Babyshambles’ second album effort was never going to be perfect. After the scatterbrained highs and lows of Down in Albion, the appointment of Stephen Street as producer was probably a wise choice, but it is his excessively clean and shiny approach that often stops the songs reaching the dizzying heights of the Libertines’ previous efforts.

Earlier this year, fans were rewarded with the fantastic Stookie & Jim Bumfest demos posted on the web, and many of the same songs feature on this album. Regrettably, songs such as There She Goes, with Drew McConnell’s unnecessarily jazzed-up walking bassline, suffer from their studio remodelling, and UnBiloTitled, a Libertines-era demo, feels far too radio-friendly in its latest reincarnation. Nevertheless, it’s a stand-out track, and a refreshing change of tempo. French Dog Blues, co-penned by no less than Kate Moss and Ian Brown, shines with star quality and is sure to be a live favourite.

Doherty has lost none of the lyrical flair which is so often overlooked by the press in favour of his more sensational private life. It is ably displayed in Baddies’ Boogie, essentially a tragic song about romantic despair (it’s a lousy life for the washed up wife of a permanently plastered pissed up bastard). One thing lacking is the noodling guitar work of Patrick Walden (which characterised much of the material on the first album), now replaced by Michael Whitnall’s more schoolbook stylings. UnStookie Titled is another sterling effort, which arguably references Carl Barat’s Doherty-less Libertines residency (since you vowed to back it and you’re too proud to sack it you have to carry on on your own).

Some weaker tracks such as Side of the Road and Crumb Begging Baghead highlight the deficiencies of yet another almost-but-not-quite-brilliant album. Listening to Shotter’s Nation, it’s easy to appreciate Doherty’s considerable talent as both a musician and lyricist but it’s hard to resist longing for the Libertines to reform.

Four Stars

George Grist