| | Midnight Oil Blue Sky Mining CD Midnight Oil Discography of CDs
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The 1990 follow-up to Midnight Oil's highly successful DIESEL AND DUST album, BLUE SKY MINING continues in the revered Australian band's tradition of politically charged rock, while expanding on the fuller, accessible sound of the earlier outing. The record features three international hits--the urgent "Blue Sky Mine" (one of many numbers that stays true to Midnight Oil's working-class empathy), the pensive "Forgotten Years," and the upbeat "King of the Mountain"--with the latter two songs proving to be some of the most melodic material of the group's career. Other highlights of the album include "Mountains of Burma," a track that exemplifies frontman Peter Garrett's brooding charisma, and "River Runs Red," which showcases Jim Moginie and Martin Rotsey's distinctive and underrated guitar playing. Although BLUE SKY proved to be the ceiling of the ensemble's popularity, Midnight Oil soldiered on until its dissolution in 2002, leaving this record to stand as one of its finest moments.
Success didn't change Midnight Oil with their 1990 album Blue Sky Mining. The Australian band had finally broken through with their previous record, Diesel and Dust, but chart accomplishments didn't temper the group. Blue Sky Mining found lead singer Peter Garrett and the boys singing about familiar themes with their usual passion. The songs aren't quite on par with those from Diesel and Dust, but there's still enough here to make it a worthy follow-up. The lead track "Blue Sky Mine" deals with the oppression of the lower working class within the context of a mining company. The immediately catchy cut managed to find mid-chart success. Other notable tracks are the driving "Forgotten Years," which also managed a bit of airplay, and the menacing "Mountains of Burma." The band stumble only once, on the clumsy love song "Shakers and Movers." ~ Tom DemalonRolling Stone (2/22/90) - 4 Stars - Excellent - "..the album is a stunning issue-driven document of fear, anger and commitment delivered with artful musical restraint and tempered vocal fury.."
Entertainment Weekly - "..Deep, rewarding, sometimes obscure." - Rating: B-
Q - 4 Stars - Excellent - Included in Q's list of the Fifty Best Albums of 1990.
Reflex - "..thoroughly enjoyable, socially-awakening entertainment" Midnight Oil Blue Sky Mining Songs Blue Sky Mining Review
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Purchase Blue Sky Mining CD To buy, Click on price to add to cart | Midnight Oil Diesel And Dust CD (1988)
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The release of God Bless the Go-Go's evokes the spirit of those movies where beloved fictional characters from another time period (The Brady Bunch) or far-off galaxy (Star Trek) find their way to modern-day America. These characters never quite fit in with their new surroundings, but that is the fun of it. The best films of this genre tend to put people in their place. They let viewers know that they're not, and will not for long be, the ruler of this world, for these roads have been walked down time and again. Nowhere is this a more disregarded lesson than in the pop and rock music industry, where yesterday's stars are tomorrow's clearance bin. In the 21st century, it is a most unlikely surprise that the Go-Go's should pop up again, having traded in their water skis for saint wardrobes. They may be the premier all-girl band of the '80s, but even with their occasional summer tours, only loyalty extremists can keep excitement going over a group that has only released three albums in the distant past. So here, dear fans, is the long-hoped-for number four. Don't be fooled by technological blurting like "hyperspace," "vision of nowness," or the haphazard lyrical palette on "Sonic Superslide," which states "We are solar sisters here to make you shine." Sounds edgy and new, but the group took the familiar route with tracks that sound every bit as Go-Go's as their previous records. Every bit as Go-Go's, that is, as their non-hits and less remarkable material. While the Go-Go's sound is intact, there is not a "We Got the Beat" or a "Head Over Heels" to be found. It is feasible that in this age of pop rebirth, the Go-Go's decided it was now or never. The result makes little sense, since God Bless is in good company with alternative music from the 1990s. The first single, "Unforgiven," was even co-penned and features vocals and guitar by Billie Joe Armstrong of Green Day. The album lacks modernity aside from its production and stylish vocals by Belinda Carlisle (not as perfected as on her 1996 album A Woman and a Man, but should astonish unfortunate MTV worshipers who have not heard anything from her since the late '80s.) The songs flow together a little too perfectly due to heavy, monotonous guitar use -- listen to it once, and then without looking at the track listing, try to make them out by their musical intros. Good luck. There are very nice intersections amid the musical gruffness, like the ballads "Apology" and "Here You Are." There are spots where the guitar serves them well, as on "Unforgiven" as well as "Stuck In My Car," a wonderful fast-paced song about a slow-motion traffic jam. The album finishes with "Daisy Chain," which will go down in Go-Go's history if only because it is the history of the Go-Go's. It is memorable, sporting lyrics like "At number one not doing so ...
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Their detractors still whine about how the Corrs used to be so Celtic (they were somewhat, but not to the degree the bellyaching infers) and now they're so light in the substance department (so was ABBA; so what?). They'll hate this one because Borrowed Heaven is light as a feather, but what harmonies, what presentation. While it's lighter in singles than their better ...
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Personnel includes Nilsson (vocals); Randy Newman (piano).
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Recorded at RCA's Music Center Of The World, Hollywood, California. Originally released on RCA (4289). Includes liner notes by Randy Newman, Curtis Armstrong, and Dean Torrence.
Digitally remastered by Elliott Federman (SAJE Sound, New York, New York).
Released in 1970, the same year as Randy Newman's acclaimed second album (12 SONGS), this outing finds Harry Nilsson applying his famed multi-octave vocal range to Newman's witty, finely crafted compositions. (Nilsson, a wonderful songwriter in his own right, had hinted at this collaboration with the inclusion of one Newman song on his previous record, HARRY.) While many of the tunes here would be performed by the more gruff-voiced Newman himself during the course of his first ...
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