History repeats, and so does pop music. When the albums collected in Volume 1 were first released, it might have been easy to dismiss their references to old school ties and the tabloid press as strictly-for-Brits concerns. But nearly 20 years on, the references to failing economies, lingering skirmishes and parliamentary gridlock sound positively prescient. Change a few words—as Bragg, ever the Clash-inspired folkie, often does in concert—and Bragg could be reading from the morning paper.

More overtly timeless is Bragg's insight into the diplomacy of the heart. "Politics and pregnancy are debated as we empty our glasses," sings the in-over-his-head narrator of Talking With the Taxman About Poetry's "Greetings to the New Brunette," whose trepidation is answered by Track 3, "The Marriage." The latter's exuberant horn bursts served notice that Bragg had moved past his one-man-and-a-guitar origins, though not too far past. Listened to all at once, Volume One's three albums and one expanded EP reveal how cleverly Bragg augmented his strengths without abandoning them. (Each comes with a bonus disc, and the box adds an exclusive DVD). A touch of flugelhorn here, a female harmony there, but Bragg's dry wit and slashing guitar is always at the center. Considering his recent dead end into world-folk wank, Bragg could stand to give the box a few spins himself.

--Sam Adams

Billy Bragg plays Sat., March 25, 8 p.m., $29-$32, Keswick Theatre, 291 Keswick Ave., Glenside, 215-572-7650, www.keswicktheatre.com.

The Go-Betweens' stylish but unfashionable songs earned the Australians one of the warmest cult followings on the '80s; since ending a decade-long hiatus in 2000, founders Robert Forster and Grant McLennan have released three more albums (less consistent, but often lovely) under the name. This CD/DVD comprises an August 2005 concert in their hometown of Brisbane, and an acoustic duo session filmed the same weekend. Opening with "Black Mule," a narrative ballad from McLennan's solo catalog, the full-band set ranges from early singles to last year's Oceans Apart. Extended workouts on Forster's "Draining the Pool for You" and "Karen," with driving backing from bassist Adele Pickvance and drummer Glenn Thompson, are clear highlights. But the attraction for longtime fans will be the acoustic portion, with Forster (looking increasingly like John Cleese) and McLennan (looking increasingly like a retired soccer star) trading songs and stories in someone's living room. (We're never told whose.) "Bye Bye Pride," it turns out, was inspired by a stray comment from McLennan's golfing grandmother; Forster characterizes "Head Full of Steam" as "Prince in a cardigan." Between anecdotes, both writers simply lose themselves in their songs, even with no audience beyond one another.

--Franklin Bruno

Dave Douglas' 24th album as leader, and latest in a long stretch of inventive rethinkings of the jazz idiom, is littered with tributes to other artists while remaining true to the trumpeter's individual vision. Among Douglas' nine originals are titles tipping the hat to Steve Lacy, visual artist Cy Twombly, Tim Berne and Timbaland (the latter two given joint salute in "Tim Bits"). The fragmented groove of bassist James Genus and drummer Clarence Penn, teamed with the smart 'n' slinky Fender Rhodes of Uri Caine, recall a more laid-back version of Miles' late-'70s fusion, while tenorist Donny McCaslin's sinuous soloing nicely fills the shoes of former member Chris Potter. Meaning and Mystery teeters on the edge of deconstruction, but never succumbs to abstraction or irony, instead tumbling the fragments together into a kaleidoscopic unity. Douglas even shows his humorous side on "Elk's Club," turning a pastiche of a N'awlins march into a lurching stop-start stumbledrunk.

--Shaun Brady