12OmnibusThursday, October 6, 1988
Passion reigns as the key factor on Braggs' album
By DOUG EDMUKDS
Stsff Writer
How often does an album come
along that not only entertains us
with its pointed looks at love and
human relationships, but also
challenges our individual political
beliefs, or lack thereof? That's
right, music lovers, ALMOST NEVER.
Well, thank goodness for Billy
Bragg, whose new LP Workers'
Playtime accomplishes both these
feats and does so with originality
and passion, two increasingly rare
commodities in today's rock
market. Bragg is a master of
mixing love songs with political
songs, and on this record, his
observational skills have never
made for a better musical stew.
It would be exhausting to critique
every worthy aspect of this rich
LP, and to pick at its few flaws,
so 111 stick to what I consider to
be the highlights.
"Must I Paint You a Picture
comes dose to 1 985"S "St Swithin's
Day" for sheer pulling-at-the-heartstrings
beauty. Billy has
never sounded so humbly regret
ful than on this track. What's so
poignant about this, like all of
Bragg best love songs, is that the
benefit of hindsight makes ever
ything seem painfully clear to the
rejected singer. This number also
features one of the prettiest
arrangements on any Bragg
album, with some lovely backing
vocals by pianist Cara Tivey.
"Tender Comrade," like the sub
ject it addresses, is a brave effort
An a capella track, sung with
perfect clarity and honest com
passion, it discusses the unique
love bond that forms between
soldiers together at war. Few
modern male singers could sing
the following lines and make them
sound so sincere and unashamed:
"Brothers in arms in each other's
armsWas the only time I was not
afraid What will you say of the
bond we had, tender comrade." i
couldVe heard a pin drop when I
saw him do this song in a good
sized hall last May; the recorded
version is equally affecting.
Side two opens with another
brilliant lost-love ballad, (yeah, he
does always seem to lose in love),
"Valentine's Day is Over." This song
is unique in that Bragg sings it
from the woman's perspective, a
clever and effective approach. "If
you take me for granted then you
must expect to findSurprise -Valentine's
Day Is over."
The next tune, a romping coun
try stomp with full band arrange
ment, is worth it simply for the
opening line-. "I hate the arsehole
I becomeEverytime I'm with you."
Billy doesnt mince words when It
comes to self-criticism.
The record ends with Bragg's
most direct, aware battle cry to
date. Titled "Waiting For the Great
Leap Forwards," this number, in a
nutshell, sums up his socialist
ideology and the manner In which
it conflicts with the very business
of which he's a part. His lyrics here
approach Elvis costello godhead
status, with such classic lines as
these-, "it may have been Camelot
for Jack and Jacqueline But on the
Che Guevara highway filling up
with gasolineFidel Castro's
brother spies a rich lady who's
cryingOver luxury's disappoint
ment So he walks over and he's
tryingTo sympathize with her
but he thinks that he should warn
herThat the Third World is just
around the corner." how can a
reviewer resist quoting passages
like this? This song isn't just
important for what it says but
rather for how it says it Bragg
manages to challenge his listeners
to "be active with the activists"
while at the same time question
ing his own ability to preach from
the rock W roll pulpit Within this
single song, Bragg confronts his
own limitations and attempts to
rise above them, his passion
unflagging and his vision intact
l could wax rhapsodic for pages
about this crucial slab of vinyl, but
a far better way for you to find
out about it is to buy it. Read the
lyric sheet, listen to the expres
siveness of voice and music, begin
to have a religious experience.
But be forewarned - it says
right on the front cover: capital
ism is Killing Music Do you begin
to see the inherent conflict at
hand? Gosh, Billy, next time you
could just give them away. Sur
prise, surprise.
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