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With the release of the acclaimed Stuart Adamson biography, Stay Alive, by Scott Rowley, as well as the CD release of Adamson’s first recordings with archetypal Scottish punk band Skids, 2026 has been a decent year already for anyone with an interest in the much-missed Adamson, and the two legendary Scottish bands that he was such a huge part of: Skids, naturally, and the band that catapulted the Fifer to stardom, Big Country.
With a 15-date tour to celebrate the 40th anniversary of Big Country’s third studio album, The Seer, still to come, BC co-founding member and guitarist Bruce Watson has dusted off 10 songs originally written or co-written by Stuart Adamson, which, in terms of production quality and being developed into proper songs, never really got past the demo stage. Until now.
With Big Country’s hits collection, Fields of Fire: The Ultimate Collection, being long deleted and going for upwards of £30 (and that is for used copies) on Amazon, Watson could have been forgiven if he decided to put out an album of Big Country classics reimagined, but instead, he opted to give these rarities the care and attention that they deserved and, in doing so, created Eastworld, a collection of songs that not only protect Adamson’s legacy, but further enhance it.
Alongside Watson’s son Jamie on guitar and vocals are Chris Stones (bass), Reece Dobbin (drums), and the crucial vocals of Tommie Paxton, who also bolsters the guitarists featured on the album to three, which gives Eastworld a strong, guitar-led feel (some great solos to be found within; “Normal”, for one, is tasty).
It is the piano-led “Troubled Man”, which hits the hardest, though. As Watson explains: “This is just a beautiful song, and should probably have been a single in its own right. Stuart is probably singing about himself on this heart-breaking song, though of course I never realised at the time.” And he’s correct. It is a heart-breaking song. Originally part of the Rarities III collection from 2002, Watson’s decision to go this time with vocals from Beverly Rachel Matujal (aka Belly) and Lorna Lynn Johnston from Glasgow’s Pistol Daisies was a wise one, as the result is simply staggering. Adamson’s lyrics are especially poignant, in particular the closing lines: “I think I’m in trouble/ Once again you come to me/ I think I’m in trouble/ Take this troubled man from me.” With the mournful vocal tones mixing with huge choruses, sweeping keyboard arrangements, and gorgeous weeping guitar tones, it is special and incredibly powerful.
“Troubled Man” lands at the coveted track five spot, the spot where it would normally mean the listener getting up to switch the vinyl over to side two. A chance for the listener to reflect on what they had just heard with a brief moment of silence. The tracks on either side of it are top-notch. Tommie Paxton does a great job in what must often seem like a thankless task, stepping into the Adamson role.
Opening track, “Kiss the Girl Goodbye”, is great fun, as is the thumping title track. Belting basslines from Chris Stones, with some impressive hits from Reece Dobbin behind the kit (Dobbin steals the show on “What About Peace”, which actually has a Skids vibe to it). It’s Paxton’s vocals that seal the deal, though. Full of warmth. Like most of the album, it also has a rehearsal-room feel about it, and sounds like it was recorded with everybody jamming together.
“The Hostage Speaks” is an early highlight, and as Watson states: “The original demo was quite heavy, aggressive and nasty sounding – but in a good way. The album version ended up a bit safe and sanitised”. Here, it’s more like the demo version and has an edge to it. “God’s Great Mistake (Part 1)” has a rollicking Mott the Hoople vibe going on, with some fizzing guitar licks mixed in with keyboard strikes. It has an endearing raw quality to it that constantly impresses. The addition of fiddle and accordion gives “Winter Sky” a Cajun/Zydeco feel, as the accordion is a key instrument here, and the track is a real toe-tapper and would be a blast live, especially on Hogmanay at a Ceilidh.
Well played, fun, energetic, poignant, thoughtful, and at times, heart-breaking. Everything that music is supposed to be. And emotions that AI cannot feel.
Available now; more information HERE.
Review: Dave
