2 neoficialne akusticke albumy peta dohertyho a babyshambles(@rapidshare.com):
Whitechapel Demonstrations
Shaking And Withdrawn Megamix


The earliest Babyshambles recordings are by turns exhilarating,
haunting and distressing. Recorded with what sounds like a
microphone shoved up the hole of a cat on the next street, they
reek of smacked-out oblivion. Most feature Doherty strumming on
his acoustic, but quite a few are full-band numbers, although no
better recorded for the most part.

What emerges is a series of complete songs and a plethora of
fascinating sketches. Above all, one realises just how talented a
motherfucker Doherty is. Stripped raw (although it’s hard perhaps
to imagine anything much rawer than those official Libertines
records, in so far as contemporary rock goes, anyroad), he has
nothing to hide behind, neither the horrorshow spectacle nor the
rollicking bravura.

Tender, beautiful moments abound. Whitechapel Demonstrations
features a solo cover of Another Girl, Another Planet by The Only
Ones. It falls apart at the end, for sure, but for just over a
minute a fella could get lost in it.

Glasses clink and fall about throughout the stop-start rendition
of Love On The Dole (recorded much earlier with The Libertines, as
can be heard on the Legs 11 Bootleg), Pipey MacGraw begins with
the riff which would eventually find its way into What Became Of
The Likely Lads, Skag And Bone Man sounds like someone making it
up as they go along, which it possibly is.

Whitechapel Demonstrations serves as a companion piece to the
aforementioned HQ Sessions 2, although the latter introduces
electric instruments and even drums, by God. There’s a lengthy
instrumental which sounds like a buncha riffs being tried out, and
seven minutes worth of Sheepskin Tearaway, seemingly recorded mid-
composition. Ditto the ten minute version of Stix And Stones.

Buried amidst all the work-in-progress of HQ Sessions 2, though,
are a handful of genuinely astounding tracks. Lust Of The
Libertines and Pipey O’Brady (a modish, pounding, electric
reworking of Pipey MacGraw) are excellent.

In addition to the Babyshambles recordings, there’s also at least
two Peter Doherty “solo” collections. Untitled, and the cynically
monikered Shaking And Withdrawn Megamix, are astonishing records,
so intimate and wounded that it feels disgustingly voyeuristic to
be listening.