Talking with the Taxman about Poetry is the third release (second full length album) by Billy Bragg, released in 1986. With production by John Porter and Kenny Jones, Talking with the Taxman about Poetry featured more musicians than Bragg's previous works, which were generally little more than Bragg himself and a guitar. There were two singles released from the album. While "Levi Stubbs' Tears" peaked at #29 in the UK, the follow-up "Greetings To The New Brunette" fell short, only managing #58 a few months later. wikipedia
This is the east german license pressing with different title and artwork - afaik the only Billy Bragg album released in the Eastern Bloc. Curious why…
Back to Basics is a 1987 collection of Billy Bragg's first three releases: The albums Life's A Riot With Spy Vs. Spy and Brewing Up with Billy Bragg and the EP Between The Wars. This collection did not contain any new material, but did document Billy Bragg's early "one man and his guitar" approach. The songs collected on this release demonstrate major recurrent themes in Bragg's work: highly critical commentary on Thatcherite Britain, laced with poetic love songs. wikipedia
After Elektra signed Billy Bragg to his first major-label deal and released Talking with the Taxman About Poetry in 1986, the label decided to do a clean-up job on his back catalog and compiled Back to Basics, which combined the material from Bragg's first three records – Life's a Riot with Spy vs Spy, Brewing Up with Billy Bragg, and Between the Wars – into one two-record set (now available on a single CD). The first seven cuts, from the Life's a Riot EP, are Billy Bragg at his most basic; recorded in an afternoon with no overdubs, the audio is rough and Billy's electric guitar often threatens to drown out his voice, but the performances are game, and Bragg was already writing top-notch songs like "A New England" and "The Milkman of Human Kindness."
It's both significant and troubling that Billy Bragg's best albums since releasing Talking with the Taxman About Poetry in 1986 were the two Mermaid Avenue volumes, in which Bragg set Woody Guthrie's unpublished lyrics to new music with Wilco serving as his collaborators and backing band, suggesting that this former one-man band suddenly needed plenty of help to communicate with his audience. Bragg sounded confident and all but unbeatable on his first few albums in the '80s, but political and creative uncertainty have dominated much of his work since then. Which is why Mr. Love & Justice is a pleasant and encouraging surprise – while hardly perfect, it's easily Bragg's best and most consistent solo effort since Don't Try This at Home, and finds him coming to terms with maturity and the changing face of the world, two bugaboos that have been dogging his muse for some time.
…Don't Try This at Home isn't the sort of album that announces itself loudly, but slip into its understated textures and you'll discover one of Bragg's warmest and most thoughtful albums.