When the phone rang back in 1997 and Jools Hooker who worked for Ray Davies at the time said, "Ray would like Big Country's rhythm section to play with him at Glastonbury where he is doing a Kinks set, are they available?" I said they weren't. But, Big Country were. I thought there would potentially be more to gain for there to be a full band association than Tony and Mark getting a session fee. Ray was more than happy for this to happen and so it became the catalyst for Driving To Damascus.
A Kinks set duly took place and Ray loved the chaps. He told me he would work with them in whatever capacity. He was astonished they didn't have a record deal. "I'll produce them, we can record at Konk, I'll co-write with Stuart and they can tour with me." Stuart and Ray wrote two songs together 'Somebody Else' and 'Devil In The Eye' and started on a third. Stuart made three visits to Ray at his New York home where they wrote together. Stuart said, "Both Ray and I pushed each other to areas we wouldn't normally go." The band demoed in Sussex and at Konk with Ray but didn't tour.
I was well pleased with the outcome of steering Ray towards working with the band what with him being one of the UK's finest songwriters and having an iconic status. I had more chance of getting an A&R man interested with Ray involved. But what about Track? Chris Stamp, the legendary co-founder of Track Records (Hendrix, Arthur Brown, Thunderclap Newman) and co-manager of The Who, suggested in early 1998, that I relaunch Track.
"I think it is great you are thinking about becoming a record company as well as a manager. Creatively the industry always desperately needs a management-based record label. The independence and overview this creates has always allowed for the big innovative changes that music needs to keep it 'inspired' and dangerous. Helping to make real change rather than change from a quid product. I feel historically Track has this 'image' and it is a strong independent name in its own right. So let's move ahead."
This was all very well but I needed money and new acts.
Ray suggested the Konk label might be interested in a release but there would need to be a guaranteed release in USA and he knew of a new label called Velvel who he thought might be interested. But Velvel didn't bite. In a letter to Big Country sent on the 9th February 1999, Ray wrote,
"I have come to the conclusion that due to the lack of support from Velvel, I cannot proceed with Big Country on the Konk label as originally envisaged. The other problem we have is up to lan Grant to solve and depending on the timing, may count me out of the scenario in that I may not have the time to be involved in the album production.
On the other hand, I am pleased with the presentation tape we made and I am going to try to let Velvel listen to it over the next week. The songs are in my opinion, commercial and radio friendly (particularly for the States). I realise there is a cash flow problem
As has happened before when I have 'followed my nose' I enter a world of synchronicity and serendipity where anything can happen.
I was sitting in my lounge lost in thought, staring out the window and the phone rang. Early December 1998. I had become accustomed to answering the phone myself (no secretary) and occasionally got a 'new band'.
"lan Grant Management," say I.
"Oh hello, is that lan Grant?"
"Yes".
"Have you listened to our album I sent you?"
Now I generally heard a band out when I picked up the phone and normally explained why I couldn't do anything and what they should do ("just keep on keeping on", "get as many local gigs as you can and develop a buzz" etc) as opposed to be short with whoever it was on the other end. This guy said,
"You could do well by listening to our album."
Oh yeah I thought. Why's that then? He was persuasive and asked me if I knew who Bill Kenwright was. His name rang a bell. "He was in Coronation Street and is now a West End impresario as well as being the deputy chairman of Everton [since then, he became the chairman and one time owner].
"We just made an album that he financed and spent eighty grand on."
All sounded a bit far-fetched but listen on, my instincts told me. Chris Stamp (as I already said) had suggested I reform Track Records and maybe if I played my cards right... I said to the chap on the phone I'd listen to the best three tracks on the album if he suggested which ones he thought they might be. He said tracks 1, 4 and 7 and that the band was called Kolony with a K. I said I would listen to them straight away and call him back. I did so and the tracks sounded quite good and they were well played and produced.
I said, "Well Steve, they're pretty good. Reminded me of my old charges The Stranglers, cum XTC meets Julian Cope."
Steve replied, "Funny you mention The Stranglers because we like them a lot and read about you in their book 'No Mercy' and thought you sounded the right guy for us. Bill wanted us in his film. He duly hired producer Rafe McKenna (Ash) and we have now finished our debut album. I can arrange a meeting with Bill for you. I have already mentioned you to Brett Finnegan his financial director and he'd like you to come see him and Bill."
The meeting was set for 11th December in Bill's Shaftesbury Avenue offices.
We shook hands and Bill said, "What can you do for me kid?" I asked what did he want me to do.
"I have just produced my first film Don't Go Breaking My Heart and spent a fortune on it. Anthony Edwards [he's Dr Green in ER] is directing and I have a strong cast plus a great soundtrack on which Kolony has three tracks. I need them to have a hit record to help my film."
"When is the film out?" ask I.
"It premieres February 12th next year." And today is the 11th December. Are you crazy? I think.
"You up for it? Money is no problem." I tell him what it would take to have a hit in theory.
"No problem, hire the best plugger, best PR, make them look good, make a video and get them gigging. Buy the single on the chart if that still goes on."
On the train going home I pondered. This is such a tall order. Only nine weeks away and with the Christmas break in between, traditionally two weeks for many in the industry, it's mission impossible but, when asking Bill what the deal was between him and I, he put out his hand and said, "This. My hand is my bond in that you help me and I will help you somehow, in return." I believed him. I was right to. I thought "help me" and put two and two together. Big Country and Track Records. Bill was bold. He was obviously no stranger to taking risks and I felt the situation in front of me was well worth going with. BC needed a deal to make an album and if I was to take up Chris Stamp's offer, the label would need investment. It stared me in the face. Big Country on Track Records, funded by Bill.
I arrived home, told my wife how I got on and then thought, I have to deliver my side of the bargain first. So I wrote on my list of 'things to do' plugger, pr team, stylists, photographer, video shoot and also put thought to how and who to release and distribute the music.
I didn't deal with Bill on a day-to-day basis to start with. Brett was my point of contact. He thought my idea was a good one and very soon I mentioned Big Country as a signing. He and Bill had done their research on me and BC and he thought it made sense. The band still had a reasonable fan base. I suggested to Brett that Bill's "doing something for me" might be the funding and support of the label. But first things first. Set up Kolony as much as I could before Christmas. And the launch of the film occupied Bill plus there was talk of moving office. I called several pluggers | knew. Some didn't return from Christmas vacation until mid January. I managed to put a decent team together but it was proving hard to get interest.
The band did make London Tonight (ITV) but only because their video was being shot on a barge on the Thames during their news bulletins and the anchorman happened to mention it.
There was no time to seek a record deal for the band or soundtrack so I went to see Tony Powell, who had been head of marketing during the glory days at Phonogram and was now MD at independent distributors, Pinnacle.
"Granty are you mad? I've already had Larry Page round here on the same project. You know the story well enough, you have to have a buzz going for any new band and this lot don't even play the Camden circuit."
I suggested that with the film profile, Anglo plugging and Alan Edwards on board we stood a chance. Tony raised his eyebrows and agreed to send me a deal memo. 'Fantastic Friend' was the Kolony single.
The album never came out.
Money had been of no object and I had done what Bill asked me to do. I had to be honest with him in early January though and let him know how unrealistic it was to expect or even hope to have a hit by a new band with no form, buzz or profile. He respected my comments but said, "Carry on, just do your best." He told me that the film was being premiered at Leicester Square Odeon with a party afterwards at Claridges. The big day arrived. The cast featured Anthony Edwards, Charles Dance, Tom Conti, Bill's partner Jenny Seagrove, Lynda Bellingham with cameo appearances by Suggs and Linford Christie. At one point at the party I was standing next to Susan George, Hayley Mills and Rita Tushingham. And there were quite a few Premiership players and managers present.
Sadly for Kolony, their story ended there.
For Big Country, however, the Bill Kenwright era was moving forward at a pace. The band approved my idea of Rafe McKenna co-producing and since the band had been apart for some time - they always lived "all over the place" as Stuart put it - it made sense to record in a residential studio and it was more economical than booking a London studio and staying at a hotel. First choice was the legendary Rockfield near Monmouth. It was available and I was able to get owner Kingsley Ward to cut a favourable deal. Recording commenced on March 2nd.
Ray Davies' letter of the 9th February continued.
"I would like to suggest the following. Provided Big Country's publishing is free, I might be prepared to offer an advance for all the songs up to and including the next album and single. This would help the band through this difficult transition until a home is found for the record. Please let me know the status of publishing so that this can be considered."
The long and short of it is, Bill Kenwright funded the making of the album, the making of the videos and provided an advance for the band to live on. It would be considered a 'conflict of interest' by music business lawyers but the only 'interest' was Big Country. This was a way of making it happen. Bill was also funding Track Records and all in all, he made a massive commitment to the band, and me.
I made several trips to Rockfield. Everything was going swimmingly well. Stuart's children Callum and Kirsten made a visit as did Sandra Watson. Stuart went fishing on the Monnow and taught my son James to fly fish, making a box of flies and giving them to him. The band, excluding Stuart, and Rafe frequented a pub in Monmouth most nights. They ate well what with there being a resident chef at Rockfield. All in all, the mood was positive and conducive to creativity. It is an exciting process, listening to an album being made especially where "production" is concerned. Production is key to hit singles. I was quite blown away being there for the recording of 'See You'. Rafe brought a string quartet in. The string parts could have been 'played' on a keyboard but wouldn't have sounded as good.
My task during this period was to set up the release of the album. I went back to Tony Powell at Pinnacle and struck a distribution deal. I hired Julian Spear who was head of promotion at Phonogram during the 80s and indeed was responsible with his team for the huge amount of media coverage BC got back then for TV and Radio promotion. Then Bob Fisher for sales and marketing, Pete Hawkins for international and Fiona Davies my PA.
It was decided to seek a female vocalist for 'Fragile Thing'. The band and I were hot on Cerys Matthews, they had been to see her at a Catatonia gig, but she was not available. Stuart spent time with Lucinda Williams but she was on the road, so he filed her under 'future projects'. Courtney Love was thought of. She with her band Hole played In A Big Country when playing at Barrowlands which fanned the bands enthusiasm for her. In the end Eddi Reader, suggested by Rafe, showed interest and she was available. Stuart commented, "We had been mutual admirers from afar and Eddi is one of the finest singers I have ever come across. She took a sideways look at the song and expressed herself." Besides duetting with Stuart on 'Fragile Thing', Eddi sang backing vocals on 'See You', 'Grace' and 'Bella'.
The album was mixed, approved and delivered on 25th April. It had cost Bill just under £40k to make the album. The first single 'Fragile Thing' was schedule for 8th August. Before then the band had to deliver a video, approve artwork and there were interviews and gigs to fulfil. The first gig was in Glasgow at the SECC and was a benefit for Kosovo that raised £250,000. BC headlined, Eddi guested, and were supported by Simple Minds, Midge Ure, Teenage Fanclub and members of Deacon Blue.
In July they played more shows and cut the video for 'Fragile Thing'. This band never refused a gig. John Giddings and I worked them hard and they never, ever let us down. No more so than the weekend 2nd, 3rd and 4th July. On Friday 2nd they headlined a sold-out Shepherds Bush Empire show (the first time Bill Kenwright saw them and he was blown away) then immediately after the show they were special guests at Jacques Villeneuve's Lucky Strike F1 party in Battersea. The following morning they flew to Edinburgh to play Hampden Park in Glasgow where they were special guests to Rod Stewart. Immediately after, they were back down to London for a gig at The Inns Of Court, Temple where top judges and barristers party themselves under the table. For the band it was back to Stanbridges near Gatwick where they had been rehearsing and up early because they had a flight to Nashville to film the video for 'Fragile Thing', a full-on location photo shoot, record some demos and play a gig.
Everything was working just fine. Bill is happy (he gets off on hearing the single each morning on his mate Wogan's breakfast show), the single is on the Radio 2 playlist for 14 weeks (A list for 10), the band are happy, the team are happy and so am I. Until DISASTER rocks the boat. Chart single disqualified for excessive packaging. A bombshell.
Chart compilers CIN ruled that 'Fragile Thing' should be excluded from the charts on the grounds that the packaging had too many folds. CIN claimed that when unfolded, the packaging could have a second purpose. This was like something out of a Monty Python sketch.
The letter from Kate Whitehead of CIN said, "I am sorry to inform you that following a majority decision by the Chart Supervisory Committee the above format will be made ineligible for the Official UK Singles Chart due to the use of non-standard packaging."
Naturally Bill Kenwright and Big Country were hopping mad.
"It's like a district town council or planning department response. Pure rule book 'red tape'. Is this how the 'business of music' should be run?" railed Stuart Adamson.
The situation became even more Pythonesque when Pinnacle suggested to retailers that the offending CD be withdrawn from their racks so that the extra fold be cut away and the package returned to the racks. Nobody working on the single had raised the matter because it was such a stupid rule (well, the interpretation). Why would they? ("CD singles must be contained in one of the following - standard single jewel case, standard digipak or slipcase. The package has no other value in its own right and no other use than to contain the recording. Too many folds blah blah blah"). All the air was suddenly let out of the balloon. It truly felt as though we were on the road to Damascus. A turning point. The band in particular Stuart, were mighty disillusioned. The album had been getting good reviews though.
"This is one of their finest moments, full of trademark Big Country sounds (the guitar, the heavy beat, and Adamson's fantastic vocals). What sets this CD apart from their other releases is the strong use of melody tied together with heart-breaking stories and well-constructed arrangements." (Aaron Badgley, AllMusic.com)
On 11th September we went to Pristina, the capital of Kosovo, as part of a multinational all-star bill brought together by Vanessa Redgrave and Bill Kenwright. The band were flown to the gig by the RAF and then shuttled to the venue in a K-FOR armoured car. The sight of several thousand Kosovars going wild in a sports arena in the middle of a devastated city was one of the most moving events in the band's career.
Driving To Damascus was a major leap forward for the band, containing textures and influences never before embraced and manifested Big Country back at the peak of their creative powers. However, in November 1999, the band received more international media coverage than they had seen in a decade or more.
Stuart Adamson did not arrive in the UK for British TV appearances and some shows with Bryan Adams. Speculation was such that not only the tabloids, but the broadsheets, (The Times called his publicist requesting an up-to-date biog so that they could prepare an obituary) and radio and TV gave massive coverage to him being missing.
Then residing in America and with many changes in his personal life, Stuart decided he had had enough of touring. He agreed to tour one final time in Europe. The band embarked on their Final Fling tour of UK, Germany and Holland. The last gig at their beloved Barrowlands was filmed, recorded and a double DVD - 'Come Up Screaming' (bonus disc was the band playing before 150,000 people in East Berlin) which included most of The Crossing live and other favourites was released in 2002. The band had never sounded so good and the audience as fervent or even more so than ever. Big Country did in fact perform one more show in 2000 and this was in Kuala Lumpur, Malaysia.
In October they were on a multi-national bill, which included Jethro Tull, Steve Vai and Joe Satriani plus numerous acts from the Pacific Rim. This was their last ever performance. Stuart only ever wanted to put Big Country on the back burner whilst he explored new territory in Nashville with his new band The Raphaels; he fully intended to work with Big Country again.
Tragically it was not to be.
© lan Grant (Big Country Manager 1981 - 2013) 19th August 2022
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STUART ADAMSON: Vocals, Guitar, Mandolin, Slide, Moog. MARK BRZEZICKI: Drums, Vocals, Programming. TONY BUTLER: Bass, Vocals, Vibe. BRUCE WATSON: Guitar, Mandolin, Sitar, Slide.
Produced by Rafe McKenna and Big Country. Recorded and mixed by Rafe McKenna at Rockfield Studios.
Assisted by Lee Capn' Butler. Mastered by Tim Young at Metropolis.
ADDITIONAL MUSICIANS:
Eddi Reader: Backing Vocals Sally Herbert: String Arrangements Kirsten Adamson: Backing Vocals Josh Phillips: Keyboards. Rowan Stigner aka Loop Skywalker: Drum loops. Rafe McKenna: Backing Vocals. Electrastrings: Sally Herbert, Jules Singleton, Anne Stephenson, Ginni Ball, Claire Orsler, Dinah Beamish.
PRE-PRODUCTION
Main Frame Studio Nashville, USA: Nathan Smith. House in the Woods Studio, England: Simon Milton. Stanbridges, England: Mark Alberici
THANKS TO
Stuart Ongley, lan Grant, John Gouveia, Bill Kenwright and to John Reed, Jon Roberts, Lorne Murdoch and all at Cherry Red.
Deluxe Edition Project Management: Jon Harrington. Sleeve notes by lan Grant (Manager 1981 - 2013) Photography: Jim Herrington. Original Design & Art Direction: JP3 Ltd. Re-formatted by Goldhawk Ltd
DISC 1: ORIGINAL ALBUM & NASHVILLE SESSIONS
DRIVING TO DAMASCUS
DIVE IN TO ME
SEE YOU
PERFECT WORLD
SOMEBODY ELSE
FRAGILE THING
THE PRESIDENT SLIPPED AND FELL
DEVIL IN THE EYE
TROUBLE THE WATERS
BELLA
YOUR SPIRIT TO ME
GRACE
DRIVING TO DAMASCUS (Nashville Sessions)
PERFECT WORLD (Nashville Sessions)
FRAGILE THING (Nasville Sessions)
DIVE INTO ME (Nashville Sessions)
CHANCE (Nashville Sessions)
LOOK AWAY (Nashville Sessions)
Tracks 1-12: The album, Driving To Damascus, Track Records TRK1000CD, 27 September 1999 13-18: Original release: CD, Nashville Sessions, Track Records WWW4, 2000
Tracks 1-18 licensed courtesy of BK Records Ltd
DISC 2: B SIDES & ALTERNATE MIXES
I GET HURT
JOHN WAYNE'S DREAM
DUST ON THE ROAD
LOSERVILLE
THIS BLOOD'S FOR YOU
CAMP SMEDLEY'S THEME
SLEEP THERE TILL DAWN
ANOTHER MISTY MORNING (by Tony Butler)
FRAGILE THING (single edit)
SOMEBODY ELSE (single edit)
DIVE INTO ME (Rafe Mix)
PERFECT WOLD (Rafe Mix)
THE PRESIDENT SLIPPED AND FELL (Vocal Up Mix)
DEVIL IN THE EYE (Vocal Up Mix)
BELLA (Vocal Up Mix)
THIS BLOOD'S FOR YOU (Rafe mix)
FRAGILE THING (Vocal Up Mix)
YOUR SPIRIT TO ME (Vocal Up Mix With Middle 8 Vocal In)
Tracks 1, 2, 9: Original release, Fragile Thing CD Single 1, Track Records Track 0004A, 1999
3, 4: Original release: Fragile Thing CD Single 2, Track Records Track 0004B, 1999
5: Original release: See You / Perfect World CD Single 1, Track Records Track 0005A, 1999
6: Original release: See You / Perfect World CD Single 2, Track Records Track 0005B, 1999
7, 8, 10: Original release: Something Else CD Single,
Track Records Track 0011, 2000
11-18: Original release: CD, John Wayne's Dream,
Track Records Track TRK1017CD, 2002
Tracks 1-18 licensed courtesy of BK Records Ltd
DISC 3: DEMOS 1
DRIVING TO DAMASCUS (1st version)
DIVE INTO ME
SEE YOU
PERFECT WORLD
SOMEBODY ELSE
FRAGILE THING
THE PRESIDENT SLIPPED AND FELL
DEVIL IN THE EYE
TROUBLE THE WATERS (1st Version)
BELLA
YOUR SPIRIT TO ME
GRACE
I GET HURT
LOSERVILLE
THIS BLOOD'S FOR YOU (demo)
YOU WANT ME TO GO
I'M ON THIS TRAIN
SMALL TOWN BIG NEWS
Tracks 1-14, 17: Original release: CD, Rarities VII Damascus Sessions, Track Records TRA1053, 2004
15: Original release: Download, www.bigcountry.co.uk
16: Original release: CD, Rarities II, BCR BCRTRK002, 2001 18: Original release: CD, Rarities VIII, Track Records TRA1056, 2005
Tracks 1-18 licensed courtesy of SGO Management Ltd on behalf of Big Country
DISC 4: DEMOS 2
DRIVING TO DAMASCUS (2nd Version) TROUBLE THE WATERS (2nd Version) THIS BLOOD'S FOR YOU (alt mix) YOU WANT ME TO GO (alt mix)
I'M ON THIS TRAIN (alt mix - One In A Million)
AGES OF A MAN
BIRMINGHAM
SUN AND MY SHADOW
LIVING BY MEMORY
DON'T YOU STAY
CIMARRON
SECOND TIME AROUND (Unreleased)
WITHOUT WINGS
DAYSTAR (One In A Million)
MEDICINE SHOW (www.bigcountry.co.uk)
SWEET NOVEMBER NOTHINGS
SIMPLE'S ALWAYS BEST
SOLDIER OF THE LORD
Tracks 1-4, 6-11, 13: Original release: CD, Rarities VII Damascus Sessions, Track Records TRA1053, 2004 5, 14: Original release: CD, One In A Million, BCR BCRTRK003, 2001
12: Previously Unreleased
15: Original release: Download, www.bigcountry.co.uk 16-18: Original release: CD, Rarities VIII, Track Records TRA1056, 2005
Tracks 1-18 licensed courtesy of SGO Management Ltd on behalf of Big Country
All songs written by Adamson/Brzezicki/Butler/Watson and published by SGO Music Management Ltd except 'Somebody Else' and 'Devil In The Eye' written by Adamson/Brzezicki/Butler/Watson/Ray Davies published by SGO Music Management Ltd/Davray Music Ltd and 'Chance' and 'Look Away' written by Adamson/Brzezicki/Butler/Watson and published by BMG Rights Management (UK) Ltd
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