In 1988, an album of protest songs focusing on the rights of Aboriginies in Australia somehow found an audience in America. Reports of pigs flying must have overwhelmed the military.

With a push from alternative-rock radio, Diesel And Dust by Midnight Oil went platinum on the strength of its clean-sounding, rugged, fist-pumping anthem, "Beds Are Burning," a song that went all the way to #6 on the Mainstream Rock singles chart and #17 on the Hot 100.

To this day, Midnight Oil guitarist/keyboardist Jim Moginie still has a hard time believing that an album that tackled such controversial issues as the environment, nuclear war and the plight of native peoples did so well Stateside.

"You think about it, it's a bunch of white guys from Sydney, Australia, talking about the disposition of land, with the Aboriginal people and the colonial British coming in and taking it away," says Moginie, who co-wrote the "Beds Are Burning" with Peter Garrett and drummer Rob Hirst. "When you think about it, it's not the subject of rock music or the pop charts or anything, so we were as surprised as anyone when it did well. But, it did strike somewhat of a chord with people. It's quite interesting, because these things aren't supposed to happen, but here we are, 20 years later talking about it."

Two decades after its release, Diesel And Dust is getting the deluxe reissue treatment. From Columbia/Legacy comes Diesel And Dust: Legacy Edition, a CD/DVD package that includes the newly remastered version of the record that featured singles "Beds Are Burning," "The Dead Heart," "Put Down That Weapon" and "Dreamworld." Tacked on is the track "Gunbarrel Highway," which was inexplicably banned on the U.S. and Canada versions of Diesel And Dust because of the lyric "shit falls like rain on a land that is brown."

The DVD portion consists of the 1987 documentary "Blackfella/Whitefella Tour," which follows the band on a walkabout of remote Aboriginal settlements in Central Australia, the Western Desert and a place known as The Top End. It was a life-altering experience that spurred the band to make Diesel And Dust.

"We had this idea to go out and see what it was really like to be on Aboriginal land, and it was an eye-opening experience, it was a coming-of-age experience for us as people," says Moginie.

Just as Diesel And Dust was for a place half a world away that had barely heard of Aboriginies. Of course, America has had its own black mark in its dealings with its native peoples. Moginie talks about how the record made a connection with those concerned about the rights of the American Indian, the making of Diesel And Dust, Peter Garrett's new job as Minister for the Environment, Heritage & the Arts in the Australian Parliament and other matters regarding Midnight Oil in a podcast at www.goldminemag.com. Also, look for the interview to be broadcast on Goldmine Radio April 30.

For more on Midnight Oil, visit www.midnightoil.com/

What did you think of Diesel And Dust? Let me know with a little feedback.

It's Halloween, 1986, and The Ritz in New York City is set to explode. Joey Ramone walks out onstage and introduces the reunited Dead Boys, who plundered the city like bloodthirsty Vikings in the mid- to late''70s.

Playing to all manner of freaks, the Dead Boys tear into the venomous punk anthem "Sonic Reducer" and suddenly, a steady stream of stage divers and thrill seekers are getting in the band's collective face and then leaping — or being shoved by security — into oblivion. Even to a veteran of riotous punk shows like Dead Boys guitarist Cheetah Chrome, this development was a little alarming.

In the early days, "We were dodging spit or dodging bottles," laughs Chrome. "We didn't want them being part of the show."

Chrome and company had good reason to be wary of this kind of "in your face" audience participation. He remembers one time, back in the '70s, when someone in the crowd " ... ran behind the band and unplugged our guitars," says Chrome.

Chrome talked to Goldmine from his home in the country on Friday about all the craziness surrounding the Dead Boys' brief and the band's new DVD "Return Of The Living Dead Boys: Halloween Night 1986," out now on MVD Visual. A frenzied performance, with charismatic lead singer Stiv Bators sporting a leather outfit complete with a WWII German officers' hat, the show features the raw, primal rock 'n' roll that made the Dead Boys semi famous. Even though the picture quality isn't as sharp as anyone would like, it's impossible not to get goose bumps from the riff barrage unleashed by Chrome.

During the interview, which will soon be posted as a podcast on www.goldminemag.com, Chrome talked about how the band thought the recording of its debut album, Young, Loud and Snotty, would simply serve as a demo and not the final product. He also discussed the band's relationship with comedian John Belushi and why the Dead Boys turned down a chance to play Saturday Night Live, how the band formed from the ashes of Rocket From The Tombs and moved from its original home of Cleveland to New York City, the outrageous behavior of Bators, how Joey Ramone fit into the picture and how the band hoped that Lou Reed would produce its troubled second album, the one that eventually led to the Dead Boys' breakup.

For more on the Dead Boys, visit www.bomp.com/stiv.html; www.hillykristal.com/shrine/shriners/deadboys.htm; www.stivbators.com/

To find out how to order the DVD, visit www.mvdb2b.com/

Still one of the most potent guitar duos in metal, Def Leppard's Phil Collen and Viv Campbell unleash an aggressive riff offensive on the band's new album, Songs From The Sparkle Lounge, that's more hungry and attacking than any they've previously plotted.

While Def Leppard doesn't stray far here from the combination of sweet, pop confections and dynamite-packed, sonic explosions that resulted in Hysteria, there is a sense on ... Sparkle Lounge that Collen and Campbell have added some bite to their solos and an incredibly powerful thrust to songs like "Go," "Cruise Control" and "Hallucinate."

How they actually work together and view what they do with Def Leppard is interesting. They talked about their partnership in a recent interview (posted as a podcast on www.goldminemag.com), and a story about Def Leppard and the new album will appear in the May 9 issue of Goldmine.

For Songs From The Sparkle Lounge, the pair recorded their guitar parts in real time together, and a lot of the songs for the album were recorded in a place called The Sparkle Lounge. In essence, it was a backstage area that served a tuning room on the band's last tour.

'It's a very honest title, and the genesis for those songs came from that room, and it was a different room every day," says Campbell.

While there was the spirit of collaboration was there, Collen says the album is really like "four little solo projects." Viv chimed in that there wasn't a lot of partnering up on the songwriting for the album.

One of Collen's pet projects was a song called "Tomorrow," which he wrote about the death of his father. A life-affirming ode to living every minute as if it's your last, Collen finds it therapeutic.

"I spent two months with my dad, and it was cancer actually, so it was really shitty," says Collen of the debilitating nature of the disease. "We had a really great time, apart from him being in really great pain. We laughed a lot, and it's one of the best times we ever spent together, actually. So, it was a bit of a weird one, and that's why I wrote about it. It was a bizarre experience, really. It was really sad by one token, and yet we had a great time just talking about everything. Marriage ... just everything, kids, the whole thing. We were just having fun, and I hadn't spent that much quality time with my dad in years."

To hear the full interview with Collen and Campbell, check out the podcast section of www.goldminemag.com. Among the subjects they discuss is Campbell's comparing his role in Dio with the part he plays in Def Leppard, and there's a wealth of conversation about the making of Songs From The Sparkle Lounge. Also, we'll be running the interview at 8 a.m. and noon on April 19 and 24 on Goldmine Radio.

And while you're scouring the Internet for more on Def Leppard, go to www.defleppard.com/ for tour dates, discographies, lyrics, multimedia files and a whole lot more.

America, meet Lion's Share. Lion's Share, meet America. Good, now that you've been introduced, it's high time you all met in person.

Headquartered in its home country of Sweden, Lion's Share — not to be confused with White Lion — is a melodic metal outfit that channels old-school headbangers like Dio-era Black Sabbath and Judas Priest. The band debuted in 1995, and then, it brought forth what many consider the band's masterpiece Two.

In January, Lion's Share returned from a six-year hiatus with Emotional Coma, a more aggressive, hard-charging record from a band known more for its melody and prog-metal — think Dream Theater — tendencies than the thrash mentality its guitar player and founder Lars Chriss has embraced in the new millennium. Songs like "Toxication Rave," "Trafficking" and "Bloodstained Soil" reveal Chriss to be a closet Megadeth freak.

Chriss explained the long layoff. "Well, we released our first record in '95, and we released another four albums through 2001," he says. "We did a lot of touring. We toured in Europe and Scandinavia with Dio, Manowar, Motorhead, Saxon, UDO, Iced Earth, Nevermore, etc. So, during this time, I was very busy with that, and I was also heavily involved in the writing, producing, speaking to labels, doing all the interviews and speaking to promoters. So, I felt burnt out at the end of 2001. I felt I needed some space to recharge my batteries, more or less. And also, I had the sound for Emotional Coma in mind, and I didn't think the lineup I had at the time would be the right one. I wanted a more mode of drumming style, for example. And the new songs are more fast, so I needed a bass player who plays with a pick. The old bass player played with his fingers, etc. So, it was time for a change."

And what a difference six years makes. Sounding more invigorated than ever, Chriss really sinks his teeth into Emotional Coma, unleashing a barrage of riffs and dizzying tempos that approaches the fury of Megadeth. Having new singer, and Ronnie James Dio sound-alike, Patrik Johansson on board helped Chriss realize his vision, and Chriss thinks audiences will embrace the more straightforward, balls-out approach — especially live.

There is a chance fans of Lion's Share's prog-metal past may balk at the new sound. Chriss accepts that and hopes to find new converts in the U.S. and Britain. The U.S. is virgin territory for Lion's Share. With Emotional Coma out on Locomotive Records, and the band closing in on finishing a new record, Chriss thinks the time may be right for Lion's Share to establish a beachhead in the U.S., a place the band has never played.

Keep watching www.goldminemag.com for a podcast of my interview with Lars. In the meantime, to learn more about Lion's Share, visit www.lionsshare.org/ and to find out more about Locomotive Records, go to www.locomotiverecords.com

Explaining the difference between The Sex Pistols and The Clash, Don Letts put it this way: "The Sex Pistols made you want to smash your head against the wall. The Clash gave you reason to."

Meaning, of course, that The Clash, with the righteous, socio-political nature of its lyrics, made you think, and what they made you think about ... well, it was enough to cause such outrage as to make you not consider the health risks of banging said head against said wall.

Letts, an iconic filmmaker, DJ and one-time founder of Big Audio Dynamite with The Clash's Mick Jones, should know. He's been friends with members of the band since 1975, and in 2000, he directed — in my opinion, anyway — one of the best rock documentaries ever in "Westway To The World," which told the story of The Clash through recent interviews with the band and assorted friends and rare footage of the "only band that mattered."

I talked with Letts today about his new Clash DVD "Revolution Rock," which presents a variety of live footage of the band tearing through many of its classics. Letts, who noted that it was the DIY spirit of punk rock and The Clash that made him want to be a filmmaker, says the new DVD works as a companion piece to "Westway To The World."

"I think it's the perfect accompaniment," says Letts. "The only thing that bugged me about 'Westway' was that there wasn't enough music, and that was only because of budget and time restraints."

"Revolution Rock," due out April 15 on Epic/Legacy, sets out to right that wrong. For more of my interview with Letts, watch www.goldminemag.com for an upcoming podcast and watch our Dead Air schedule for a broadcast of the interview on Goldmine Radio.

"We can live beside the ocean/leave the fire behind/swim out past the breakers/watch the world die."

For some reason, that line from Everclear's first real hit, "Santa Monica," a "shake your fist at the world" diatribe set to revved-up, roots-flavored punk that comes on like a reincarnated X, gets me every time. Maybe someday, some young band will think about covering it, just as Art Alexakis and company have remade some of their favorites in their own image for a new covers album called The Vegas Years.

Featuring retooled versions of Hall & Oates' "Rich Girl" and the Go-Gos' "Our Lips Are Sealed," along with Neil Young's "Pocahontas" and a smoking-hot blitz through Little Jimmy Dickens' "Night Train to Memphis," among other tracks, the album collects studio and concert recordings stretching as far back as 1994 of Everclear doing songs that Art grew up with. The album will be released on tax day, April 15.

Alexakis recently chatted with Goldmine about the upcoming LP and all things Everclear. Alexakis, who has a five-month-old baby in tow these days (just to keep him more busy than ever), explains why the time was right for a covers album.

"Well, we had a stock of about 24 covers, and we thought, 'Man, this would be a great thing. Fans would really like it, I think people would really like it, and there are some really great songs there. We went to Capitol — we're not on Capitol anymore — but we went to Capitol to see if they'd license some of them, and they listened to them and said, 'They're really great. We want to put them out.' And we said, 'Well, okay, but we have some songs ... 'cause the personnel in the band changed about five years ago, and we want to do some songs we have [with the reconfigured Everclear], and they let me produce it and gave me a little bit of money to re-mix some of them, and for not a lot of money, for like a fraction of what I used to spend making records, we put this together and made all these songs live together in a way that sounds like an album. There's old songs and new songs, and songs we did with the old band. It ties in the old with the new real well I think."

Alexakis has already gotten some feedback. He said that Darryl Hall of Hall & Oates liked Everclear's version of "Rich Girl" so much, he had his management call Alexakis to invite him to appear on a web cast Hall does.

To read or hear more of my interview with Alexakis, watch the podcast section on www.goldminemag.com for a podcast of our talk or wait patiently, and a story on Everclear will appear in a future edition of Goldmine. In the meantime, let me know what some of your favorite cover songs are, or tell me what songs haven't been covered that you think should be re-done.

For more on Everclear, who is plotting a new album of originals as we speak, and this release, visit www.everclearonline.com or www.myspace.com/everclear

Having spent my teenage years in the wilds of western Wisconsin in the '80s, I'm particularly partial to the Twin Cities music scene. And what a scene it was back then with The Replacements, Husker Du and others blazing a sonic trail that was fast, loud and sometimes ragged, but always with a sense of melody that prevailed over the crashing din.

Dan Wilson, and his power-pop trio Semisonic, wasn't a part of that '80s Minnesota scene. They came after. But, the band that made "Closing Time" a smash hit made some of the dreamiest, hook-heavy pop the city ever produced, and now, Wilson is going on tour (through April 19) to support his solo debut, Free Life.

An interesting cross-section of pop and country artists join Wilson on this record, including Sheryl Crow, who sings sweet harmony on "Sugar." Nickel Creek's Sean Watkins exercises his digits with some expert, finger-picked acoustic guitar on "Free Life," while The Jayhawks' Gary Louris — Minnesota represent! — plays a guitar solo on "Cry" and Benmont Tench of The Heartbreakers sprinkles in some piano throughout.

As of this writing, Goldmine is efforting an interview with Mr. Wilson. In the meantime, check the tour dates (below) and visit www.danwilsonmusic.com or www.myspace.com/danwilsonmusic

On the Hotel Café tour:
Apr 1 2008 Record Bar <http://www.therecordbar.com/>  Kansas City, Missouri
Apr 3 2008 Fox Theatre <http://www.foxtheatre.com/JabbaWeb/Index2.aspx>  Boulder, Colorado
Apr 4 2008 Bluebird Theatre <http://www.bluebirdtheater.net/>  Denver, Colorado
Apr 5 2008 Avalon Theatre <http://www.theavalontheater.com/> Salt Lake City, Utah
 
Supporting Kathleen Edwards
Apr 10 2008 The Fillmore NY @ Irving Plaza <http://www.irvingplaza.com/april.htm>  New York, New York
Apr 11 2008 Rams Head On Stage  <http://www.ramsheadtavern.com/annapolis/onstage.html> Annapolis, Maryland
Apr 12 2008 The Fillmore @ Theatre of Living Arts  <http://www.livenation.com/venue/getVenue/venueId/1681> Philadelphia, Penn.
Apr 14 2008 Birchmere  <http://www.birchmere.com/> Alexandria, Virginia
Apr 16 2008 Grey Eagle Tavern & Music Hall  <http://www.thegreyeagle.com/> Asheville, North Carolina
Apr 17 2008 Headliners Music Hall  <http://www.headlinerslouisville.com/> Louisville, Kentucky
Apr 18 2008 WorkPlay Theatre <http://www.workplay.com/> Birmingham, Alabama
Apr 19 2008 Mercy Lounge <http://www.mercylounge.com/> Nashville, Tennessee