Review Summary: Catchy, clever and full of character, Head Injuries is a criminally overlooked gem among a fantastic band's discography.
Midnight Oil are a band many people know for only a single song ('Beds are Burning'), earning them the perception among some as a one-hit wonder. However, before the release of that career-changing single, the group already had a steady stream of albums under their belt. They combined great songwriting and driving instrumentation with Peter Garett’s unique vocals, which are equal parts zany, cryptic and political. Their first, self-titled full length resembled a typical '70s pub rock act – unsurprising for a group who started off playing covers of such bands as Cream and Led Zeppelin. Only a year later, the group updated their sound with some light post-punk and prog rock character, resulting in one of their greatest records in Head Injuries.
The album opens with ‘Cold Cold Change’, a strong opening cut led by some gloriously anthemic harmonised guitars. With the driving bass and distinctive vocals which melodically mirror the guitar hook, it’s a satisfying track that is admittedly a little safe – only to give way to the zany second track ‘Bus to Bondi’. It opens with this staccato, earwormy melody doubled by keyboard and guitar, and gives way to frantic verses and a dense, slower chorus. Garett’s vocals here sound like an Australian, more punky (and less obnoxious) Morrisey, while the synth part during the song’s breakdown is nothing short of alien. The group follows this with the one-two punch of 'Naked Flame' and 'Back On The Borderline', two of their catchiest tunes period. The former’s almost clichéd cowbell intro quickly gives way to Garett’s brilliantly imperfect wailing vocals, which usher in the chorus’s key change with eerie perfection. Meanwhile, 'Borderline' has a fantastic drive and genuinely captivating chord progression, and achieves an amazingly catchy chorus – it’s also become one of my favourite songs of the '70s altogether.
The album’s second half is decidedly darker, a difference marked by the eerie synth backdrop and sardonic vocals at the outset of 'Koala Sprint'. Across its 5-minute span, this sprawling multi-part track presents multiple key changes, a bookended structure and one of the album’s most memorable choruses. Garett’s final vocalisation on this track is utterly strange, and perfectly demonstrates the insane amount of character he brought to this band. They follow this with a string of the album’s most politically charged cuts, the first of which being 'No Reaction', which features the closest thing to an AC/DC riff the album has to offer. 'Stand In Line' thereafter features some excellent arpeggiated guitars and Garett’s oddest vocal contortions perhaps ever, though the directionless instrumental break here is somewhat disappointing. Penultimate track 'Profiteers' is essentially a protest song with singsong vocals that sound delivered through a megaphone, and a sonic aesthetic that would fit snugly onto Rush’s 2112. These three tracks perfectly embody Midnight Oil’s uncompromising approach at this point in their career, even if it meant forgoing commercial success at the time. The album closes dramatically with the huge 'Is It Now?', which features some of the album’s most satisfying melodies. These build to the album’s massive climax in the middle of the song, in which Garett rants and shrieks over dissonant guitar leads, before an instrumental section fades the record out.
While it may not be their most well-known album, Midnight Oil delivered some of their most catchy and impassioned material on Head Injuries. Although they didn’t see international success for another eight years when they would release 'Beds Are Burning', Head Injuries is a shining example of why people should give Midnight Oil’s earlier releases a chance.
