Billy Bragg Albums (9)
'Mr. Love & Justice'
Release Date 2/29/2008
Tracks 12
Label Cooking Vinyl
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What The Critics Say
It's both significant and troubling that Billy Bragg's best albums since releasing Talking with the Taxman About Poetry in 1986 were the two Mermaid Avenue volumes, in which Bragg set Woody Guthrie's unpublished lyrics to new music with Wilco serving as his collaborators and backing band, suggesting that this former one-man band suddenly needed plenty of help to communicate with his audience. Bragg sounded confident and all but unbeatable on his first few albums in the '80s, but political and creative uncertainty have dominated much of his work since then. Which is why Mr. Love & Justice is a pleasant and encouraging surprise -- while hardly perfect, it's easily Bragg's best and most consistent solo effort since Don't Try This at Home, and finds him coming to terms with maturity and the changing face of the world, two bugaboos that have been dogging his muse for some time. Mr. Love & Justice lacks a portion of the piss and vinegar of Bragg's earliest sides, but on these recordings he's learned to communicate with a soulful conviction that merges passion with a simple and unforced sincerity, and while Bragg has sung with greater force, he's rarely communicated as well in the studio as he does here. Bragg also sounds more comfortable with his backing band than he has since working with Wilco; having recorded and toured with the Blokes for several years, the musicians have had the opportunity to gain a rapport with one another, and the give and take between Bragg and his partners is warm and easy, and gives the material just the right lift. And while Billy Bragg isn't mounting as many soapboxes on Mr. Love & Justice as you might expect, "Sing Their Souls Back Home" and "Farm Boy" are compassionate and well-crafted meditations on the wake of the Iraq War, "O Freedom" is a powerful tale of vanishing civil liberties, "I Nearly Killed You" and "Something Happened" are the sort of reflections on love that come from years of dealing with the nuts and bolts of human relationships, and "I Keep Faith" is a wary but moving meditation on the courage needed to stand one's ground in an age of personal and political turmoil. (Oddly, the number where Bragg most gets his dander up is the rather obvious "The Johnny Carcinogenic Show" -- Billy, doesn't everyone know tobacco is bad for you by now?) The scope of Mr. Love & Justice is often modest, but it speaks with grace, wisdom, and heart, and finds Billy Bragg a bit older, a bit wiser, and still committed to fighting the good fight; it's a return to form, a step forward, and a potent reminder of why Bragg's music still matters. ~ Mark Deming, All Music Guide
'England, Half English'
Release Date 1/1/2002
Tracks 12
Label Cooking Vinyl
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What The Critics Say
Bragg is clearly enjoying himself, collaborating with his backing band after two decades of running the show on his own. That doesn't mean that England, Half-English is a great record; in fact, it's the least of all of Bragg's proper LPs. As if too conscious of just being one of the Blokes (which include estimable keyboardist Ian McLagen of Small Faces eclat, and Lu Edmonds, who goes back to 1977 Music For Pleasure Damned, and everyone from Spizz to Public Image Ltd. since), Bragg has suddenly turned into the leader of some kind of over-jaunty pub rock bar band. Sometimes it's good fun, as when the ex-punk singer (his brief old days in Riff Raff) goes all the way into this 1974-1976 immersion, and morphs into the late Ian Dury (a noted pub rocker himself, pre-solo, in Kursaal Flyers) on the title track. It might be the first time a man with such a thick working-class Essex accent has deliberately employed an even thicker, even more blue-collar deep-cockney twang! But the results can be middling. That said, since it's only his second LP of original material in 11 years (how odd, from such a talented and prolific writer), after two respected music-for-Woody-Guthrie-lyrics LPs, it's hard not to find Bragg and band's enthusiasm infectious. True, this is a shadow of the brilliant Bragg that worked himself into such a fever for five bracing LPs in seven years, culminating in the first rate Worker's Playtime, and his zenith, 1991's Don't Try This at Home-and then opted out of the grind. But he is still one of the true clever, human, funny, and razor-direct lyricists, and his topics remain committed, no matter the clatter behind him. Whether addressing the other side of immigration dead on, from the immigrant's perspective (as if to anticipate the travesty in France months later, with the racist "close the borders" National Front candidate finishing second!), on the title track, the moving, forlorn "Distant Shore," and most bluntly on the bitter, fuck-xenophobia "Take Down the Union Jack," or articulating the real problem of unchecked globalization (lost in the images of protester-police clashes) on "NPWA"-no power without accountability-Bragg is clearly tackling thorny issues most pop personalities wouldn't risk the slightest stance on. What it means to be British on the one hand, and a global citizen on the other, clearly is on his mind, and its even reflected in the World music flavor of (admittedly the worst track) "Baby Faroukh" and ska-light of "Dreadbelly" Plus, there are a number of cuts where Bragg returns to what he's actually much better at: making his own music without much outside musician influence. The actually solo "Distant Shore," "Some Days I See The Point," and especially the vintage 1984-1987 style Bragg of "Take Down the Union Jack," would have fit comfortably on the aforementioned LPs or the lone one in between, 1996's William Bloke. Were all artists and songwriters this thought-provoking (provoking? demanding!), empathetic, and so full of direct human spirit. ~ Jack Rabid, The Big Takeover, All Music Guide
'Mermaid Avenue, Vol. 2'
Release Date 5/30/2000
Tracks 15
Label Elektra
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What The Critics Say
Like many sequels, Mermaid Avenue, Vol. 2 isn't the equal of its predecessor -- that felt fully realized, where this feels a little patchwork -- yet it is still satisfying on many levels. As on the first, the Billy Bragg-written and sung music is the most convincing since he captures the cadences and spirit of Guthrie's music. They sound like classic, weathered folk songs whereas Wilco's numbers are modern inventions, splicing music that is clearly theirs with Guthrie's words. The chasm between the two artists was apparent on the first, but it's more evident this time around, largely due to the fact that several of Wilco's songs were recorded without Bragg after the release of Mermaid Avenue. This gives the record a strangely disjointed feel that isn't helped by the guest appearances by Natalie Merchant on "I Was Born" and Corey Harris whose vocals overpower "Aginst th' Law." Since Bragg and Wilco are pursuing slightly different directions in the first place, the guest artists only add to the patchwork quality of the record. Still, even with its weaknesses, there are plenty of worthwhile things here from both sides of the spectrum. If Wilco occasionally is a little too somber or introspective, they do have moments where everything aligns perfectly. But, as on the first, it's the Bragg-led numbers that truly catch fire, feeling every bit as warm, funny, and vibrant as Guthrie's best work. His contributions go a long way to making Mermaid Avenue, Vol. 2 a pleasing sequel. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
During the spring of 1995, Woody Guthrie's daughter Nora contacted British urban folk troubadour Billy Bragg about writing music for a selection of completed Guthrie lyrics. This was no minor task -- Guthrie left behind over a thousand sets of complete lyrics written between 1939 and 1967 that had no music other than a vague stylistic notation. Bragg chose a number of songs to finish, as did Jeff Tweedy of the alt-country band Wilco (often with bandmate Jay Bennett). Nora Guthrie impressed a common goal upon them: Rather than recreating Guthrie tunes, they should write as if they were collaborating with Woody, creating new, vital music for the lyrics. Both artists completed more songs than could fit on Mermaid Avenue, which is neatly split between Bragg and Wilco, with Bragg taking lead on eight of the 15 songs. The results are almost entirely a delight, mainly because all involved are faithful to Guthrie's rowdy spirit -- it's a reverent project that knows how to have fun. There are many minor, irresistible gems scattered throughout the album, and most of them come from Bragg. Where Wilco's fine contributions sound inextricably tied to the '90s, both for better and for worse, Bragg's music sounds contemporary while capturing Guthrie's folk traditions. That's not to say Wilco's contributions are failures -- it's just hard to imagine Guthrie singing the plaintive "California Stars" or the plodding "Christ for President," neither of which quite fit the lyrics. Nevertheless, their hearts are in the right place; more often than not, they come close to the target, and their joyous playing invigorates Mermaid Avenue. The blend of Bragg's traditionalist sensibility and Wilco's contemporary style ultimately illustrates that Guthrie's words, ideals, and aesthetics remain alive in the '90s. It's a remarkable record that deserves a sequel. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Following the release of Don't Try This At Home, Billy Bragg went into seclusion for five years, as he raised his young child. William Bloke reflects a newfound maturity for Bragg, as he tones down his attack and returns to simple, acoustic-based arrangements. Though there are a few songs that are infused with his trademark leftist politics, most of William Bloke is comprised of songs about fatherhood and maturity, which are warm, compassionate and melodic. In short, it's the sound of urban folk settling into adulthood without dreading its responsibilities. ~ Stephen Thomas Erlewine, All Music Guide
'Talking with the Taxman About Poetry'
Release Date 9/9/1996
Tracks 12
Label Cooking Vinyl
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What The Critics Say
The cover to Billy Bragg's Talking With the Taxman About Poetry features the subtitle "the difficult third album," and while it's obviously meant as a joke, there's also a certain truth to the statement -- after two EPs and a full album that only rarely featured anything other than Bragg's voice and electric guitar, Talking With the Taxman found him and producers John Porter and Kenny Jones trying to add a bit of polish to Bragg's stark sound without losing either the charm of his performances or the power of his political statements. While nearly all the tracks on Talking With the Taxman feature Bragg alongside other musicians (among them Johnny Marr and Kirsty MacColl), the arrangements are purposefully spare, and ultimately they sweeten the songs without getting in the way of Bragg's homey melodies or passionate lyrics. However, as a songwriter, Billy's heart was stronger than his head on this album; while Talking With the Taxman features several of his best love songs (such as "The Marriage," "Greetings to the New Brunette," and "Wishing the Days Away") and some superb character studies ("Levi Stubbs' Tears" and "The Passion"), the political numbers are unexpectedly strident and obvious, especially the clumsy "Ideology" and "Help Save the Youth of America." Talking With the Taxman About Poetry proved that Bragg could take his music in a new direction and still hold on to the qualities that made his songs so special; too bad his political instincts were not as keen as his musical ones at the time. ~ Mark Deming, All Music Guide
'Don't Try This at Home'
Release Date 9/17/1991
Tracks 16
Label Go! Discs/Elektra
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What The Critics Say
After dipping his toes in the notion of using backing musicians on Talking With the Taxman About Poetry, Billy Bragg finally dove in headfirst with Worker's Playtime, but Don't Try This at Home was where Bragg first began to sound completely comfortable with the notion of a full band. With Johnny Marr (who helped produce two tracks), Peter Buck, Michael Stipe, and Kirsty MacColl on hand to give the sessions a taste of star power, Don't Try This at Home sounds full but uncluttered; the arrangements (most complete with -- gasp! -- drums) flesh out Bragg's melodies, giving them greater strength in the process, and Billy's craggy vocals wrap around the melodies with significantly more flexibility than on previous recordings. With the exception of the rabble-rousing "Accident Waiting to Happen" and "North Sea Bubble," and the witty "Sexuality," most of Don't Try This at Home finds Billy Bragg in a contemplative mood; the political tunes are subtle (and don't hector), such as the mournful "Rumours of War," and the songs about love tend to examine the less hopeful side of relationships, like "Mother of the Bride" and the lovely "You Woke Up My Neighborhood." But there's also an understated wit to many of the songs, especially the well-drawn "God's Footballer," and Bragg approached the work of other songwriters to splendid effect on Fred Neil's "Dolphins and Sid Griffin's "Everywhere." Don't Try This at Home isn't the sort of album that announces itself loudly, but slip into its understated textures and you'll discover one of Bragg's warmest and most thoughtful albums. ~ Mark Deming, All Music Guide
'Workers Playtime'
Release Date 1/1/1988
Tracks 11
Label Go! Discs/Elektra
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What The Critics Say
By the time Billy Bragg began recording Workers Playtime in the fall of 1987, he'd gone from a rabble-rousing leftist songwriter and D.I.Y. one-man punk band to a bona fide pop star in the U.K., and had won a sizable cult following (and a major-label recording contract) in the United States. In addition, Bragg had begun expanding the stark sound of his early recordings on his 1986 album Talking with the Taxman About Poetry, and the sessions for Workers Playtime found Bragg and producer Joe Boyd building actual arrangements around his tunes as he struggled to balance a broader and more eclectic musical approach with the small-p politics that were his stock in trade. This struggle is practically audible on Workers Playtime, and this time out Bragg's songs about the ups and downs of relationships outnumber (and are more satisfying than) his polemics, and he seems torn between the comfort of the spartan simplicity of numbers like "The Only One," "Valentine's Day Is Over," and "Must I Paint You a Picture" and the more expansive approach of the rollicking "Life with the Lions" and the appropriately mysterious "She's Got a New Spell." Significantly, two of the album's most explicitly political numbers, "Rotting on Remand" and "Tender Comrade," are also the least satisfying tracks here, and the album reaches its finest moment when Bragg musically and lyrically faces the contradictions of this turning point in his career head on with the splendid final number, "Waiting for the Great Leap Forwards." Workers Playtime has a number of pearly moments, but it was also Bragg's first genuine disappointment, and was the first step in the uncertain second act of his recording career. ~ Mark Deming, All Music Guide
'Brewing Up with Billy Bragg'
Release Date 1/1/1984
Tracks 33
Label CD Presents
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What The Critics Say
Bragg's first full album delivers another clutch of memorable, clever songs. Here the rudimentary voice and electric guitar arrangements prevalent in Life's a Riot With Spy Vs. Spy are refined and sweetened by occasional use of overdubbed vocals ("Love Gets Dangerous"), organ ("A Lover Sings"), and trumpet ("The Saturday Boy"); this last selection is a jaunty mid-tempo number about unrequited love that makes reference to the Delfonics' "La-La Means I Love You." Occasional 1950s influences surface on this album, most notably Bo Diddley in the jittery "This Guitar Says Sorry" and Chuck Berry in the bouncy "From a Vauxhall Velox" (which has the classic couplet "Some people say love is blind/But I just think that it's a bit short-sighted"). In addition to songs about relationships, there are also pointedly critical numbers that deal with social/political issues; examples include "It Says Here" (a ringing gruff tune that lampoons the press) and "Island of No Return" (a gripping and angry antiwar song). This excellent release has been supplanted by Back to Basics, which combines this album with Life's a Riot and Between the Wars into a single entity. ~ David Cleary, All Music Guide
