Big Country
The last time this writer met Stuart Adamson was interviewing him in 1992 when a revitalised Big Country released the excellent 'The Buffalo Skinners' album. Although already disillusioned with both the record industry and the machinations of the British media to the extent that he'd considered calling time on the band after 1991's 'No Place Like Home' album, the thoughtful, pleasant musician was keen to throw everything he had back into abother push for Big Country. More comfortable in the louder, guitar based sound on the new album, it was, he felt, the best representation of his musical vision he'd managed to acheive with Big Country.
To an extent, Adamson's faith was repaid with the fact 'The Buffalo Skinners' was greeted with solidly pleasing reviews, it achieved the band's highest chart placing since 1988's Top 10 album 'Peace In Our Time', and also found the band back in the Top 30 singles charts with the anthemic 'Alone' and 'Ships (Where Were You?)' (re-recorded, along with 'We're Not In Kansas' with more gusto than the versions on 'No Place Like Home'). The band would maintain the momentum with the following year's 'Why The Long Face?' and 1999's 'Driving To Damascus' (re-issued as 'John Wayne's Dream' in 2002).
It was, according to guitarist Bruce Watson, "the happiest time of our career. We'd got over that pop fluff that surrounded us in the early days, the big suits and that, and it was just the four of us, jeans, t-shirts, playing good rock music and being appreciated for it."
The rock music that Big Country played was the new rock music of the 80s. Along with the likes of U2, The Alarm and Simple Minds, they pioneered a driving guitar sound that, whilst was inspired by which that had gone before, played little heed to the conventions that it was built on.
"We tried to avoid guitar solos," says Watson. "We didn't bend strings. We didn't play the blues. Even though we loved bands like Thin Lizzy, Wishbone Ash and Alex Harvey, we didn't want to sound like that. We'd come from the punk thing and we were interested in doing new things."
Indeed both Adamson and Watson had met when the latter's punk ban Teh Delinquents had played with the formers The Skids in the late 70s. However by 1980 Adamson had left the band he ahd formed back in 1977 and was thinking about another musical direction. Hooking up with Watson, the early Big Country was a five piece that also featured future Runrig keyboard player (and now Scottish MP) Peter Wishart who hadn't even nailed down what was to become their distinctive and trademark twin guitar sound.
"We had a mini-Moog, a Yamaha synth some Yamaha guitars," says Watson of the band's early rehearsals. "That synth thing was big at the time. We could have easily gone in that direction..."
Fortunately, it was the guitars of Adamson and Watson that would come to the fore, nailing Big Country's trademark sounds of twin guitars played with a Celtic verve. However things didn't fall into place until the band, having been turned down by a raft of major lables, lost their rhythm section and keyboard player and brought on board seasoned session players Tony Butler (bass) and Mark Brzezicki (drums), who had recently been performing with The Who's Pete Townshend.
"With them everything felt right," states Watson.
A deal with Phonogram Records was secured and the band entered the Manor Studios in Oxfordshire to begin work on their debut album, initially with producer Chris Thomas.
"Chris was a great guy," says Watson, "but he was also working with Elton John at the time and would be flying off to work with him. We needed someone who could devote more time to us so Steve Lillywhite came in. With the full support of the management, the label concentrating 100% on us and Lillywhite, everything fell into place."
From such a secure footing, it is not difficult to see why 'The Crossing', the fruits of the band's endeavours, was such a strong statement of intent. Chiming guitars, thoughtful lyrical content and superbly constructed songs, the album still reasonates to this day. The rousing singles 'Fields Of Fire' and 'In A Big Country' set the tone for this slice of new rock, but it as the emotive 'Chance' that secured a Top 10 place for the band in the UK singles chart.
"It was amazing," recalls Watson. "It all happened so quickly. We had a great team, the right chemistry. We did a John Peel session, which meant everything to me. If it had all ended there and then I'd have been happy with that."
Yet it didn't end. In fact it was only the beginning. The boisterous single only release 'Wonderland' was their biggest success to date at the beginning of 1984 and the band's second album, 'Steeltown' followed later in the year. Although the singles 'East OF Eden' and 'Where The Rose Is Sown' didn't fare quite so well, the album went straight in the charts at number one. A more mature offering, it offered a darker side reflected in the socially aware lyrics.
"Thatcher probably," snorts Watson when asked where this had come from. "It was the time of the miners strike, they were closing the dockyards. It was a strange time. We had all this success and money and yet all my mates back home were losign their jobs. The songs were based on the shit that was going down."
Continuing to capitalise on their success by proving their worth as an electrifying live headline act, Big Country's chart success continued unabated with the release in 1986 of 'The Seer' possibly their most consistent album to date (quite an achievement given the quality of the first two albums). The title track featured Kate Bush in a duet with Stuart Adamson, whilst the hard rock of 'Look Away' gave the band their biggest ever UK hit. However despite the more mature appraoch and some folkier themes, the band were still largely perceived as a pop band.
"In the UK it was a fashion thing," says Watson. "Everywhere else we were looked at as a serious rock band. In the UK we were in the pages of Smash Hits so some rock fans didn't want to know. I suppose the suits at that time didn't help. That's why the next album was a reaction."
Recorded in America, with J Geil Band singer Peter Wolf at the production helm, 1988's 'Peace In Our Time' was the hardest sounding Big Country album to date, typified by the guitar raunch of 'King Of Emotion;. I wasn't just the sound that was a reaction, although hardly a massive departure from what had gone before the love of bands like Free was more evident than ever before, but also in the band's look, not least a shaggy-haired Watson looing like he could have been an extra from a Motely Crue video.
"Don't," he laughs today. "It was shocking wasn't it? We'd been out in America, what more can I say. Thing is, my hair's growing again now, just before we go back out on tour, ha ha."
The reaction also showed the first real cracks in Big Country's progress. Their least successful album to date - still, a Top 10 album in the UK mind - the first serious wobble in the success story that had endured for a decade.
1991's 'No Place Like Home' was a disjointed affair - ranging from country-esque folk to near heavy metal in places - which only managed to reach No. 28 in the album charts. The band were dropped by Phonogram as the alternative wave of grunge took a hold of the modern conciousness, and were pretty much on the verge of splitting up.
"We split up after almost every tour," sighs Watson. "That just how it was, it could be very gruelling, and when it wasn't held together as it was in the early days it made things all the more difficult."
The band spent the first part of the new decade in some sort of limbo, with Brzezicki taking advantage by becoming the session drummer of choice, working with the likes of The Cult, Ultravox, Fish and Roger Daltrey to name but a few. And then the band got a call from their old record company A&R man Chris Briggs, offering to sign them to his new Compulsion label. The resultant album was 'The Buffalo Skinners', the album Watson states that, along with 'The Crossing' remains his favourite Big Country album.
Which is roughly where we came in, Big Country's final run through the 90s was one of critical plaudits, reaonable success and a band seemingly at peace with themselves. Which made the suicide of leader Stuart Adamson on 16 December 2001 all the more shocking, although he had battled depression and alcoholism for some time.
Watson, Butler and Brzezicki reunited as a trio, with Butler handling vocals, to celebrate the band's 25th Anniversary in 2007, and the three are once again reunited, along with Watson's son Jamie on extra guitar and with The Alarm's Mike Peter's handling vocals for a series of live dates in 2011.
"It's just really nice to go out and celebrate what are some great songs," says Watson, "Mike's such a great guy, and it's nice for me to play with Jamie. But we leave a place in the centre of the stage where no one stands, where Stuart would have been. Because no one could replace Stuart Adamson."
Jerry Ewing, Classic Rock Magazine, London, March 2011.
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Their anthemic and distinctive folk influenced rock helped
soundtrack the 80s and is still wowing audiences live.
Compiled by Jerry Ewing (Classic Rock) this collection boasts
the best of the inspirational Scottish band.
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To be kept informed of all our releases please visit
www.spectrum-music.co.uk
This compilation Ⓟ 2011 Spectrum Music © 2011 Spectrum Music, a Universal Music Company.
All rights of the manufacturer and of the owner of the work produced reserved. Unauthorised copying, hiring, lending,
public performance and broadcasting of this recording is prohibited. Made in the EU. BIEM/SDRM LC5064. Coordinated by
Spectrum Music, a Universal Music Group Company. Cat Number: SPECXX2066 UPC: 0600753330272
Special thanks to Big Country & Ian Grant, Track Records. Compilation and sleeve notes: Jerry Ewing.
Artwork: Loman Street Studio. Cover image: Getty Images. Product Coordination: Chris Howarth.
CD1
1 FIELDS OF FIRE
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited
2 WONDERLAND
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1984 Mercury Records Limited
3 IN A BIG COUNTRY
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited
4 PEACE IN OUR TIME
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1988 Mercury Records Limited5
5 HARVEST HOME
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited6
6 YOU DREAMER (LIVE)
(Adamson)
Copyright Control
Ⓟ 2000 Track Records,
Licensed Courtesy Of Track Records
7 TALL SHIPS GO
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1984 Mercury Records Limited
8 BEAUTIFUL PEOPLE
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1991 Mercury Records Limited
9 SAVE ME
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1990 Mercury Records Limited
10 KING OF EMOTION
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1988 Mercury Records Limited
11 DRIVING TO DAMASCUS
(Adamson/Brzezicki/Watson/Butler)
Track Music Ltd.
Ⓟ 1999 Track Records,
Licensed Courtesy Of Track Records
12 CHANCE
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited
13 COME BACK TO ME
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1984 Mercury Records Limited
14 EILEDON
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1986 Mercury Records Limited
15 RESTLESS NATIVES
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1986 Mercury Records Limited
16 SHIPS
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1991 Mercury Records Limited
17 ANGLE PARK
(Adamson/Watson)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited
18 FRAGILE THING
feat. Eddi Reader
(Adamson/Brzezicki/Watson/Butler)
Track Music Ltd.
Ⓟ 1999 Track Records,
Licensed Courtesy Of Track Records
CD2
1 EAST OF EDEN
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1984 Mercury Records Limited
2 STEELTOWN
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ1984 Mercury Records Limited
3 LOOK AWAY
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1986 Mercury Records Limited
4 REPUBLICAN PARTY REPTILE
(Adamson/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1991 Mercury Records Limited
5 I'M NOT ASHAMED
(Adamson)
Copyright Control
Ⓟ 1995 Sanctuary Records Group Ltd.
6 ONE GREAT THING
(Adamson/Butler)
EMI 10 Music Ltd.
Ⓟ 1986 Mercury Records Limited
7 WHERE THE ROSE IS SOWN
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1984 Mercury Records Limited8
8 HEART OF THE WORLD
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1990 Mercury Records Limited
9 1000 STARS
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 1983 Mercury Records Limited
10 THE SEER
feat. Kate Bush
(Adamson/Butler)
EMI 10 Music Ltd.
Ⓟ 1988 Mercury Records Limited
11 THE TEACHER
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1986 Mercury Records Limited
12 GOD'S GREAT MISTAKE
(Adamson/Butler)
Copyright Control
Ⓟ 1998 Mercury Records Limited
13 NEVER TAKE YOUR PLACE
(Adamson)
EMI 10 Music Ltd.
Ⓟ 1993 Track Records,
Licensed Courtesy Of Track Records
14 MARY
(Adamson/Brzezicki/Watson/Butler)
Copyright Control|
Ⓟ 2003 Track Records,
Licensed Courtesy Of Track Records
15 PORROH MAN (LIVE)
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd.
Ⓟ 2000 Track Records,
Licensed Courtesy Of Track Records
16 DIVE INTO ME
(Adamson/Brzezicki/Watson/Butler)
Track Music Ltd.
Ⓟ 1999 Track Records,
Licensed Courtesy Of Track Records
17 FIELDS OF FIRE
(Live BBC Recording, Hammersmith Palais 1983)
(Adamson/Brzezicki/Watson/Butler)
EMI 10 Music Ltd. 1983 BBC,
Licensed courtesy of BBC Worldwide
CD1
1 FIELDS OF FIRE
2 WONDERLAND
3 IN A BIG COUNTRY
4 PEACE IN OUR TIME
5 HARVEST HOME
6 YOU DREAMER (LIVE)
7 TALL SHIPS GO
8 BEAUTIFUL PEOPLE
9 SAVE ME
10 KING OF EMOTION
11 DRIVING TO DAMASCUS
12 CHANCE
13 COME BACK TO ME
14 EILEDON
15 RESTLESS NATIVES
16 SHIPS
17 ANGLE PARK
18 FRAGILE THING feat. Eddi Reader
CD2
1 EAST OF EDEN
2 STEELTOWN
3 LOOK AWAY
4 REPUBLICAN PARTY REPTILE
5 I'M NOT ASHAMED
6 ONE GREAT THING
7 WHERE THE ROSE IS SOWN
8 HEART OF THE WORLD
9 1000 STARS
10 THE SEER feat. Kate Bush
11 THE TEACHER
12 GOD'S GREAT MISTAKE
13 NEVER TAKE YOUR PLACE
14 MARY
15 PORROH MAN (LIVE)
16 DIVE INTO ME
17 FIELDS OF FIRE
(Previously Unreleased BBC Performance)
This compilation Ⓟ 2011 Mercury Records Limited, © 2011 Mercury Records Limited, a Universal Music Company. All rights of the manufacturer and of the owner of the work produced reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this recording is prohibited. Made in the EU. Product Coordination Spectrum Music BIEM/SDRM LC5064 Set Cat: SPECXX2066 UPC: 0600753330272 Design by Loman Street Studio
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