Billy Bragg

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Born:
December 20, 1957, he's 54 and UK.
Birthname:
Stephen William Bragg.
Snapshot:
An Artist with 45 releases, a member of 1 group, and credited 5 times on others' music. 3 collaborations.

Biography

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Stephen William Bragg (born 20 December 1957), known as Billy Bragg, is an English alternative rock musician and activist who blends elements of folk music, punk rock and protest songs, and his lyrics mostly deal with political or romantic themes. His music career has lasted more than 30 years, and he has collaborated with Natalie Merchant, Johnny Marr, Hank Wangford, Florence and the Machine, Kate Nash, Leon Rosselson, members of R.E.M., Michelle Shocked, Less Than Jake, Kitty Daisy & Lewis, Kirsty MacColl, and Wilco. Bragg often plays and speaks at the Tolpuddle Martyrs festival.

The Biography appearing in this section is attributed to Wikipedia: http://en.wikipedia.org/wiki/Billy_Bragg. Portions of this Biography may be available under the Creative Commons Attribution-ShareAlike License, version 3.0 or any later version, available at: http://creativecommons.org/licenses/by-sa/3.0/. Additional terms may apply. See Wikipedia Terms of Use for details.

Music

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Genres

Alternative Folk, Britpop, Folk, Alternative Country, Alternative Rock, Indie, Pop, Rock. Vote on Genres

Discography

53 releases – 45 under his own name, 3 in other groups and 5 credits on others' music Edit
1
Collaborations, Groups and Family
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Billy Bragg

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In the News

Billy Bragg

Apr, 25 2009

Respected British folk singer and political activist Billy Bragg has hit out against a recent ruling by the European Union which, if passed, will extend music copyright from 50 years to 95 years. He dismissed the move as nothing more than an opportunity to deliver a welcome windfall to beleaguered record labels still creaking under the strain of accommodating the digital age, saying that the EU plan "simply perpetuates recording contracts that were signed in the last 50 years." With far lower costs now required to produce music for public consumption, Bragg argues that record labels will simply add the money to their bottom line. His solution is to grant copyright to a national collection society which would then distribute income earned after 50 years directly to artists and performers. He further suggested that the recording industry needed to find new ways to make money out of free music; as he points out, "there ain’t no way we’re going to stop it." But with the industry scrambling for position as the situation careers out of their control, it remains to be seen whether Bragg’s pragmatic solution will find any takers.

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