Babyshambles’ debut album proves addicting
Libertine front man creates band reminiscent of the late Clash
By Matthew Stoss, senior writer
Posted on September 21, 2006

Pete Doherty is probably known more in America for his drug use and relationship with supermodel Kate Moss — if at all — than for being an actual musician. But, the 27-year-old Brit is already on his second band after the breakup of The Libertines in 2004.

Say, “Cheers” to Babyshambles and pure rock ‘n’ roll.

When Doherty, á la Syd Barrett, was politely asked to leave The Libertines after his addictions got in the way of tour dates and other band-type obligations, he found guitarist Patrick Walden, bassist Drew McConnell and drummer Gemma Clarke to form Babyshambles (Clark was later replaced by Adam Ficek).

The band’s first release, Down in Albion, came out in November 2005 and did relatively well on the U.K. charts with the second single “F*** Forever” climbing to No. 4.

Babyshambles resembles The Libertines, but with more edge and a lot more Doherty. While in The Libertines, he was the co-frontman with longtime friend Carl Barat. In Babyshambles, it’s the Pete Doherty show.

And the show is the reincarnation of Joe Strummer. The late Clash frontman should be proud of Babyshambles’ debut. Doherty’s raspy and slurred cockney voice is nearly identical to Strummer’s, and the heavy bass lines and sharp guitaring mimic London Calling, specifically “Death or Glory.”

In what might be Albion’s best song, “F*** Forever,” Doherty pays direct tribute to The Clash song with the lyric, ‘I can’t tell between death and glory.’”

Other good lines include, “I’m so clever/Let’s f*** forever.”

In addition to “F*** Forever,” another must is “Sticks and Stones,” which stands out for its reggae-influenced style and Doherty’s lyrics, which appear to challenge all his critics in the press.

There is the dark “Pipedown.” The title and lyrics of “Pipedown” evoke the sinister, drug-infested and impoverished underground of London reminiscent of early Black Sabbath. Doherty himself could be the poster child for a number of Williams S. Burroughs novels, further adding to the gritty rawness of Babyshambles — both in their music and image.

Other good tunes include “Killamangiro,” “What Katy Did Next” and the opening song “La Belle Et La Bete” if for no other reason than Kate Moss sings background in a surprisingly eerie and on-key moaning voice, which makes her sound possessed.

Down in Albion picks up where The Libertines left off while moving on to darker places fueled by Doherty’s enigmatic lyrics and eccentric persona.

At the end of the day — and record — Babyshambles’ first effort is nothing more than stripped-down, basic rock ‘n’ roll.