Peace In Our Time (notes)

“I have a real soft spot for this album. This was the first time in the history of the band that I felt like a 'rock star'. I simply loved hanging out in LA. I made some good friends and made Barneys Beanery my home for 3.5 months. Listening to this album reminded me of why I became a musician with dreams of grandeur. Not particularly the songs but the atmosphere around it. It was a beautiful time.

King of Emotion - I remember when we started recording this that I was not happy with what I was playing and by the end of the day I gave up, I was not sounding right. To remedy this Bruce, Mark, myself and a small entourage went to a club in the San Fernando valley to see a band fronted by the old Faces keyboard player (Ian McClagan). He had this amazing bass player who had an incredible style of playing; very cool, very slidy. Next day in the studio, I adapted some of that style which is what you hear. Not a direct rip, but an adapted one. Cheers whoever you were, along with several beers, you inspired me. This is the loosest the band ever sounded. The female vocals really gave our sound a new complexion that even surprised us, but very LA.

Thirteen Valleys - (Its real title) is as beautiful as it is miserable. We culled a section of The Longest Day for this tune which originally, I was dead against as I loved that song so much but I grew to like it in the end. The way Stuart sings this is one of the reasons why I like singers singing there own lyrics, they sing it like they mean it.

Thousand Yard Stare - This song really made me feel we were exploring new territory when we first messed around with it at Stuarts house in Scotland, but it was never complete until we recorded in LA. I am going to say something now that will shock you. I don't think my bass playing is very good on this track. Listening back to it, I feel as though it could have been tighter and groovier. It was great to play live though.

Here To Eternity - It was when we recorded this I really thought that this album was going to be huge. This song while we recorded it was sounding glorious and triumphant and hopeful. what a fantastic guitar melody. BUT, the final mix did not represent what we were hearing in the studio. (More about the production and producer later, BTW, that big keyboard intro bit was not our idea, just an ego-maniac producer wanting you to know that he was there too).

Everything I Need - this is a beautiful song, one of Stuarts best, I just wished it sounded like we, the band played it.

Peace In Our Time - When we first put this together we new we had given birth to a classic anthem, the searing guitars, the strident bass line, the call to arms/peace drums, it was the essence of the band. What we actually hear on this record is a very diluted version, for those who have heard this live would testify to that.

Time For Leaving - I enjoyed listening to this as I did not have much recollection of it. It was not one that got a lot of airing live but it was very much a created in the studio vibe that gave the album depth of listening. Lots of experimenting went on in this. Stuarts vocal style, vocal arrangements studio production techniques, all endorsed by us, but could have sounded tougher.

River Of Hope - fantastic song, superbly artful lyric, brilliant live but weak on this record. I was so unhappy with this mix, the producer and engineer had no concept of bass end and driving rhythmn and movement (the essence of this song). I would dearly love to remix this one.

In This Place - another nice song that would have sounded great with just the band playing it.

I Could Be Happy Here - I love this song, I think with a more cohesive mix this would have been a classic as well. I so get the feeling that we enjoyed recording this track.

My one complaint about this album is (to me now, in hindsight) that the producer tried too much to put his stamp and identity on this album. The keyboards are too prominent in places (they should never be louder than the guitars) and the attempt at a slick production watered down an otherwise powerful album. A great set of songs ( I wish I took rough mixes of the tracks at the time, then you would have heard what we heard). BTW, did I tell you I had a large time.......... next, The Seer” (Tony Butler (16 November 2006 BC Forum)

Big Country Are:
Stuart Adamson — Vocals, Guitars, E-bow Mark Brzezicki — Drums and Percussion
Tony Butler— Bass, Vocals, Guitar
Bruce Watson— Guitars, Mandolin, Sitar, Mouth Organ, E-bow

Produced by Peter Wolf

Engineers: Brian Malouf, Jeremy Smith
Assistant Engineers: Gonzalo Espinoza, Jeff Poe, Kristen Connolly

Mixed By: Brian Malouf

Keyboards: Peter Wolf

Additional Vocals: Merry Clayton, Ina Wolf, Donna Davidson, Maxi Anderson

Live Keyboards: Josh Phillips Gorse

Studios:

Pre-production at Balmule Studios Dunfermline
Thanks To: Sandra

R.E.L. Studios Edinburgh
Thanks To: Beeg Al, Neil

The Alley
North Hollywood
Thanks To: Arnie

Recorded at 41 B Studios
Westlake Village
Rob, Bruce & Dave

Can Am Recorders Tarzana
Thanks To: Casey, Larry Nick, Jeff

Entertainment:

D.A.F.C., L.A. Lakers, L.A. Dodgers, Barnerys Beanery, Dukes, Ben Franks, Disneyland, Universal Studios Venice Beach Harbor City Motor Cycles,
Comedy Store, Queen Mary Spruce Goose

Mixed At: Smoketree Studios
Thanks To:
Ian Grant
Alan Edwards
Barry Mead
William Feeny
Samantha
Lynda
Suni
Tracy
Jonathan
Jessica
Paulette

Inside Information:
Andy Marlow
Country Club

Crew:
Ron Manigley, Les King, Nigel Luby, Bob Lopez. Peter Barnes, Dave Davies Peter Keane. John Rankine. Peter Ryan, Joe Seabrook

Equipment:
Guitars: Fender, Gibson, Jimmy Moon.
Takamine. Flatiron
Bass: Fender, Warwick. Kramer
Amplification: Marshall, Fender
Trace Elliott
Strings: Rotosound, Gibson
Drums: Pearl
Cymbals: Zildjian
Hardware: Pearl, Remo, Drum Workshop

Thanks To:
Sound Control, Dunfermline
Takeo Shimizu
George Frederick, Pearl Drums
Ian Croft, Colin Schofield, Armand
Zildjian
Mike Morse, Zildjian Cymbals
John Good, Drum Workshop
Chuck Holden, Guitar Tech
Norm and Dan. Normans Rare Guitars
Max's Guitar
Pat Wilkins. Guitars
The Bass Centre
Jock Mcguigan, Tim Green. Removals
Bud and Vera. Accommodation and
Wedding
Marsha Vlasic and Christy Barnes, Icm

Agency:
Solo: John Giddings, Carole Murray. Graham Pullen

Thanks To:
David Gentle, Paul Schindler
Harold L McQuinn — DDS Inc
Leppo and Brian — Inspiration

Worldwide Management:
Grant/Edwards Management
30 Bridstow Place
London
W2 5AE

Sleeve Design: Paul Harrison
Design Concept: Paul Harrison/Ian Grant
Front Cover Photography: Carol Sharp
Inside Cover Photography: Terry O'Neill

Ⓟ 1988 Phonogram Ltd (London)
© 1988 Phonogram Ltd (London)
Original Sound Recording Made by Phonogram Ltd (London) All Rights Reserved. Unauthorised Copying, Reproduction, Hiring, Lending, Public Performance and Broadcasting Prohibited