Babyshambles
The Blinding EP
Peter
Doherty and Co are back with their first release for new label
Regal, as they attempt to put their music back into the spotlight
away from their tabloid-favourite front-man's drug-fuelled, super-model
dating, law-baiting public life.
Unfortunately, on the strength of The Blinding EP the majority
of the nation’s focus is likely to remain in the gossip
columns and, bar a few popularist music rags, out of the serious
music press. The release proves that the accolades bestowed on
Doherty as a ‘voice of a generation’ and a ‘musical
genius’ were unwarranted.
Aside from the exciting lifestyle of drugs and guerrilla-gigs
in the Libertines and the continued press furore, his work has
always been lacking that special something.
It is maybe this fact that forced the decision to put the release
out in chart-ineligible EP format. It was possibly realised that
if it had to fight it out in the commercial ring, The Blinding
EP wouldn’t last the first round.
The music is solid enough and Doherty’s lyrics have his
usual poetic charm, but neither shows any particular flair or
inventiveness. Babyshambles blatantly thieve the ideas of others
rather than forge any identity of their own - from the ‘Brown
Eyed Girl’ guitar-pilfering on ‘Love You But You’re
Green’, to the inoffensive, MOR, over-produced, by-numbers
take on the ska aesthetic of ‘I Wish’ there is nothing
to get excited about in the EP’s five tracks.
On a positive note, Doherty’s fight to get off drugs seems
to be working and bringing forth his ideas in a more fully-formed,
coherent manner. If he can just match his apparent new found clarity
of mind with the wild abandon and excitement of his druggier days
there may be a work of class in him yet.
Final track ‘Sedative’ offers a glimmer of what the
band could achieve, with Doherty singing rather than mumbling
his words over a slightly inventive slow-burner of a rock number,
centred by a sing-along chorus.
All in all The Blinding EP is a lack-lustre, half-arsed release
obviously fulfilling the need to get material by the band into
the public sphere to keep their hand in. As worthless as it is
at present, it may yet prove to be a transitional record in Doherty’s
journey to find his potential.
by Mary Boyd
