Search - Babyshambles :: Shotter's Nation (CD/DVD)

GET PAST THE MEDIA BLITZ - PETE HAS LOADS OF TALENT (4.0 sta

Cary S. Whitt | Columbus,Ohio USA | 11/01/2007

(4 out of 5 stars)

"Between the much publicized drug habits, countless court appearances, super-model dating, and run ins with the paparazzi, it's hard to imagine the effort it took to get this record actually made. Now that it's here, it's

nice to know Pete Doherty hasn't lost his writing chops in the haze of his recent chaotic existence.



Shotter's Nation proves to be a very cohesive and sometimes even a very coherent rock record. Fueled by some very positive buzz for the lead single, Delivery, the album straddles the busker-esque and garage styles that we first fell in love with, back when Pete was part of The Libertines. Granted, this still isn't up to par with The Libs work, but Shotter's Nation is by far the best, post-Libertine record from either Carl (Barat) or Pete.



The album kicks off in familiar territory with Carry On Up The Morning, a very Libertine sounding song structure, complete with competing vocal lines and odd chord changes. Pete does take the time to break things down a bit in the song, speaking almost, and making his words more direct and less slurred. That takes us into Delivery, the afore mentioned lead single. A few seconds in and it's obvious Pete owes Ray Davies dinner or something. The guitar riff is lifted straight from the heart of early Kinks work. Not a bad thing, you can never have enough Kinks inspired music in my opinion. Lyrically, Delivery shows a snapshot of the dual trappings of what Mr. Doherty has been dealing with, as well as the ability to write a catchy line or two. You

Talk, the record's third track continues the string of strong, well-crafted (an oxymoron I know) garage band sounds. Without getting to a track by track breakdown, Shotter's Nation is extremely consistent and almost radio friendly. When compared to the debut, Down in Albion, I find the Shotter's Nation to be a easier listen right out of the gate, but at the same time, it seems there's a lot more meat to it. Some of the album's later tracks likeThere She Goes, Unstookie Titled, and Deft Left Hand prove this. The album's closer, (one of my favorites Pete penned songs ever) is titled, Lost Art of Murder, and it really shows this band can make a strong record from beginning to end, with very few low points at all.



There's a reason many music fans continue to give Pete endless chances, he's got some amazing talent buried within all the weakness, and Shotter's Nation undeniably proves that."

Can't Tame Him--So Don't Try!

Gordon Hilgers | Dallas, Texas, USA | 11/10/2007

(4 out of 5 stars)

"It's the news of the world: Gigantic corporate record producers have hogtied Pete Doherty and are currently trying to make another Britney Spears out of him. Shotter's Nation, the second Babyshambles recording, is the first big snot-rocket out of the corporatized cannon.



To Doherty's adoring fans the above commentary might seem a little too negative, but for those of us who really appreciate Doherty's quasi-out-of-control guitar-playing and the devil-may-care production and musicianship attitude that has literally pervaded the man's career, well, we've got to get worried about Doherty. He's under a lot of pressure and Shotter's Nation is Exhibit One. If he completely straightens up, what's gonna happen? Another Eagles record?



The damage on Shotter's Nation is palpable. Gone are the almost-songs that made Doherty a household word. Gone is the impromptu spirit that made both The Libertines and the first Babyshambles outing so pleasingly shocking. Gone are the dropped drumsticks and half-attentive song beginnings. Instead, listeners will be treated to--what? Finished songs? Stuff that makes sense? Musicianship? Craftsmanship?



What's this world coming to? Not only are there no beer bottles tumping over in the middle of songs the way that used to make Doherty's work so comforting and honest, even when it's obvious the artist-poet could only make it so far through an attempt at writing lyrics, the song goes on, repeating what he's produced--two or three times of a go-through on the meager lyrics, but it's long enough for someone to have decided that a "finished" song has emerged. This isn't what made these guys famous. And, no, they're not another Smiths.



What made these guys famous was the full-tilt mania of one-take production. Of course, the producer who made that possible, the producer who seemed to understand both The Libertines and Babyshambles--Mick Jones of The Clash--is also gone. What's left for us addled listeners to listen to?



Actually, Shotter's Nation, after the initial shock of the garage part of garage punk gone missing sinks in, turns out to be a pretty fine record. There are aspects indeed of Doherty's musicianship and performance that are literally untameable--just listen to his vocal phrasing and compare them to the nicely typed-out liner notes. And that's pretty much the saving grace of the recording.



Doherty seems to be tightening up a little, and that could be a good thing if he manages to hold on to his ethereal creativity. Consider Shotter's Nation a kind of transitional recording. Once Doherty gets through his in-and-out-of-the-rehab routine, we'll see what he can do.







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