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Some of the songs are flat out silly, like the pirate dance "England, Half English." While its gentle jabs at Morrisey are humorous, its eventual degeneration into frantic Halloween movie soundtrack madness leave listeners ready for the next track. Not all the songs are so trivial. "NPWA" (No Power Without Responsibility) expounds upon the dissonance between laborers and labor unions and the implications of buying foreign sweatshop labor for the domestic economy. An important issue, but is it really worth a song? "Some Days I See the Point," a mellow, dreamy, glassy eyed reminisce, is one of the album’s best tracks. "Never saw a meaningful TV advert, I don’t think shopping is a metaphor for life," begins the beautiful tune.

The main problem with this album can be summed up with a single noun and an article: The Blokes. Bragg’s songwriting is good and his voice is smooth and his accent is enjoyable, but when the background vocals chime in on his choruses, it’s hard not to tell them to shut up, even though you’re sure they won’t hear you. If this was the white album, they’d be Yoko Ono singing (is that what you’d call it?) on "Bungalow Bill." "Baby Faroukh" showcases the talents of Love Ayikai Tagoe and Rebecca Naadu Laryea, which would have been better kept to themselves instead of polluting the music. Bragg does the best on his own; songs like "Distant Shore" and "Take Down the Union Jack," with his charming voice and thoughtful lyrics. Maybe his next album will showcase these attributes more.