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…
The two volumes of Mermaid Avenue, released in 1998 and 2000 and named after the New York street where legendary folk artist Woody Guthrie lived in the 1940s, were collaborations between cult American alt-country/avant-garde rockers Wilco and revered British protest singer Billy Bragg, on which they set to music previously unreleased lyrics by Guthrie. This exhaustive four-disc set features both releases together with a whole new album of previously unreleased songs and the documentary Man in the Sand, which chronicles the project.
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
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Talking with the Taxman About Poetry in 1986 were the two Mermaid Avenue volumes, in which Bragg set Woody Guthrie's unpublished lyrics to new music with Wilco serving as his collaborators and backing band, suggesting that this former one-man band suddenly needed plenty of help to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.