In 1977, Bragg formed the punk rock/pub rock band Riff Raff, and toured London's pubs and clubs. The band released a series of singles, which did not receive wide exposure. He also worked in Guy Norris Records in Barking. Bragg became disillusioned with his music career, and in May 1981 joined the British Army as a recruit destined for the Queen's Royal Irish Hussars of the Royal Armoured Corps. After three months, he bought his way out of the army for £175 and returned home, having attended basic training but having never served in a regiment as a soldier.
Bragg began performing frequent concerts and busking around London, playing solo with an electric guitar. His roadie at the time was Andy Kershaw, who became a BBC DJ (Bragg and Kershaw later, in 1989, appeared in an episode of the BBC TV programme, Great Journeys, in which they travelled the Silver Road from Potosí, Bolivia, to the Pacific coast at Arica, Chile). Bragg performing at South by Southwest in 2008.
Bragg's demo tape initially got no response from the record industry, but by pretending to be a television repair man, he got into the office of Charisma Records' A&R man Peter Jenner. Jenner liked the tape, but the company was near bankruptcy and had no budget to sign new artists. Bragg got an offer to record more demos for a music publisher, so Jenner agreed to release them as a record. Life's a Riot with Spy Vs. Spy was released in July 1983 by Charisma's new imprint, Utility. Hearing DJ John Peel mention on-air that he was hungry, Bragg rushed to the BBC with a mushroom biryani, so Peel played a song from Life's a Riot with Spy Vs. Spy although at the wrong speed (since the 12" LP was, unconventionally, cut to play at 45rpm). Peel insisted he would have played the song even without the biryani and later played it at the correct speed.
Within months, Charisma had been taken over by Virgin Records and Jenner, who had been laid off, became Bragg's manager. Stiff Records' press officer Andy Macdonald – who was setting up his own record label, Go! Discs – received a copy of Life's a Riot with Spy Vs. Spy. He made Virgin an offer and the album was re-released on Go! Discs in November 1983.[citation needed] In 1984, he released Brewing Up with Billy Bragg, a mixture of political songs (e.g., "It Says Here") and songs of unrequited love (e.g., "The Saturday Boy"). The following year he released Between the Wars, an EP of political songs that included a cover version of Leon Rosselson's "The World Turned Upside Down" – the EP made the top 20 of the UK Singles Chart and earned Bragg an appearance on Top of the Pops. Bragg later collaborated with Rosselson on the song, "Ballad of the Spycatcher". In 1985, his song "A New England", with an additional verse, became a Top 10 hit in the UK for Kirsty MacColl. After MacColl's early death, Bragg always sang the extra verse in her honour. In 1984–1985 he toured North America.
In 1986, Bragg released Talking with the Taxman about Poetry, which became his first Top 10 album. Its title is taken from a poem by Vladimir Mayakovsky and a translated version of the poem was printed on the record's inner sleeve. Back to Basics is a 1987 collection of his first three releases: Life's A Riot With Spy Vs. Spy, Brewing Up with Billy Bragg, and the Between The Wars EP. Bragg released his fourth album, Workers Playtime, in September 1988. With this album, Bragg added a backing band and accompaniment.
In May 1990, Bragg released the political mini-LP, The Internationale. The songs were, in part, a return to his solo guitar style, but some songs featured more complicated arrangements and included a brass band. The album paid tribute to one of Bragg's influences with the song, "I Dreamed I Saw Phil Ochs Last Night", which is an adapted version of Earl Robinson's song, "I Dreamed I Saw Joe Hill Last Night", itself an adaptation of a poem by Alfred Hayes.
The album Don't Try This at Home was released in September 1991, and included the song, "Sexuality", which reached the UK Singles Chart. Bragg had been persuaded by Go! Discs' Andy and Juliet Macdonald to sign a four-album deal with a million pound advance, and a promise to promote the album with singles and videos.[citation needed] This gamble was not rewarded with extra sales, and the situation put the company in financial difficulty. In exchange for ending the contract early and repaying a large amount of the advance, Bragg regained all rights to his back catalogue.[citation needed] Bragg continued to promote the album with his backing band, The Red Stars, which included his Riff Raff colleague and long-time roadie, Wiggy.
Bragg released the album William Bloke in 1996 after taking time off to help raise his son. Around that time, Nora Guthrie (daughter of American folk artist Woody Guthrie) asked Bragg to set some of her father's unrecorded lyrics to music. The result was a collaboration with the band Wilco and Natalie Merchant (with whom Bragg had worked previously). They released the album Mermaid Avenue in 1998, and Mermaid Avenue Vol. II in 2000. A rift with Wilco over mixing and sequencing the album led to Bragg recruiting his own band, The Blokes, to promote the album. The Blokes included keyboardist Ian McLagan, who had been a member of Bragg's boyhood heroes The Faces. The documentary film Man in the Sand depicts the roles of Nora Guthrie, Bragg, and Wilco in the creation of the Mermaid Avenue albums.
In 2004, Bragg joined Florida ska-punk band Less Than Jake to perform a version of 'The Brightest Bulb Has Burned Out' for the Rock Against Bush compilation.
At the 2005 Beautiful Days Festival in Devon, Bragg teamed up with the Levellers to perform a short set of songs by or associated with The Clash in celebration of Joe Strummer's birthday. Bragg performed guitar and lead vocals on "Police and Thieves", and performed guitar and backing vocals on "English Civil War", and "Police on my Back".
In 2007, Bragg moved closer to his English folk music roots by joining the WOMAD-inspired collective The Imagined Village, who recorded an album of updated versions of traditional English songs and dances and toured through that autumn. Bragg released his album Mr. Love & Justice in March 2008. This was the second Bragg album to be named after a book by Colin MacInnes. In 2008, during the NME Awards ceremony, Bragg sang a duet with British solo act Kate Nash. They mixed up their two greatest hits, Nash playing "Foundations", and Bragg redoing his "A New England". Bragg also collaborated with the poet and playwright, Patrick Jones, who supported Bragg's Tour.
In 2008, Bragg played a small role in Stuart Bamforth's film "A13: Road Movie". Bragg is featured alongside union reps, vicars, burger van chefs and Members of Parliament in a film that explored "the overlooked, the hidden and the disregarded."
He was involved in the play Pressure Drop at the Wellcome Collection in London in April and May 2010. The production, written by Mick Gorden, and billed as "part play, part gig, part installation", featured new songs by Bragg. He performed during the play with his band, and acted as compere.
Bragg curated the Leftfield stage at Glastonbury Festival 2010.
He took part in the Bush Theatre's 2011 project Sixty Six where he has written a piece based upon a chapter of the King James Bible.
Bragg performed a set of the Guthrie songs that he had set to music for Mermaid Avenue during the Hay Literary Festival in June 2012. Mermaid Avenue Vol. III and Mermaid Avenue: The Complete Sessions were also released in early 2012.
On 18 March 2013, Bragg released his latest studio album, five years since Mr. Love & Justice, titled Tooth And Nail. It featured 11 original songs, including one written for the Bush Theatre, and a Woody Guthrie cover. Stylistically, it continues to explore genres of Americana (music) and Alternative country, both of which he has said he has been playing and writing regularly since Mermaid Avenue (1998).
In November 2017, he released all six tracks from the mini-album Bridges Not Walls as downloads and CD through the Billy Bragg website and other sellers, followed by the single Full English Brexit through Cooking Vinyl.
A Pict Song
Billy Bragg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Always her heavy hooves fall
On our stomachs, our hearts, or our heads
And Rome never heeds when we call
Her sentries pass on "that is all"
And we gather behind them in hordes
And plot to reconquer their wall
For we are the little folk, we!
Too little to love or to hate
Leave us alone and you'll see
How we can drag down the state
Mistletoe killing, an oak
Rats gnawing cables in two
Moths making holes in our coats
How they must love what they do
Yes and we little folk too
We are as busy as they
Working our works out of view
Watch and you'll see it someday
For we are the little folk we
Too little to love or to hate
Leave us alone and you'll see
How we can drag down the state
Yes it is true we are not strong
But we know of Peoples that are
Yes and we'll guide them along
To smash and destroy you in war
We should be slaves just the same
Yes we have always been slaves
But you, you will die of the shame
And then we shall dance on your graves
For we are the little folk we
Too little to love or to hate
Leave us alone and you'll see
How we can drag down the state
We are the worm in the wood
We are the rot at the roof
We are the taint in the blood
We are the thorn in the foot
The lyrics to Billy Bragg's song A Pict Song explore the idea of power dynamics, where the singer turns the concept of power on its head. The song suggests that those who are seen as weaker or less powerful can still have an impact and influence on those in charge. The lyrics describe Rome as an oppressor who doesn't listen to those who she has conquered, and who always tramples over those who are smaller than her. But even though they are small, the little folk still have power. They can undermine the state and inflict damage on the oppressor.
The imagery in the song is visceral and striking. The idea of mistletoe killing, rats gnawing cables, and moths making holes in coats creates a sense of destruction and decay. The idea of the "worm in the wood" and the "rot at the roof" suggests that there is always something that can bring down an otherwise strong structure. The little folk are portrayed almost as parasites, slowly eating away at the foundations of power until it crumbles. The song is a call to action for those who feel oppressed or overlooked, and encourages them to find their own way of fighting back.
Overall, the song is a commentary on the nature of power and resistance, and the ways in which even those who are seen as weak can have an impact. By exploring these themes through powerful imagery and a catchy melody, Billy Bragg creates a memorable and thought-provoking song.
Line by Line Meaning
Rome never looks where she treads
Rome is heedless and doesn't care about the impact of her actions on others.
Always her heavy hooves fall
Her actions are relentless and overwhelming.
On our stomachs, our hearts, or our heads
The consequences of Rome's actions are felt by all, both physically and emotionally.
And Rome never heeds when we call
Rome is unresponsive to the pleas of those under her control.
Her sentries pass on "that is all"
Her foot soldiers are dismissive and unempathetic to the suffering of others.
And we gather behind them in hordes
Despite this, people band together to try and resist Rome's power.
And plot to reconquer their wall
People develop strategies to fight back against oppression.
With only our tongues for our swords
Despite having limited resources, people fight back with their words and ideas.
For we are the little folk, we!
The oppressed people see themselves as the 'little folk', small and powerless compared to Rome.
Too little to love or to hate
Rome sees the oppressed people as insignificant, neither good nor bad.
Leave us alone and you'll see
If Rome ignores the people, they will continue to work against her in subtle ways.
How we can drag down the state
The people can chip away at Rome's power in small but effective ways.
Mistletoe killing, an oak
The oppressed people are like parasites, slowly killing Rome from the inside.
Rats gnawing cables in two
Like rodents, the people are undermining Rome's power, one small bite at a time.
Moths making holes in our coats
The damage the people are causing to Rome is slow and gradual, but persistent.
How they must love what they do
The oppressed people take pleasure in chipping away at Rome's power.
Yes and we little folk too
The oppressed people see themselves as part of a wider struggle against tyranny.
We are as busy as they
The people are tireless in their battle against Rome's power.
Working our works out of view
Their activities are often hidden from view, but they are happening nonetheless.
Watch and you'll see it someday
In time, Rome will see the damage being inflicted and the strength of the people's resistance.
But we know of Peoples that are
The oppressed people are aware of other groups who are stronger and capable of resistance.
Yes and we'll guide them along
The people hope to connect with these other groups and help to organize resistance against Rome.
To smash and destroy you in war
The oppressed people will fight back with force if necessary, and take down Rome's power by any means necessary.
We should be slaves just the same
The people are aware that their fate under Rome is one of slavery and oppression.
Yes we have always been slaves
This has been the case for generations and history for the oppressed people.
But you, you will die of the shame
Rome will be held accountable for her actions and will ultimately pay a price for her oppression.
And then we shall dance on your graves
The oppressed people will triumph against Rome and its power and celebrate the defeat of the tyrant.
We are the worm in the wood
The oppressed people see themselves as a destructive force that can slowly bring down Rome from the inside.
We are the rot at the roof
The people are insidiously undermining Rome's power, causing it to decay from within.
We are the taint in the blood
The oppressed people are a poison within Rome's system, slowly weakening it.
We are the thorn in the foot
The people see themselves as an irritant to Rome, causing it pain and discomfort that will ultimately bring it down.
Lyrics © Sony/ATV Music Publishing LLC
Written by: BILLY BRAGG, RUDYARD KIPLING
Lyrics Licensed & Provided by LyricFind
@ruthdixon7807
billy bragg at his absolute best, as he sets kipling's verse to abrasive guitar that harks bark to his earliest work.
@CydnotCharrise1
I LOVE this song, love love love it! So glad to find it here.
@CydnotCharrise1
Anyone know the lyrics?
@havegunwilltravl
They seem pretty clear to me.
@MrJDFrog
@@CydnotCharrise1
https://www.poetryfoundation.org/poems/46784/a-pict-song
@CydnotCharrise1
@@MrJDFrog Thanks!
@oskarzoroaster9789
The Man who would be King was one of my favourite R.K. stories as a child, excellent movie (1975) as well
@patkelly3966
Kipling?
@hieronymus9
I've been used to Leslie Fish's setting, but I have to say this one has more music and more power through the dialog between the voice and the guitar.
@dondrummond2598
One of my favorites for SURE.