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.
Trust
Billy Bragg Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And he really didn't say
And I really didn't ask him
I just hoped and prayed
He's already been in side me
And I really don't feel well
I keep looking in the mirror
Will he stay by me and take my hand
And hold me till I sleep
Or will he crumble and fall to the floor
And weep
Oh feeble man oh evil man
He's already been inside me
Would he have told me if he cared?
I know I ought to find out
But I'm much too scared
He's already been inside me
And I know it can't be good
Nothing feels
The way it should
Will he hold me in his arms again
And wipe away my tears
Or has he already taken
My best years
Oh evil man oh feeble man
The lyrics of "Trust" by Billy Bragg showcase a woman's emotional turmoil and uncertainty in regards to her sexual relationship with a man. The lyrics emphasize the singer's vulnerability and fear of abandonment. The song revolves around the conflict between her hope for the man to love her, and her fear that he is not interested in her but rather interested only in fulfilling his own desires.
The lyrics also give a nod to the woman's insecurity and lack of control, as she describes having already been physically intimate with the man without communication. She worries that he will reject her emotionally, and that she will be left alone and vulnerable once again.
The refrain "oh feeble man oh evil man" showcases the singer's conflicting emotions towards the man she is involved with. Her fear of being abandoned collides with her desire for him, leaving her feeling both vulnerable and angry.
Overall, "Trust" is a powerful and emotional song that explores the complexities and uncertainties of sexual relationships.
Line by Line Meaning
He's already been inside me
I've had sex with him.
And he really didn't say
He didn't say much during or after the encounter.
And I really didn't ask him
I didn't ask for much during or after the encounter.
I just hoped and prayed
I just hoped it would be good and that he would care about me.
He's already been in side me
I've had sex with him again and I feel unwell afterwards.
And I really don't feel well
I feel physically and/or emotionally sick.
I keep looking in the mirror
I keep checking my appearance for signs of what happened.
But it's hard to tell
I can't really see any difference from before.
Will he stay by me and take my hand
Will he be there for me emotionally and support me?
And hold me till I sleep
Will he comfort me and make me feel safe?
Or will he crumble and fall to the floor
Or will he break down and show his weakness?
And weep
And cry.
Oh feeble man oh evil man
He is either weak or cruel.
He's already been inside me
I've had sex with him again and it's not making me feel any better.
Would he have told me if he cared?
If he truly cared about me, would he have communicated more during or after?
I know I ought to find out
I know I should have a conversation about this with him, but I'm scared to.
But I'm much too scared
I'm too afraid to confront him or to learn the truth.
And I know it can't be good
I know that what happened was not right or healthy.
Nothing feels
I don't feel anything.
The way it should
I know that sex and relationships should feel better than this.
Will he hold me in his arms again
Will he comfort me like last time?
And wipe away my tears
Will he help me through my emotional pain?
Or has he already taken
Did he already take something from me?
My best years
Did he take away my youth, my happiness, and my well-being?
Oh evil man oh feeble man
He is both cruel and weak.
Lyrics © Warner Chappell Music, Inc.
Written by: STEPHEN WILLIAM BRAGG
Lyrics Licensed & Provided by LyricFind
tino
He's already been inside me
And he really didn't say
And I really didn't ask him
I just hoped and prayed
He's already been in side me
And I really don't feel well
I keep looking in the mirror
But it's hard to tell
Will he stay by me and take my hand
And hold me till I sleep
Or will he crumble and fall to the floor
And weep
Oh feeble man oh evil man
He's already been inside me
Would he have told me if he cared?
I know I ought to find out
But I'm much too scared
He's already been inside me
And I know it can't be good
Nothing feels
The way it should
Will he hold me in his arms again
And wipe away my tears
Or has he already taken
My best years
Oh evil man oh feeble man
inxia38
This song stops me dead in my tracks whenever I hear it. I don't think that being petrified has ever been described so well.
Genedancingmachine
A masterpiece.
Ajarn Dave
The whole album is a masterpiece.
Smog
An amazing powerful song
Simon Duncan
Working class hero ✊✊🏻✊🏿📢📢🌹
Future_p4st
great song, 0 dislike.... never saw that before on youtube
tino
He's already been inside me
And he really didn't say
And I really didn't ask him
I just hoped and prayed
He's already been in side me
And I really don't feel well
I keep looking in the mirror
But it's hard to tell
Will he stay by me and take my hand
And hold me till I sleep
Or will he crumble and fall to the floor
And weep
Oh feeble man oh evil man
He's already been inside me
Would he have told me if he cared?
I know I ought to find out
But I'm much too scared
He's already been inside me
And I know it can't be good
Nothing feels
The way it should
Will he hold me in his arms again
And wipe away my tears
Or has he already taken
My best years
Oh evil man oh feeble man
richard asplin
The AIDS epidemic – and the stigma attached to it – was a big issue in the late 80s. I wanted to write about it and, with Trust, I ended up doing so in a manner that could also refer to an unplanned pregnancy
Simon Duncan
Kitchen sink sonics and yes a masterpiece a beautiful piece of music
simon hobbs
this song is so sad , but powerfull , golly it gets to me ,