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.
Sulk
Billy Bragg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And if you love me, why don't you let me know?
But you just won't give me an inch, so
You just sulk
Why do i want to hide whenever you show up?
You know your moods just make me want to throw up
Why don't you just bloody well grow up?
All of the time,
Why don't you pick me up or throw me a line?
All over the place,
Why don't you tell me what you think?
Come on and tell me to my face
If you love me, why don't you show it?
If you hate me, why don't you let me know it?
Why don't you just pick up something and throw it?
You just sulk
If you want to bend my arm,
Well you could do it with a little more charm,
But you just couldn't bear to do me any harm
So you just sulk
And you tell me that you want to quit
And then you treat me like a piece of shit
And when i ask you, what's that got to do with it?
You just sulk
The Billy Bragg song "Sulk" seems to be about a conflicted relationship in which one partner is moody and difficult while the other tries to manage the situation. Throughout the song, the singer is asking the moody partner to be more direct and honest about their feelings, whether positive or negative. They seem to be tired of dealing with the other's passive aggression and uncommunicative behavior, and are looking for some kind of resolution or clarity.
The first verse sets the tone of the song, with the singer asking why the moody partner won't express their true feelings either way. The second verse seems to reflect the emotional toll the other person's behavior is having on the singer, describing how they feel like hiding or getting sick in response. The third verse is more confrontational, with the singer asking why the other person won't be more direct and assertive in their communication. The chorus repeats the idea that the moody partner is just "sulking" rather than engaging with the relationship in a healthy way. The final verse emphasizes the lack of trust and honesty in the relationship, and how the singer feels mistreated and misunderstood.
Overall, the song seems to be a plea for open and honest communication in a relationship, and a call to move beyond passive aggression and sulking to a more mature and productive way of dealing with conflict.
Line by Line Meaning
If you hate me, why don't you go?
If you don't like me, why don't you just leave?
And if you love me, why don't you let me know?
If you have feelings for me, then why not express it?
But you just won't give me an inch, so
But you refuse to compromise, continue to sulk
Why do i want to hide whenever you show up?
Why do I feel the need to avoid you whenever you come around?
You know your moods just make me want to throw up
Your unpredictable emotions make me feel sick
Why don't you just bloody well grow up?
Why can't you be more mature and handle situations like an adult?
All of the time,
This happens constantly
Why don't you pick me up or throw me a line?
Why don't you offer me support or communicate with me?
All over the place,
You are inconsistent or indecisive
Why don't you tell me what you think?
Why don't you give me your opinion?
Come on and tell me to my face
Don't talk behind my back, say it directly to me
If you love me, why don't you show it?
If you have feelings for me, why don't you demonstrate it?
If you hate me, why don't you let me know it?
If you don't like me, then tell me outright
Why don't you just pick up something and throw it?
Why don't you just express your frustration physically?
If you want to bend my arm,
If you want to persuade me or convince me to do something
Well you could do it with a little more charm,
You could do so in a more amiable and pleasant way
But you just couldn't bear to do me any harm
But you won't do anything that could potentially hurt me
So you just sulk
Instead, you sulk and remain passive-aggressive
And you tell me that you want to quit
You claim that you want to end things or give up
And then you treat me like a piece of shit
Afterwards, you mistreat me and show no respect
And when i ask you, what's that got to do with it?
When I question your behavior, you refuse to answer or justify yourself
You just sulk
Instead, you continue to sulk and refuse to address the problem
Lyrics © O/B/O APRA AMCOS
Written by: BILLY BRAGG, CAROLINE TIVEY
Lyrics Licensed & Provided by LyricFind