By 1988, Big Country had established themselves as one of the most unique rock bands of the decade, known for their signature guitar sound and rousing anthems. But with their fourth album, Peace in Our Time, the band took a sonic detour, embracing a slicker, more Americanized production style that divided fans. Guitarist Bruce Watson joins me to reflect on the album’s legacy, the label pressure behind its sound, and the fascinating story of how Big Country ended up playing in the Soviet Union at a time when Western bands rarely got in.
For this record, the band left their usual recording haunts in Scotland and Sweden to record in Los Angeles with producer Peter Wolf (not the J. Geils Band frontman, but the Austrian musician known for his work with Starship). The result was a more polished, radio-friendly album that didn’t necessarily sit well with die-hard fans. “We were always a more organic band, and this album was a bit more produced,” Watson admits. “It was almost as if the record label was trying to make us sound more American.”
Still, Peace in Our Time has its highlights, including “King of Emotion,” which features the legendary Merry Clayton on backing vocals. Best known for her chilling turn on the Rolling Stones’ “Gimme Shelter,” Clayton was brought in by Wolf, and Watson recalls watching her absolutely command the studio, just like she did decades earlier with Mick Jagger. “She was incredible,” he says. “It was one of those moments where you realize you’re working with a legend.”
But the biggest story surrounding the album wasn’t the music—it was Big Country’s trip to Russia. At the time, only a handful of Western artists had played there, including Billy Joel, Elton John, and Status Quo, but Big Country’s visit was unique in that it wasn’t directly arranged by the government. Instead, it was a more independent, promoter-driven effort, which meant even more bureaucratic hoops to jump through. “We had no idea how much red tape was involved,” Watson recalls. “It was all handled behind the scenes, and it wasn’t easy to get there.”
The culture shock was intense. “It was a completely different world,” Watson says. The band quickly realized that their music wasn’t well-known in Russia, and they were playing to audiences who had never heard their songs before. Instead of relying on hit singles, they had to win over the crowds purely with their live performance. “It was like starting from scratch,” he admits. “We weren’t a new band, but to those audiences, we might as well have been.”
The experience left a mark on Big Country, and looking back, Watson sees it as one of the most challenging yet rewarding moments in the band’s career. “You don’t get many opportunities like that,” he says. “It was expensive, difficult, and completely different from what we were used to, but I wouldn’t change it.”
As for the album itself, its reception was mixed, and in hindsight, Watson understands why. “It was a bit of a shift, and some fans didn’t quite get what we were trying to do,” he admits. “But as a band, you have to evolve. You can’t stay in the same place forever.”
Since then, Big Country has gone through numerous lineup changes and reunions, with Watson still playing a key role in keeping the band’s legacy alive. He’s also busy with his other project, The Skids, and is currently working on new music. But when asked if a new Big Country album is in the works, he’s less certain. “We’re all so busy with other projects right now,” he says. “It’s not off the table, but there aren’t enough days in the year to do everything we want to do.”
Still, Peace in Our Time remains a fascinating chapter in Big Country’s story—a record that took risks, challenged expectations, and led them on a journey few bands at the time could claim.
Listen to the interview above and then check out the video below:
