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.
All Fall Down
Billy Bragg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
who needs to live in a dirty old town?
Yes, come on, tear it down.
Who needs the trees and the flowers to grow?
We can have a motorway with motorway dough.
I know, I know, they've got to go.
make a mockery of all of the crowds.
And if you ever have a sleepless night,
just count out your money, it will be alright.
Politicians, planners, go look at what you've done.
Your madness is making a machine of everyone.
But one day your machine might turn on.
We'll tear you down, mess you round,
and bury you deep under the ground.
And we'll dance on you grave till the flowers return
and the trees tell us secrets it took ages to learn.
We'll tear you down.
We'll tear you down, mess you round,
and bury you deep under the ground.
And we'll dance on you grave till the flowers return
and the trees tell us secrets it took ages to learn.
We'll tear you down.
The lyrics of Billy Bragg's song "All Fall Down" serve as a poignant criticism of the destruction of natural spaces and the prioritization of economic development over environmental preservation. The first stanza alludes to the tendency of local and national leaders to prioritize the construction of highways and other infrastructure projects over the maintenance of the natural world. Instead of valuing trees and flowers that may be destroyed in the process, the singer suggests that the pursuit of financial gain seems to be the only priority. The refrain "tear them down, mess them round" emphasizes the violent and careless nature of these actions.
The second stanza shifts the focus to the responsibility of those in power for the consequences of their actions. The singer suggests that the destruction of nature and disregard for the environment has turned people into lifeless, machine-like beings. The repetition of the line "we'll tear you down, mess you round" reflects the anger and frustration felt towards these officials. The final stanza represents a call to action, suggesting that if those in power do not change their ways, they will be held accountable. The imagery of dancing on their graves represents the hope that the beauty and secrets of nature will ultimately triumph over greed and short-sightedness.
Line by Line Meaning
Councillors, magistrates, men of renown,
Addressing those in power who are respected and well-known.
who needs to live in a dirty old town?
Questioning why anyone would want to live in a rundown and neglected area.
Yes, come on, tear it down.
Encouraging the destruction of the town and starting anew.
Who needs the trees and the flowers to grow?
Suggesting that nature is not important and can be replaced by man-made structures.
We can have a motorway with motorway dough.
Promoting the idea of building a motorway, regardless of the impact on the environment.
I know, I know, they've got to go.
Acknowledging the fact that trees and flowers will have to be removed to build the motorway.
Tear them down, mess them round,
Advocating for the destruction and disturbance of nature.
make a mockery of all of the crowds.
Disregarding the opinions and concerns of the public.
And if you ever have a sleepless night,
Implying that those in power may not have a conscience or moral compass.
just count out your money, it will be alright.
Suggesting that those in power prioritize money over the well-being of the environment and people.
Politicians, planners, go look at what you've done.
Calling out those responsible for the environmental destruction caused by development.
Your madness is making a machine of everyone.
Accusing those in power of causing society to become robotic and unfeeling in the pursuit of progress.
But one day your machine might turn on.
Warning that the system in place can eventually become a danger to those who created it.
We'll tear you down, mess you round,
Promising that those in power will eventually face repercussions for their actions.
and bury you deep under the ground.
Threatening a metaphorical death for those responsible for environmental destruction and disregard for the public's opinions.
And we'll dance on you grave till the flowers return
Celebrating the eventual return of nature and holding those responsible accountable, even after they have passed away.
and the trees tell us secrets it took ages to learn.
Implying that nature has wisdom that has taken centuries to accumulate and that it will be valued and respected once again.
We'll tear you down.
Repeating the promise to hold those in power accountable for their actions.
We'll tear you down, mess you round,
Re-emphasizing the promise to take down those responsible.
and bury you deep under the ground.
Repeating the threat of a metaphorical death.
And we'll dance on you grave till the flowers return
Repeating the celebration of nature's return.
and the trees tell us secrets it took ages to learn.
Re-emphasizing that nature holds valuable insights that should not be disregarded.
We'll tear you down.
Repeating the promise to hold those in power accountable for their actions.
Contributed by Bailey F. Suggest a correction in the comments below.