| Bloke on Bloke | ||||
|---|---|---|---|---|
 | ||||
| Compilation album by | ||||
| Released | 1997 | |||
| Genre | Rock, folk | |||
| Label | Cooking Vinyl [1] | |||
| Billy Bragg chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [2] |
| The Encyclopedia of Popular Music | [3] |
Bloke on Bloke is a 1997 outtakes compilation album by British rock musician Billy Bragg. It gathers together several outtakes from the sessions for the William Bloke album. [4] Its title is a play on the Bob Dylan album Blonde On Blonde .
All tracks written by Billy Bragg except as noted.
Stephen William Bragg is an English singer-songwriter and left-wing activist. His music blends elements of folk music, punk rock and protest songs, with lyrics that mostly span political or romantic themes. His music is heavily centred on bringing about change and involving the younger generation in activist causes.
Johnny Marr is an English musician, songwriter, and singer. He first achieved fame as the guitarist and co-songwriter of The Smiths, who were active from 1982 to 1987. He has since performed with numerous other bands and embarked on a solo career.
Talking with the Taxman About Poetry is the third album by Billy Bragg, released in September 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.
England, Half-English is a 2002 album by English political singer-songwriter Billy Bragg and The Blokes, and a song from that album. The song is about racism in England and the anti-immigration feelings and racist abuse of asylum seekers fuelled by the tabloid press, particularly the Daily Mail. The song uses examples such as the lions on the English football team's shirts, Britannia and the English patron saint, St. George, the hyphen in Anglo-Saxon and the nation's favourite dish (curry) to convey his message that everything about English culture is shaped and influenced by the waves of immigration that have taken place in the past.
Must I Paint You a Picture? The Essential Billy Bragg, is a three CD collection of Billy Bragg's greatest hits and b-sides, released on October 28, 2003. It consists of a double album and a disc of ten extras. Subscribers to Billy's website voted on their favourite tracks and these votes were used to compile the CD collection.
Rank is the only live album by English band the Smiths. It was released in September 1988 by their British record company Rough Trade, and reached No. 2 in the British charts. In the United States, the album was released on Sire Records and made No. 77.
The Internationale is a 1990 album by Billy Bragg. Originally released on Bragg's short-lived record label, Utility Records, it is a deliberately political album, consisting mainly of cover versions and rewrites of left-wing protest songs. Although Bragg is known for his association with left-wing causes, this release is unusual; most of Bragg's recordings balance overtly political songs with social observation and love songs.
Reaching to the Converted is an album by Billy Bragg released in August 1999. It is a collection of B-sides and rarities that spans Billy's entire career. It includes variations on old favorites, such as "Greetings to the New Brunette" and "Walk Away Renee".
Life's a Riot with Spy vs Spy is Billy Bragg's first album, released in 1983. All songs on the original album consisted of Bragg singing to his electric guitar accompaniment.
Don't Try This at Home is the sixth full-length album by urban folk artist Billy Bragg.
Brewing Up with Billy Bragg is the second album by Billy Bragg, released in 1984.
The Peel Sessions Album is an album by British rock artist Billy Bragg, released in 1991. It compiles recordings from Bragg's various radio sessions for John Peel's programme, recorded between 1983 and 1988.
William Bloke is the seventh album by alternative folk artist Billy Bragg, released in 1996, five years after his last studio album. The lyrics to "A Pict Song" are by English poet Rudyard Kipling. The lyrics to "Goalhanger" use the first verse of "The Little Man Who Wasn't There".
Moodswings is a musical duo composed of Grant Showbiz and James F. T. Hood.
Grant Showbiz is a British record producer principally known for his work with The Fall, The Smiths, and Billy Bragg plus as an artist in his own right with Moodswings. He has worked on more albums by both The Fall (15) & Billy Bragg (14) than any other producer, and continues to work with Bragg. Showbiz has been awarded Gold Records for The Smiths' Rank, Billy Bragg's Don't Try This At Home and The Wilco/Bragg collaboration Mermaid Vol.1, and received Grammy nominations for both Mermaid Avenue Vols 1 & 2.
"Sexuality" is the ninth track on Billy Bragg's 1991 album, Don't Try This at Home. The song was released as a single which reached #27 on the UK charts and #2 on the U.S. Alternative charts.
The Woody Guthrie Foundation, founded in 1972, is a non-profit organization which formerly served as administrator and caretaker of the Woody Guthrie Archives. The Foundation was originally based in Brooklyn, New York and directed by Woody Guthrie's daughter Nora Guthrie.
Mr Love & Justice is the twelfth studio album by folk-rock musician Billy Bragg, and the second to be recorded with his backing band The Blokes. The title is taken from the 1960 novel by Colin MacInnes.
Cara Tivey is an English pianist/keyboardist and vocalist who has mainly worked as a side musician. She is best known for her collaborations with Billy Bragg. Tivey is also the cousin of Stephen and Nick Duffy of The Lilac Time.
"How Soon Is Now?" is a song by the English rock band the Smiths, written by singer Morrissey and guitarist Johnny Marr. Originally a B-side of the 1984 single "William, It Was Really Nothing", "How Soon Is Now?" was subsequently featured on the compilation album Hatful of Hollow and on US, Canadian, Australian, and Warner UK editions of Meat Is Murder. Belatedly released as a single in the UK in 1985, it reached No. 24 on the UK Singles Chart. When re-released in 1992, it reached No. 16.
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