Much like “Legs 11“, the legendary collection of songs that The Libertines – Doherty’s first band – recorded and is since long floating about, fans have been able to hear most of these songs spread via Doherty’s own computer and endless YouTubed blips.

As I am one of those who subscribe to the idea that Doherty’s newer songs aren’t as good as his older ones, it’s ironical to see how quite a few of the ones on this album are at least five years old and, indeed, great.

Here he is helped by producer Stephen Street who has brought in multiinstrumentalist and Blur guitarist Graham Coxon to help steer the wheel in the right direction. Good choice. Even though Street veered the Babyshambles circus in the right direction on their second album, “Shotter’s Nation“, this time Coxon helps out a lot with the content. Two hard hands helping out. Coxon’s contributions are immediately heard through tracks such as “Last Of The English Roses” where the bass and guitar-playing just feels in place, despite the lazy feel – which serves the track perfectly, and the echoes and feedback through the start of “New Love Grows On Trees“.

“1939 Returning” was to – according to Wikipedia – include Amy Winehouse as a duet, and I’m thankful that is not the case. Pete’s voice and guitar team up at the forefront of this beautiful tale of a soldier through World War II. Strengthened by a recorded intro from an old English record, simply arranged strings bear us through Pete’s words: “Captured clandestine…” Such simplicity rewards us all. The man is a very good poet at times.

Scott Walker is reminisced to through “A Little Death Around The Eyes“, the only track on the album co-penned with  Carl Barât, whom of course is Doherty’s comrade in arms from The Libertines.

“Sheepskin Tearaway” pairs Doherty with Dot Allison, whose voice I’ve missed in pop today. It’s a track that sounds recorded early in the morning, a sweetie in disguise, much like the last track, “Lady Don’t Fall Backwards“.

Hearing Pete’s voice on “New Love Grows On Trees” shows human need and conclusion the likes of which I rarely see in pop, or indeed, in rock.

What are the down-sides, then, if any? There are some. “Sweet By And By” is quite uncalled for, a number that was probably penned in less time than it lasts, a chant from Doherty’s penchant for English show-tunes. “Palace of Bone” is a progressive trinket, nothing more. Time passes. His lyrics are sometimes haphazard, mere word-games playing filler to his other self, through which words flow strike me like the sweetest blow.

All in all, this is very good. I think the album could very well have turned into a complete disaster had Mick Jones been called in again to produce, but thankfully, Doherty seems to still have it in him to refrain from what doesn’t kill him instantly. It is coherent, interesting and hummable, melodic, harmonic and well produced.

Yes, this makes perfect nonsense to me.

Read more: “Niklas’ blog » Blog Archive » Pete Doherty’s “Grace/Wastelands”” – http://niklasblog.com/?p=2447

Not bad. Not great. A couple of quite nice tracks like Last of the English Roses. I think the more I listen to it the more it will grow on me, but the album doesn’t stand out immediately.