octane track. My only frustration is I feel it’s a little too jazzy. That, however, doesn’t prevent me from belting out every chorus and verse. 

Two Out Of Three Ain't Bad is one of Meat Loaf’s most iconic songs. While Meat Loaf is often remembered for his rock and roll numbers, ballads like this, and Heaven Can Wait, are the trademark tunes that showcased just how extraordinary his skill was as a vocalist.

Paradise By The Dashboard Light needs no introduction for it’s one of the greatest songs ever written and recorded for few rock operas are as addictively good as Paradise By The Dashboard Light. With a narrative featuring young love and lust, weaving in humour, drama, and intense musical interludes, the multi-faceted structure of the song keeps you engaged from the very first note to the last. Incredible!

For Crying Out Loud is the perfect bookend to an incredible album, for this sweeping power ballad encapsulates the grandeur that only Meat Loaf was capable of delivering. The result is yet another reason to put the album on repeat for it is a rare occasion when I listen to this masterpiece only once.

Bat Out Of Hell is one of the greatest albums ever recorded; even if not from a sonic standpoint. While Meat Loaf gets most of the credit, Jim Steinman needs to be remembered as the silent but extremely talented writer that was as important to Meat Loaf’s success as Bernie Taupin was to Elton John. Yes, both Meat Loaf and Elton John have worked with other songwriters, but their greatest and most creative achievements can about when they worked together. The result is a well-crafted timeless masterpiece.  

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Quarterflash – Quarterflash (Self-Titled Album Review)

Quarterflash's self-titled debut album, released in 1981, stands as a shining example of the vibrant music landscape of the early 80s. With a distinct blend of rock and pop, this album captures the essence of the era while simultaneously showcasing the band's unique style.

While 80s music fans would likely be familiar with Quarterflash, for it’s one of the very best albums released in 1981, you’d be forgiven if you have overlooked it, or never heard it before, as it’s disappointingly been out of print, certainly outside of the Japanese music market, for decades. As a result, we must be content with digital editions via streaming options or digital download stores. While the lossless Apple Music stream isn't an Apple Digital Master, it’s a beautiful master, nonetheless, that’s very dynamic with a lively and spacious soundstage. Yes, a remaster, done respectfully, would be appreciated but at this stage, I would welcome a CD or vinyl re-issue with the original mastering. 

Aside from having the music circulate on a physical format once again, the artwork is exquisite and, in my mind at least, deserves to be seen on the larger vinyl canvas. Universal Music Group should consider releasing a reissue of this classic album as modern collectors would love such a release. Even a small print run, perhaps a Record Store Day exclusive, would be well received.

Harden My Heart is the quintessential 80s power ballad; what a way to open this self-titled debut! With its hauntingly catchy melody and introspective lyrics, Harden My Heart creates an unforgettable atmosphere that sets the tone for the rest of the album.

While it should be celebrated that Harden My Heart received renewed attention following its inclusion on the Rock Of Ages soundtrack in 2012, the Julianne Hough and Mary J. Blige version is an atrocity. It's a shame considering both of these musicians are consummate performers in their own right.

Find Another Fool continues the energetic momentum with an upbeat tempo that makes it a worthy follow-up to the opening track. Rindy Ross' powerful vocal delivery is, as always, evocative of the greatest female vocalists to sing rock music. Plus, it isn’t just her vocal prowess that’s impressive, for she’s an incredible saxophonist. Additionally, the musical style of Find Another Fool reminds me fondly of Kansas’ work on Monolith. 

Critical Times slows the tempo considerably, but it isn’t as much of a jolt to the senses as you may initially think as the emotive vocals and reflective lyrics are stunning. I should note that one of my all-time favourite vocalists, Timothy B. Schmit sings as part of the backing vocal harmony and is simply amazing. Could Critical Times have been recorded by the Eagles? Absolutely, but it wasn't and is, subsequently, one of the core reasons why I adore Quarterflash and consider it such an extraordinary album. 

Valerie picks up the tempo and while it has an infectious groove with a killer bassline and guitar solo, it’s not my favourite song from the album as the chorus is underwhelming and grinds on the senses due to its pitch.

Try To Make It True is musical bliss. That introduction and the song’s overall vibe ensure Try To Make It True is one of the best tunes on the album. 

Right Kind Of Love is a great lovely ballad with a catchy chorus and dynamic instrumentation that will see you singing along while simultaneously toe-tapping and head-bopping to the rhythm. Rindy's saxophone work, with the intertwining of Marv Ross’ guitar solo, is a standout and is the ultimate sonic trademark of Quarterflash.

Cruisin' With The Deuce is a musical masterpiece. It reminds me fondly of the musical style heard on Quincy Jones’ The Dude, for it has a similar funk meets jazz meets rock styling. Ultimately, Cruisin' With The Deuce is the complete package and if you only listen to one song from this self-titled debut, make it this one. It’s, honestly, amazing that Quarterflash was never more popular than they were for when music is this good, it deserves to be heard and shared. 

Love Should Be So Kind slows the album down considerably, but the reflective nature of the song showcases Quarterflash's lyrical depth and ability to craft poignant melodies. Love Should Be So Kind was never destined to be a hit, but it’s one of the best songs Quarterflash ever recorded, thereby making it an essential album-only tune. 

Williams Avenue closes the album on a high note and while it’s a jazzy shift from the otherwise mellow Love Should Be So Kind, the rock-infused sound, driving rhythms, and passionate vocals provide a more than satisfying conclusion to the Quarterflash musical journey; one that will find you compelled to play the album time and time again.

Quarterflash's self-titled debut album is somewhat of a hidden gem from the early 80s, and one of the best albums released in 1981, capturing the essence of the era's musical diversity. While Harden My Heart remains the standout hit, the album as a whole offers a well-rounded collection of classic songs that are so well-polished that it makes this album sound like a well-put-together greatest hits release. 

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Elton John – Madman Across The Water (Album Review)

Released in 1971, Madman Across The Water is not only part of Elton John’s classic era, but it’s arguably his, and long-time collaborator Bernie Taupin’s, creative peak. With a compelling blend of rock and pop and an orchestral musical style, Madman Across The Water is an iconic and distinctive release that would present Elton John as a consummate musician. 

Some may logically point to other releases from John’s classic era as being the defining moment of his career. The self-titled Elton John, Don't Shoot Me I’m Only The Piano Player, and Goodbye Yellow Brick Road would be valid examples, but the cohesive album experience felt throughout Madman Across The Water, knows no peer.

Where things get a little rocky, however, is regarding the various masterings and sonic presentation of Madman Across The Water. Most fans are unlikely to concern themselves with such aspects, but for the rest of us who appreciate this release in a far deeper context, it’s important that we seek out the very best version of the album we can find. 

While everyone’s preference will differ, my subjective opinion is that the 2016 remaster offers listeners the very best, modern, sonic representation of this classic album. It’s important to note that the 2016 remastering was also the source used for the 50th Anniversary releases in 2022. As I was already fortunate to own this particular mastering on the 2018 vinyl edition (an exceptional reissue in its own right), I decided to abstain from purchasing the album again when the anniversary editions were released. Truthfully, I’m not one for bonus content and given it’s streamable if I wish to hear it, that was adequate enough for me. 

While I consider the 2018 re-released record to be the very best version of this album that I’ve had the pleasure of hearing, I can’t take it everywhere with me. Yes, my edition came with a digital download code, but there’s no meta-data to indicate which master was used to encode the lossless WAV files. I could create a needle drop as I have in the past with out-of-print releases, but that time-consuming process has become less appealing since Apple Music turned on Hi-Res and Lossless options at no additional cost. That said, there is a problem with the editions of Madman Across The Water on Apple Music et al that further complicates the attainment of what I consider to be the definitive release. 

Long-time readers will note my penchant for Apple Digital Masters, but this is one example where I suggest you avoid it like the plague as it’s the most compromised and least pleasing version of the two available on Apple Music. It simply doesn’t have the depth or presence in the soundstage to leave you in awe. Whereas the 2016 remastering is immersive, engaging, and offers a much smoother reproduction. Regarding the Apple Digital Master edition, the publication date is from 2011 thereby indicating a different mastering to the 2016 remastering sessions. Unfortunately, there’s no additional information relating to a 2011 remaster. It would be a logical assumption to, therefore, propose that this Apple Digital Master was derived from the 1995 remastering, yet without any further validation, this is mere conjecture. As I delved deeper to try and ascertain what was going on, the various streaming services all seem to have different versions of this classic release and while I’d love to give you a comprehensive breakdown of every streaming service and digital download store version available, it would be a tedious read. 

When so many variances exist, it creates an unhealthy paradox of choice that becomes overwhelming and leads to decision fatigue. The good news, however, is that all services have the Deluxe Edition and within that version is what I consider to be the superior mastering from 2016. As such, in order to share this review, of the core album, I’ve created a playlist from the Deluxe Edition for you to enjoy.

Tiny Dancer serves as a magnificent opening track. Its soothing and tender melody immediately captures the listener's attention, and John's emotive vocals convey a sense of intimacy that has made it an enduring favourite among fans; even amongst those who associate the song via the well-known mondegreen. 

Levon boasts a captivating storytelling narrative, driven by a powerful piano arrangement. John's evocative vocals bring the character of Levon to life, painting a vivid picture of his life and struggles, but perhaps more importantly, it is an incredible performance that is so sonically beautiful that it automatically becomes one of John’s greatest recordings. 

Razor Face is a hidden gem with a compelling blend of bluesy undertones and John’s expressive vocal delivery. The song’s raw emotions and subtle instrumentation make it a memorable addition to the album. 

Madman Across The Water is a true showcase of John’s musical prowess. Featuring intricate piano work, a sweeping orchestration, and a simply incredible vocal presentation, Madman Across The Water leaves a lasting impression. Additionally, you may also wish to check out the original recording of this tune as it’s got a greater rock edge thanks to the guitar work of Mick Ronson. 

Indian Sunset is simply magnificent! John’s vocal throughout, but particularly during the introduction, is the epitome of perfection. 

The most powerful aspect, however, is the gradual layering of musical elements with the shift back to the vocal. It’s nothing short of a masterstroke and I remain amazed as to why Indian Sunset remains somewhat hidden, never appearing on any of John’s compilation releases. It’s a shame for it’s one of his greatest songs that few people have heard outside of this album. 

Newer audiences were, however, exposed to it in 2004 as it was sampled on the chart-topping posthumous single Ghetto Gospel by Tupac Shakur. If nothing else, Indian Sunset proves that John and Taupin are musical geniuses and a collaborative team like no other.

Holiday Inn shifts the mood of the album but sounds as if it should have been included on Tumbleweed Connection. While it is a little disjointed, in relation to the rest of the songs from Madman Across The Water, it has some exceptional musical shifts with infectious piano riffs and a catchy chorus that make it an enjoyable addition to the album. 

Rotten Peaches won’t necessarily be anyone’s first pick when it comes to the best songs from Madman Across The Water, but it grows on you the more you listen to it and is the quintessential album-only tune.

All The Nasties is another of John’s hidden gems. With that in mind, it’s tragic that this masterpiece has been overlooked for so long.

Goodbye is the perfect closer. Short, but beautiful! Goodbye will, undoubtedly, compel you to listen to the album again for Madman Across The Water can rarely be appreciated via a single play-through. 

Madman Across The Water is an extraordinary album that epitomises Elton John's artistic brilliance. The album's diverse musical arrangements, poetic lyrics, and powerful vocals further showcase the depth and range of John's talents. Madman Across The Water, subsequently, remains a timeless classic that has continued to captivate audiences across generations, solidifying its place as one of the finest works in Elton John's illustrious career.

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Rival Sons – Darkfighter (Album Review)

Turn it up loud for Darkfighter with its raw energy and hard rock bluesy sound soars to greatness when you play it at rocking volume levels. Trust me on this, something was missing upon the first listen but as soon as I turned the volume up, the album’s intent and overall presentation became immediately apparent; a clarity that results in Darkfighter being one of the best releases in 2023. 

Darkfighter will appeal to fans and newcomers alike but Darkfighter is not Feral Roots. Nor is it Hollow Bones. It’s the culmination of all their previous albums meaning that Darkfighter is an evolution; one that is so well done that I can’t help but form correlations to the artistry of Led Zeppelin, Creedence Clearwater Revival, and Bad Company et al. Importantly, however, Rival Sons are anything but a cover band. They’re not even imitators. They have a unique style and while nostalgic, for those of us who appreciate the classic artists of yesteryear, Rival Sons is ensuring that classic-styled rock and roll remains alive in the modern zeitgeist. 

Of course, to reach classic status one can’t simply rely on the music as it’s the overall presentation that results in an album being instantly iconic. Yes, streaming music has spoilt us for we no longer need to consider the album artwork prior to, or while, listening. It’s almost a lost element in music appreciation for album artwork used to be the doorway to finding something new and interesting. Yes, there are numerous examples where the music didn’t live up to the artwork but this release is certainly not one of them as the audible and visual components offer the perfect complementary counterpart to each other. 

Naturally, the music is the most important element and with that in mind, the eight tracks of Darkfighter blend classic rock elements with a modern and addictive twist. The result, as we’ll find out, is a captivating listening experience full of hard-hitting guitar riffs, groovy bass lines, and infectious rhythms with some of the very best vocals you’re likely to hear this century.

Mirrors opens the album epically. The choral-style instrumental opening ensures the senses are warmed up and ready to rock for the classic rock and roll style, with Jay Buchanan’s soaring vocals, will instantly appeal to rockers the world over. On Mirrors you’ll hear a little influence from Led Zeppelin, with a touch of Soundgarden, but don’t let that deter you for it is nothing more than a subjective correlation as Rival Sons are simultaneously peerless; particularly in the modern era.

Nobody Wants To Die is a hard-hitting rocker. While the guitar solo is what air guitar dreams are made of, it is the exceptional bass and drum rhythm throughout that will impress.

Bird In The Hand shifts the tempo, somewhat, but your soul immediately matches the rhythm and the distortion applied throughout Bird In The Hand is perfect. Bird In The Hand may not be the quintessential stadium-filling tune, but I desperately want to hear it in that setting for the jamming live expansion that Rival Sons could bring to the table on this song, I feel, would be nothing short of amazing. 

Bright Light is magnificent and is captivating from the very first note. As the introduction builds and the rest of the band enters the mix, Buchanan’s vocal intertwines perfectly with the overall rhythm ensuring that Bright Light is one of the best songs from the album. It’s also a standout within their growing catalogue, as well as being one of the best songs of, at least, the last decade. Classic rock and roll never died, it just held its breath until Rival Sons arrived on the scene.

Rapture is a modern masterpiece! The electronic distorted guitars, mixed with the acoustic, and the rhythmic background ensure that Buchanan is once again highlighted and his performance is simply incredible. Just listen to how he holds his notes throughout the chorus. What an incredible vocalist!

Guillotine is one of my favourite songs on the album, primarily because of the chorus. Poetic is the best way to describe it and while I don’t normally listen to music for literal interpretation, this one is contemplative and you’ll find yourself singing along as you ponder life. Yes, sonically, Guillotine is all over the place, but that simply adds to the complexities of the song and it works surprisingly well. 

Horses Breath seamlessly transitions from Guillotine but the introduction is too drawn out. If you were to listen to this song on repeat, or via a playlist, the introduction would likely generate frustration. Similarly, the outro, while more succinct, shifts the flow of the song and the sequencing of the record. It’s a shame considering Horses Breath is a standout tune on an otherwise perfect album. 

Darkside is a beautiful closer and is the perfect bookend to Darkfighter. While the musicality is off-the-charts, it really is Buchanan’s vocal performance here, and throughout the entire album, that will compel you to listen to the record on repeat. Even if you don’t, Darkfighter is such an incredible modern rock masterpiece that it will stay with you until you’re ready to experience history again, for this album will stand the test of time and will be highly revered for decades to come. 

Darkfighter successfully combines classic rock influences with a modern touch, resulting in a captivating and diverse collection of songs. The musicianship is top-notch, and Jay Buchanan's vocals are as impressive as  any of the greatest vocalists from the rock and roll genre. Subsequently, fans of rock music, from any era, will find much to enjoy when listening to this modern classic. 

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Midnight Oil - Blue Sky Mining (Album Review)

Following a masterpiece is no easy task as subsequent albums will always be compared. That said, can Blue Sky Mining match the performance captured on Diesel And Dust?

Yes, and no! 

Few would argue that both albums are exceptional in their own right, with Blue Sky Mining winning, amongst other awards, the Best Album of 1990 by the Australian Record Industry Association (ARIA). While I do consider Diesel And Dust to be the stronger of the two, both were released during Midnight Oil’s creative peak; that is until the release of RESIST in 2022. 

While the previous paragraph never quite answered if Blue Sky Mining matched the performance of Diesel And Dust, I will say that it was Blue Sky Mining that would introduce me to one of the greatest rock bands Australia has ever produced. 

I know, I still haven’t answered the proposed question, have I? 

Perhaps it is best to say that the two cannot be separated or compared for whenever I think of Midnight Oil, I class both records as exceptional examples of what Midnight Oil is musically and what they stand for. 

Known for their politically charged lyrics and energetic performances, Midnight Oil continued their powerful musical journey with this album and while the mastering isn’t quite as lush as that heard on Diesel And Dust, it is thoroughly enjoyable and allows one to turn the volume up without experiencing fatigue. That aspect is particularly interesting as the original releases of the album were significantly more dynamic but the brick walling applied here certainly doesn’t detract from the emotive energy of the recording. Dare I say, it enhances it for compression is not always a bad thing.

Blue Sky Mine launches the album with a driving rhythm and anthemic sound that perfectly suits Peter Garrett’s vocal style. Although, it is far from the strongest song to be featured on the album and the production is a little dated when compared to modern standards. Nevertheless, from the get-go, Midnight Oil showcase their social consciousness as they deliver their opinion on workers’ rights. 

Stars Of Warburton slows the pace with a solid rhythm. While there is little doubt that Stars Of Warburton isn’t at the top of anyone’s favourite Midnight Oil songs, that chorus is where the magic happens. 

Bedlam Bridge has a somewhat chaotic introduction that’s a little left-of-the-centre, but it’s compelling and draws you into the story and sonic wonderland that is to come. On Bedlam Bridge, Garrett’s vocals are amongst his cleanest ever recorded; unlike his earlier punk-era recordings. As with Stars Of Warburton, the chorus, with its infectious beat and catchy melody ensure that it’s not only memorable but is one of Midnight Oil’s greatest recordings. The only disappointment is the closing moments of the song as I feel the street sounds are distracting. Yes, I acknowledge the segue between Bedlam Bridge and Forgotten Years, but I feel the outro is unnecessary and should have been repositioned to the intro of Forgotten Years. It’s just unfortunate that I also consider the first few seconds of Forgotten Years to be the perfect length.

Forgotten Years is one of Midnight Oil’s most recognisable tunes and there’s little doubt as to why, as the band’s musical prowess, along with Garrett’s powerful vocals, combine with perfect synergy to form an exceptional tune.

Mountains Of Burma is evocative and is amongst Midnight Oil’s finest recordings. 

King Of The Mountain has to be one of the most energetic, infectious, and hard-hitting rock rhythms in rock and roll history. There’s a little Punk, a lot of Rock, and Garrett’s commanding vocals. What more could one ask for? 

River Runs Red slows the tempo considerably and very well could have been a Crowded House tune; that should be seen as a compliment. Sonically, River Runs Red is simply gorgeous. The musical layering is exceptional and is amongst the very best I’ve ever heard. It really is that good!

Shakers And Movers is a solid song, but I would class it as a B-side. However, a B-side for Midnight Oil, particularly at this point in their career, would be a hit for any other band.

One Country is another passionate performance with a powerful message from The Oils. Recorded with an acoustic focus, One Country becomes a contemplative listen that makes you sit up and take notice. It’s simply gorgeous! 

Antarctica is a mesmerising closer. It’s thoughtful songs such as Antarctica that are Midnight Oil’s trademark, but it’s even more important as the final track on an album for you can either play the record again or sit and reflect on the music you’ve just heard. Whatever you decide to do next, one thing is for certain, Antarctica leaves a lasting impression. 

Blue Sky Mining may not have reached the heights of Diesel And Dust, but it’s still one of the greatest albums Midnight Oil ever recorded. The higher production quality is noticeable, and appreciated, but it never sounds overproduced. Granted, fans of their earlier works may disagree, but you can’t please everyone. Nevertheless, with the album's powerful lyrics, energetic performances, and distinctive sound, Blue Sky Mining is a must-own, and listen, for fans and newcomers alike.

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Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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