Talking with the Taxman About Poetry

Considering that Billy Bragg’s earliest records were raw, politically motivated, unpolished man-with-electric-guitar tunes released on an independent label, his arrival at a major label for a complete album “produced” by John Porter and Kenny Jones made for interesting conversation among his devoted cult following. It led Bragg to subtitle the release “the difficult third album.” If anything, this is easier on the ears, increasingly musical, and a suitable balance between Bragg’s political concerns and affairs of the heart. With The Smiths’ Johnny Marr providing gorgeous guitar to “Greetings to the New Brunette,” the album starts on a wistful note, following through with the brilliant “Levi Stubbs’ Tears,” where Bragg cites the power of music to overcome any situation. “The Marriage” attacks social conventions. “Wishing the Days Away” addresses the inability to celebrate the moment. “Ideology” uses Bob Dylan’s “Chimes of Freedom” to further its leftist political agenda, while “Honey I’m a Big Boy Now” sits Bragg down in the parlor for some piano action.