Thoughts On:Peter Doherty: Grace/Wastelands

If you've stopped by to read a critical review of Pete(r) Doherty's first solo record, Grace/Wastelands, you've probably come to the wrong place. My love of The Libertines and Pete's other endeavors goes back to the release of Up the Bracket. It's the topic where my lack of a journalism background truly shines through as I'm exposed as an unprofessional, hype-vulnerable fanboy.

Editor's note: This probably boosts his journalist credentials.

Ok, I'll admit that I gave Babyshambles' much-derided second record Shotters Nation a 9/10. I'll fess up to saying that the second under-produced, under-developed Libertines record was "the best thing they've ever done". I'll even own up to my shame at thinking I could write a Libertines 33 1/3 book despite the fact that 1) I've never had a review published in Pitchfork and 2) I don't ironically profess a preference for Celine Dion records.

But, right, back to Grace/Wastelands. I think it's great. A lot of these tracks have been kicking around for some time (as is Pete's wont) but Doherty, along with guest guitarist Graham Coxon and reliable producer Stephen Street, have found a way to infuse new life into them. Opener "Arcady" is an infectious country shuffle, with Coxon showing off some great guitar work. Lyrically, Pete also doesn't disappoint:

You said he was your teacher
Taught you true and wise
But now you know more than your teacher
I see nothing but cool self-regard in your eyes

"Arcady"

As potent as the Libertines' music was, Pete always seemed needlessly limited by the traditional punk arrangements and instrumentation. Grace/Wastelands, however, is a realization of the versatility and surprising depth of influences Doherty revealed on the original Babyshambles sessions. "A Little Death Around the Eyes", presented with an orchestral backing reminiscent of Scott Walker, sounds absolutely sinister. Coxon's accompanying guitar is claustrophobic, echoing the opium-induced doom of The Stones' "Sister Morphine". Pete's lyrics are crude, even cruel:

You'll cook and clean and sew when I tell you to
And you'll dance and screw when I want you to
In the hotel room you take your medicine
On all fours that's your medicine

"Salome" has Coxon accenting some of Pete's most interesting guitar work to date. Single "Last of the English Roses", which I have to admit has really grown on me since I first heard it, successfully incorporates dub beats and middle-eastern textures. "Palace of Bone" starts out as acoustic Libertines (with Pete seemingly aping Carl's baritone in the verses), but then transforms into a 60s psych freak-out. Pete chants "I'm gonna build me a palace of bone" as weird percussion and guitar noises clang chaotically behind him. It's the kind of track that demonstrates the songwriting prowess and imagination Pete's most ardent supporters always claimed he had, only now we have proof.

"Salome" Acoustic:

There are probably a couple of skippable tracks here. "1939 Returning" earns Pete points for trying to tell a story over the course of a song; the problem is the melody is largely forgettable. Similarly, the collaboration with Dot Allison, "Sheepskin Tearaway", is not only a bit boring; it also conjures up a troubled time for Pete that most of his listeners would probably rather forget.

At this point, with Babyshambles' limited commercial success and the recent disbanding of Barat's Dirty Pretty Things, a Libertines reunion is pretty much inevitable. One can only hope that when they reconvene to record an album, Doherty brings along the more refined and adventurous musical palate on display throughout Grace/Wastelands.

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