Midnight Oil - Diesel and Dust ~DJAUZZIEMAN~

n December 1985 the four-track EP Species Deceases produced with Francois Kevorkian was released by CBS/Columbia;[2] it peaked at No. 1 on the Australian singles charts for six weeks.[1][7] Species Deceases, featuring the track "Hercules", featured a return to their pub rock sound with hard hitting firepower.[1] Midnight Oil spent several months in 1986 on the Blackfella/Whitefella tour of outback Australia with indigenous groups Warumpi Band and Gondwanaland, playing to remote Aboriginal communities and seeing first hand the seriousness of the issues in health and living standards.[1] The tour was criticised by some journalists for being a one-off event instead of a long-term attempt to build bridges between communities.[26] The band was galvanised by the experiences and made them the basis of Diesel and Dust, released in 1987 and produced by Warne Livesey.[2] The album focused on the need for recognition by white Australia of past injustices involving the Aboriginal nation and the need for reconciliation. Peter Gifford left the band before the album's release due to extensive touring schedules,[4] and was replaced by Bones Hillman, formerly of The Swingers.[2]
Diesel and Dust peaked at No. 1 on the Australian albums charts for six weeks,[7] No. 21 on the Billboard 200 charts in 1988,[19] and No. 19 on the UK albums charts.[27] "Beds Are Burning" was their biggest international hit single, peaking at No. 6 in Australia,[7] and No. 17 on the Billboard Hot 100,[28] No. 6 on the UK singles charts.[27] "The Dead Heart" peaked at No. 6 in Australia,[7] and charted on the Hot 100[28] and in the UK.[27] "Put Down that Weapon" also charted in Australia,[7] while "Dreamworld" charted on Billboard's Mainstream Rock Tracks and at No. 16 on its Modern Rock Tracks.[28]
At the Australian Recording Industry Association (ARIA) 1988 Awards ceremony, Midnight Oil won "Best Cover Art" for Diesel and Dust and both "Best Single" and "Best Song" for "Beds Are Burning".[10][29] A fracas developed between Morris, accepting awards for Midnight Oil, and former Countdown compere Ian Meldrum who was presenting: Meldrum objected to Morris making political commentary from the podium.[29]
There were concerns about Diesel and Dust and Midnight Oil's attempts to express indigenous issues to white urban audiences – namely, the question "who holds the power to tell whose history?"[26] The lyrics of "The Dead Heart" tell the story of colonisation from an indigenous point of view but some critics felt they reinforced the "primitive" stereotype.[26] Use of the bullroarer was criticised as belonging to sacred rituals, and therefore not appropriate for rock songs.[26] "The Dead Heart" had been written in response to a request by organisers of the 1985 ceremony to return control of Uluru to its indigenous caretakers; Midnight Oil had originally resisted adding an indigenous group to a concert bill, but the organisers insisted, arguing that the band would reach a wider audience within the predominantly Caucasian urban centres.[30] Midnight Oil requested that all royalties from the song go to indigenous communities.[20] In addition, two indigenous groups, Warumpi Band and Gondwanaland, toured with them.
Following the 1988 American tour in support of Diesel and Dust with Australian band Yothu Yindi, Midnight Oil launched the Burning Bridges album with various artists contributing, including Paul Kelly, Scrap Metal, Coloured Stone, Hunters & Collectors, James Reyne, The Saints, Crowded House, INXS and Yothu Yindi.[1] All sales proceeds were donated to the National Coalition of Aboriginal Organisations.[1]
During 1989–1993 and 1998–2002 Garrett was the President of the Australian Conservation Foundation, whilst during 1993–1998 he was on the International Board of Greenpeace.[31] In 1990 Midnight Oil played an impromptu lunchtime set in front of Exxon headquarters in New York with a banner reading, "Midnight Oil Makes You Dance, Exxon Oil Makes Us Sick," protesting the Exxon Valdez oil spill the previous year.[4]