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Head Injuries is the second studio album by Australian rock band Midnight Oil, released in October 1979 on their own Powderworks label and distributed by Columbia Records. The album was produced by Leszek J. Karski, recorded at 'Trafalgar Studios' in Sydney (Engineer: Peter J. Walker, Photography: Philip Morris). It was the last Midnight Oil album to feature founding bass guitarist Andrew James, who quit the band due to illness. It peaked at No. 36 on the Australian Kent Music Report and by mid-1980 had achieved gold status in Australia.
The iconic Midnight Oil logo with the open hand, appeared first on the back cover of the 1978 eponymous album "Midnight Oil" (Design: Jan Paul & Midnight Oil). It is featured on all other albums, publications, merchandise and their touring equipment. It comes from a photo of Peter Garrett's left hand on the inner sleeve of the first album. (On the back of "Head Injuries" the hand is incorrectly facing up, turned 90 degrees).
The album was certified platinum in Australia in 2014.
In October 1979 Head Injuries was released on Powderworks, it was produced by former Supercharge member, Leszek J. Karski. It mixed solid guitar rock with progressive flourishes and was an improvement by highlighting the group's strengths and growth. It peaked at No. 36 on the Australian Kent Music Report and by mid-1980 had achieved gold status. In April 1980 founding bass guitarist James left because of ill-health and was replaced by Peter Gifford (ex-Huntress, Ross Ryan). Further interest in Midnight Oil was generated by the popular Bird Noises extended play, also produced by Karski, which peaked at No. 28 on the Australian singles charts. One of its four tracks was the surf-instrumental "Wedding Cake Island" named after the rock outcrop in the ocean off Sydney's Coogee Beach. The band's third LP, Place without a Postcard, was released by Columbia Records in November 1981.
In his autobiography, Moginie says, "We sent Les a demo tape and he came back with a letter full of critical and funny comments. For "Profiteers" he wrote 'too much hippy waffle'. He was brutally direct, all for tightening up arrangements and cutting out superfluous sections, and had a punk-pop ethos."
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