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“Waiting for the Great Leap Forward” – Billy Bragg
(Words/music: Billy Bragg, available on Worker’s Playtime, Go! Discs 1988) 

My instincts want me to use “Waiting for the Great Leap Forward” as a way to look back at the past year of blogging.  When I started writing this blog, I did it as a way to explore my taste in music.  I’ve been secure in my taste, meaning that I like the things I like proudly with or without the validation of others, for a while now, but I wanted to go deeper and try to figure out why I liked the things that I like.  In that sense, Bragg’s ode to contradiction seems strangely appropriate to a point.  “Waiting for the Great Leap Forward” hinges not only on the allusion to the failed economic and cultural renewal plan in 1950s China but on his appropriation of the cliché “one step forward, two steps back.”  He lists a series of moments where advancement and regression converge – events where the opposite outcome – whether intended or inevitable – becomes prevalent.  The power of Bragg’s song, both in the original version and in the continually updated lyrics since – is that he confronts his own contradictions in addition to the glaring dissonance in our culture.  Whether it’s growing old, adapting to technology, or the accidental isolation of fame, Bragg ponders where and how he fits in to a changing world.

After a year of writing about songs that cover a significant portion of my taste as well as my personal listening history, I’m left in a similar position of confusion.  In some cases, I have a better handle on the kind of things I like, none of which surprise me.  Still, I’ve found that I’ve raised more than enough questions, whether directly or tangentially, to offset any “progress” I might declare (or, at least, “progress” I had in mind at the beginning of the year).  However, this isn’t a failure; after all, this isn’t the kind of thing with tangible results.  Instead, I feel even more curious at this point than when I started.  That, coupled with the list of songs and songwriters I haven’t touched yet, is enough for me to want to continue with this in 2010.  The job feels incomplete not because I failed to find what I was looking for, but because I’ve found that there’s more to explore.  Where I once imagined writing some kind of dossier of my introspection, I’m finding that the act of considering and writing about these songs is what I wanted all along – that the small epiphanies about a forgotten favorite or a new perspective on a personal memory are the reasons I sat down to write in the first place.

Which brings me back to the song – even if the piano chords are slow at first, Bragg and friends eventually kick into gear.  For his mixed feelings about progress, Bragg isn’t moping about failure.  Instead, he’s forging on the same way he has for the better part of three decades now, still singing “Waiting for the Great Leap Forward” just with different details.  On a much smaller scale, that’s what I’m hoping for – continuing along with different details, hoping each day to figure out something else, or get a little better at what I’m doing.

More on Billy Bragg: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: billy bragg | 1988 | 1980s | go! discs | personal reflection |
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“A New England (BBC Recording)” – Kirsty MacColl with Billy Bragg
(Words/music: Billy Bragg, available on What Do Pretty Girls Do?, Hex 1998)

I’m a relatively new convert to Billy Bragg (and to those in need of convincing, go seek the Must I Paint You a Picture collection for a strong career overview), but one of the most compelling parts of Bragg’s personality is his propensity to champion other singers.  Whether it’s sharing the stage with younger performers (recently Brit singers Estelle and Kate Nash, among others), collaborating with established acts (most famously with Wilco on the Mermaid Avenue discs), or championing artists rights to own their own intellectual property, few have done more to help cultivate a creative environment in popular music over the past twenty years.  More importantly, Bragg’s collaborations come across as genuine endorsements of those he works with; rather than working with high profile bands or rising singers to raise his own public image, Bragg invests his time in causes (or, in this case, performers) he believes in, offering whatever he can to help their creative growth.

Still, it’s high praise for Bragg to share perhaps his most iconic song with Kirsty MacColl, although I wouldn’t blame him if he just wanted to hear his words sung by someone with as beautiful a voice as her.  MacColl, best known as the firery foil to Shane MacGowan in the Pogues’ “Fairytale of New York,” sings “A New England” like it’s her own song, telling Bragg’s tale of teenage longing through her clear, vibrant voice.  In this version, recorded for the BBC, MacColl and Bragg trade verses and create a conversational tone.  While Bragg’s original sounds like a young man declaring his place in the world, this version sounds like two friends catching up on the past with each other.  In particular, MacColl’s final verse (which Bragg wrote specifically for her), seems focused on the past – it’s the only of the three verses set exclusively in the past tense (where the other two verses compare the past to the present), and appropriately carries the perspective that only time brings.  Even if they sound older, they still sound like they’re having fun, as their voices harmonize together and they laugh during the goofy instrumental break.  I’ve never seen Bragg live, but I’m told he retains the final verse in his solo performances as a tribute to MacColl, who died in 2000.

More on Kirsty MacColl: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: kirsty maccoll | 1998 | 1990s | track analysis | live performance | billy bragg | cover song |
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