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LINER NOTES

(jump to: Credits)

TWENTY YEARS AFTER FOUNDING ONE OF BRITAIN'S TRULY GREAT ROCK ACTS, BIG COUNTRY, ITS LEADING LIGHT DEPARTED THE STAGE IN TRAGIC FASHION AT THE END OF 2001. 
 
Stuart Adamson's achievements were celebrated and his incandescent spirit remembered at a tribute concert held in 2002 at Glasgow's legendary Barrowlands - a venue that saw many powerhouse performances from the band over the years. And he lives on in the heads and hearts of anyone fortunate enough to have seen Stuart and his colleagues in the glorious heyday. 
 
It was in front of a packed house, pouring with perspiration from a furious, intense performance, that Stuart connected like few other rock stars with his fans. They saw him as one of their own and, along with Bruce Watson (guitar), Mark Brezezicki (drums) and Tony Butler (bass), they became latterday folk heroes. Pounding, complex percussion, pulsing bass lines, slashing guitars and heartfelt vocals even led Kerrang! to label the band (at a time when Iron Maiden and AC/DC were in their pomp, in 1983) "the shit hot live act of the moment", (They were - I sweated 10 pounds off at one gig/human sauna in Liverpool that year!). 
 
Big Country's no-hold-barred style and deft musicianship was compared to the likes of Free (see the riffing style of Alright Now), and any unprejudiced ear listening to the cream of Big C's legacy couldn't but concur. Indeed, despite the tired media flak of the 90s about latterday bagpipe guitars and checked shirts, Big Country consistently produced some of the most memorable and life-enhancing, kick-ass rock of the era. Their first decade at the Mercury stable was their golden age, defined not only by several insatiably catchy Top 20 hits, but an album catalogue rich in quality, the like of which puts most of their contemporaries in the shade. For while Big Country rocked it with the best of them, their tender ballads and Celtic-tinged laments also radiate a poignancy and subtlety often overlooked by the uninitiated or plain blinkered. 
 
This collection displays the scope and depth of the songwriting craft, technical proficiency and intuitive nous of a group of musicians grounded in the likes of Skids and Pete Townshend's band. Songs such as the soaring, atmospheric highland trill of "The Storm" demonstrate Stuart Adamson's folk-roots bent (which came to the fore in his Raphaels side-project with Mark Brzezicki) while "Red Fox" (culled from 1986's The Seer) could be early Thin Lizzy. Then there are the air-punching belters ("Remembrance Day" and "I Walk The Hill"). Among the other fan faves that had the masses jigging like whirling dervishes are the talismanic "In A Big Country" (here in live form from a limited edition B-side), the supercharged "One Great Thing", "Look Away" and "King Of Emotion" 45s, plus an alternate mix of the legendary yellathon, "Fields Of Fire". Cha! 
 
Another integral part of the Big Country live experience was the stock in trade unprompted communal singing that broke out on numbers like "Wonderland" (another live limited-run B-side here). Add to these heady moments in the majesty of both "Ships" and "The Seer" (with a broodingly beautiful cameo from Kate Bush) and thoughtful war paeans such as "Where The Rose Is Sown", and you have the essence of Big Country: dynamic, insightful and always inspiring rock music that uplifts the heart and moves the soul in equal measure. 
 
Tim Jones


TONY BUTLER REFLECTS... 

How did you see the future after Stuart?
It was very difficult to know what to do, because although I left the band two years before his death, we were still mates. Yet the last thing we wanted to do was continue with the band as he's someone you can't replace. So what do you do? 

Did you get together before the Barrowlands Tribute?
I didn't think a tribute was something I'd entertain doing, but I was talked round and we did it in a way that Stuart would've enjoyed. He wouldn't have found the idea to his liking, though, as he never liked to be in the limelight for anything other than his talent as a writer and guitarist. But we celebrated his music and those who he valued in music. 

Things weren't always rosy though?
In 2000, we played our last ever gig, in Malaysia, and it was horrendous. We'd become a karaoke band. The alcohol had risen its ugly head in a big way and Stuart wasn't with us at all, he was so out of his head, I said, "I'm not doing this again, I quit. If you want me back you'll have to shape up and enjoy this and want it again, rather than just being here in body while your soul is AWOL". So it was depressing and I left because I thought it might make him think about what he wanted to do with his life. While the band was required to do stuff, he couldn't sit down and address his problems. 

Did Stuart ever play any Skids material during your Big Country days?
No. He learnt his craft in Skids and that was the cake, but Big Country was the icing of his songwriting and band achievements. He very much felt that was behind him was behind him and he wouldn't even do it for nostalgia purposes. Big Country was his baby and he always looked to evolve. Even only four years ago, it was a pain to play early Big Country songs. He always went forward. 

Do you recall any funny stories fans may not know?
If they haven't heard them, it's 'cos they're not supposed to! The one thing that's been seriously hard to cope with is the mass of images, especially when you're prompted by fans through the internet to remember things. But the one thing with Stuart was that he enjoyed a laugh when it was time to laugh, then he reverted to his normal, serious state. He saw himself as normal, not a star or media type. Stuart at his most happy was on a terrace at Dunfermline Athletic FC. And if people wonder where his loud voice came from, it was standing there, shouting for 30 years! 

Is there any unreleased material still in the archive?
Our manager Ian Grant and I have been trawling and pulled together quite a bit, but we're at the thin end. There are no hidden gems, though I found a box when I moved to Cornwall that was marked "Tony/Stuart demos". I thought, "what the hell are these?" It turned out to be stuff we jammed in Chapel Studios, Lincoln. It's jut rhythm box, bass and guitar. There's nothing that ever ended up in any Big Country songs, but it's so raw and basic, embryo ideas, you couldn't put it out. Though it may end up on a web album - you can stick any old shit on there! 

WITH THANKS TO DARYL, ALEX AND SILVIA.

CREDITS

(jump to: Liner Notes)

1. Flame Of The West 4.57
Stuart Adamson, Mark Brzezicki, Tony Butler & Bruce Watson
Miscellaneous Credits:
Produced by Steve Llllywhite
Engineered by Will Gosling
Big Country Music Ltd
Ⓟ1984 Mercury Records Limited

2. River Of Hope 4.33
Stuart Adamson
Miscellaneous Credits:
Produced by Peter Wolf
Engineered by Brian Malouf & Jeremy Smith
Mixed by Brian Malouf
10 Music Ltd
Ⓟ1988 Mercury Records Limited

3. Inwards 4.33
Stuart Adamson, Mark Brzezicki, Tony Butler & Bruce Watson
Miscellaneous Credits:
Produced by Steve Lillywhite
Engineered by Will Gosling.
Assisted By Steve Chase & Mike Nocito
Big Country Music Ltd
Ⓟ1983 Mercury Records limited

4. Look Away 4:23
Stuart Adamson
Miscellaneous Credits:
Produced by Robin Millar
Engineered by Will Gosling
Mixed by Walter Turbitt
From the album "The Seer"
Big Country Music Ltd
Ⓟ1986 Mercury Records Limited

5. We're Not In Kansas 6:08
Stuart Adamson
Miscellaneous Credits:
Produced by Pat Moran (Using Mark IV Moranoscope)
Engineered by Pat Moran
Big Country Music Ltd
Ⓟ1991 Mercury Records Limited

6. The Seer
(Feat. Kate Bush) 5:24
Stuart Adamson & Bruce Watson
Big Country Music Ltd
Ⓟ1986 Mercury Records Limited

7. King Of Emotion 4:50
Stuart Adamson
Miscellaneous Credits:
Produced by Peter Wolf
Engineered by Brien Malouf & Jeremy Smith
Mixed by Brian Malouf
10 Music Ltd
Ⓟ1988 Mercury Records Limited

8.Where The Rose Is Sown 4:57
Stuart Adamson, Bruce Watson, Tony Butler & Mark Brzezicki
Miscellaneous Credits:
Produced by Steve Lillywhite
Engineered by Will Gosling
From the album "Steeltown"
Big Country Music Ltd
Ⓟ1984 Mercury Records Limited

9. One Great Thing 4:02
Stuart Adamson & Tony Butler
Miscellaneous Credits:
Produced by Robin Millar
Engineered by Will Gosling
Mixed by: Walter Turbitt
From the album 'The Seer"
Big Country Music Ltd
Ⓟ1986 Mercury Records Limited

10. Ships 3:59
Stuart Adamson & Bruce Watson
Miscellaneous Credits:
Produced by: Pat Moran (Using Mark IV Moranoscope)
Big Country Music Ltd
Ⓟ1991 Mercury Records Limited

11. The Red Fox 4:09
Stuart Adamson
Miscellaneous Credits:
Produced by Robin Millar
Engineered by Will Gosling
Mixed by Walter Turbitt
Big Country Music Ltd
Ⓟ1986 Mercury Records Limited

12.Wonderland (Live) 3:56
Stuart Adamson, Bruce Watson, Tony Butler & Mark Brzezicki
Miscellaneous Credits:
Produced by Steve Lillywhite
From the album "The Crossing"
Big Country Music Ltd,
Virgin Music Publishing Ltd
Ⓟ1984 Mercury Records Limited

13. I Walk The Hill 3:29
Stuart Adamson
Miscellaneous Credits:
Produced by Robin Millar
Engineered by Will Gosling
Mixed by Welter Turbitt
Big Country Music Ltd
Ⓟ1988 Mercury Records Limited

14. The Storm 6:20:
Stuart Adamson, Mark Brzezicki, Tony Butler & Bruce Watson
Miscellaneous Credits:
Produced by Steve Lillywhite
Engineered by Will Gosling
Assisted By Steve Chase & Mike Nocito
Big Country Music Ltd
Ⓟ1983 Mercury Records Limited

15. Remembrance Day 4:28
Stuart Adamson, Tony Butler & Bruce Watson
Miscellaneous Credits:
Produced by Robin Miller
Engineered by Will Gosling
Mixed by Walter Turbitt
Big Country Music Ltd
Ⓟ1986 Mercury Records Limited

16. Fields Of Fire - 12' Mix 5:16
Stuart Adamson, Mark Brzezicki, Tony  Butler & Bruce Watson
Miscellaneous Credits:
Produced by Steve Lillywhite
Engineered by Will Gosling
Assisted By Steve Chase & Mike Nocito
Virgin Music Publishing Ltd.
Ⓟ1983 Mercury Records Limited

This compilation Ⓟ 2003 Spectrum Music © 2003 Spectrum Music. The copyright in these sound recordings is owned by Mercury Records Limited and is licensed to Spectrum Music, a division of Universal Music Operations. All rights reserved. Unauthorised copying, reproduction, hiring, lending, public performance and broadcasting prohibited. A product of Spectrum Music. Marketed and distributed in the UK by Spectrum Music. Country of manufacture as stated on label.
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