The band split in 2002 to allow Garrett to focus on his political career. He became a member of the Australian House of Representatives and the was the Australian Minister for the Environment, Heritage and the Arts from 2007-2010. From 2010, he was the Australian Minister for Education. Garrett did not stand for re-election in 2013. The band has reunited since then for two benefit concerts: the 2005 WaveAid concert for Indian Ocean Tsunami victims and in March 2009 the band reformed for two shows in Canberra as a warm up for "Sound Relief" in Melbourne, a benefit concert for the Victorian Bushfire victims.
The Oils, as they are known to their fans, began as a progressive rock band called Farm in the early 1970s, then under the Midnight Oil name developed a reputation as an impressive and hard-working live act associated with the surfing community of Sydney. They became one of Australia's most respected bands, known for their live performances, and also for their activism and support for community groups and causes.
Midnight Oil's first two albums Midnight Oil and Head Injuries were originally released on an independent label, followed by the EP Bird Noises in 1980. Their third album, Place without a Postcard, was recorded in Great Britain with the respected producer Glyn Johns (Led Zeppelin, The Who) on the back of a brief tour of the UK.
Their fourth album, 10,9,8,7,6,5,4,3,2,1 (spoken as "10 to 1"), marked both the Oil's major Australian breakthrough and the beginning of their successful association with producer Nick Launay. This album also saw considerable success in the college radio scene of the US, prompting a tour of North America.
Following on from 10-1, the Oils with Nick Launay recorded the fifth album Red Sails in the Sunset during a three month stint in Tokyo in 1984, becoming the first known western band to record an entire album in Japan. Red Sails was reasonably successful in Australia, featuring songs like Best of Both Worlds and Kosciuszko, but the album's quirky, experimental sound failed to make major inroads overseas. Also during 1984, frontman Peter Garrett was narrowly defeated in an election for the New South Wales, representing the Nuclear Disarmament Party (NDP).
In 1985, following the release of the EP Species Deceases the Oils embarked on a career-changing tour of remote Aboriginal communities of outback Australia with legendary Aboriginal group, the Warumpi Band. The tour led to the recording of Midnight Oil's major international breakthrough success Diesel and Dust, released in 1987 which featured their biggest international hit Beds Are Burning. The following album Blue Sky Mining, released in 1990 had two songs that topped the US Modern Rock charts, Blue Sky Mine and Forgotten Years. Both Diesel and Dust and Blue Sky Mining were produced with Warne Livesey.
Between 1988 and 1992, the band's Diesel and Dust and Blue Sky Mining discs became known worldwide, as did their political activism for causes ranging from nuclear disarmament to aboriginal rights and environmental issues. Their subsequent albums sold less well outside Australia, but the Oils maintained a following throughout the 1990s and into the new century.
The Midnight Oil lineup remained quite stable over the band's long career: Garrett as lead singer and harmonica, Jim Moginie on guitar and keyboards, Martin Rotsey on guitar, and Rob Hirst on drums. Andrew (Bear) James, the first bass player, left in 1980 due to ill health. Peter Gifford replaced him and in turn quit the band in 1987 citing the pressures of touring. New Zealander Bones Hillman, (ex Swingers) replaced him, and remained with the group until its dissolution in 2002. Gary Morris was the band's manager and effective sixth member (often credited with the simple title "Business, no singing" on albums) throughout.
In 2004 Peter Garrett was elected to Federal Parliament as the Labor member for Kingsford-Smith in Sydney. In November 2007 he became Minister for Arts in the Australian government as a member of Prime Minister Kevin Rudd's front bench. He retired from Parliament in 2013. Jim Moginie continues his involvement with music through his own band, The Family Dog and as a producer for artists such as Sarah Blasko. Rob Hirst is also involved with several musical projects such as Hirst and Greene, Ghostwriters, The Angry Tradesmen and The Backsliders. Moginie, Hirst and Martin Rotsey continue to play and record together in instrumental band The Break.
The band reformed in 2016, launched a world tour in 2017 and released the live album Armistice Day: Live at the Domain, Sydney with an accompanying film. 2020 saw the release of the mini-album called The Makarrata Project. Bass guitarist Bones Hillman died on 7 November 2020 of cancer. On 18 May 2021, the band announced their upcoming thirteenth album, Show of Hands, the last recordings to feature Hillman. The first single, released on 28 October, was Rising Seas.
One Too Many Times
Midnight Oil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And now she's black and blue resigned
He took advantage like the spider, helpless
One too many times
You had to go ahead and sing
You had to steal that diamond ring
Upon the headstone so inscribed, they cried
We are so human, we're so small
We're always coming back for more
A second helping third and fourth, it's gone
One too many times
One too many times
The lyrics to Midnight Oil's "One Too Many Times" explore the theme of abuse and the cycle of returning to a harmful relationship. The first verse introduces a woman who was once vibrant and lively, but has now become resigned and battered. The metaphor of a spider taking advantage of its helpless prey highlights the power dynamics at play in the relationship. The chorus focuses on the idea of going back to the same situation repeatedly, despite knowing it is harmful. The repeated phrase "One too many times" emphasizes the inevitability of the cycle and the feeling of being trapped.
The second verse shifts focus to the person who has inflicted the abuse. The line "You had to go ahead and sing" suggests a lack of remorse or responsibility for their actions, while the mention of stealing a diamond ring further underscores their selfishness. The reference to a headstone and crying suggests that the abuse has led to death, either metaphorical or literal. The final chorus repeats the message that humans are always coming back for more, even when it is not in their best interest.
Overall, the song is a powerful commentary on the destructive nature of abusive relationships and the difficulty of breaking free from them. Its somber tone and potent imagery make it a haunting reminder of the importance of recognizing abuse and seeking help.
Line by Line Meaning
She was the golden summer wine
She was once lively and free-spirited like a fine wine in summer.
And now she's black and blue resigned
But now she feels beaten up, deflated, and has accepted her fate.
He took advantage like the spider, helpless
Her partner acted like a predator, trapping her and leaving her helpless like a fly caught in a spider's web.
One too many times
It happened too frequently, one too many times.
You had to go ahead and sing
You couldn't resist showing off your talent and making a spectacle of yourself.
You had to steal that diamond ring
You couldn't resist the temptation of taking something that didn't belong to you, even if it was valuable and had sentimental value.
Upon the headstone so inscribed, they cried
When they saw the words written on the tombstone, they couldn't help but cry.
We are so human, we're so small
Despite our aspirations and desires, we are still limited by our humanity and smallness in the grand scheme of things.
We're always coming back for more
We have an insatiable desire for more, even if we know it's bad for us or will lead to negative consequences.
A second helping third and fourth, it's gone
We indulge in excess, consuming more and more until it's gone and we're left with nothing.
One too many times
It happened too frequently, one too many times.
Lyrics © Sony/ATV Music Publishing LLC
Written by: PETER GARRETT, ROBERT HIRST, JAMES MOGINIE, MARTIN ROTSEY, WAYNE STEVENS
Lyrics Licensed & Provided by LyricFind