The band's first single, Babyshambles, was released in April 2004 on High Society Records. Fewer than 1,000 copies of the CD and 7" were released and both can now be found changing hands for more than £50 on internet auction sites such as eBay.
During September and October 2004 Babyshambles embarked on a UK tour culminating in two sold-out shows at the London Scala. Despite claims that the band were only touring to raise money to support Doherty's drug habit the tour sold-out and received critical acclaim. The band's second single Killamangiro was released November 29 2004 on Rough Trade Records and reached number 8 in the UK charts. The band embarked on another tour in December amid increasing concern about Doherty's drug use. During a gig in Blackpool the band walked off stage as it became clear Doherty was too intoxicated to perform and a riot broke out at the London Astoria when Doherty failed to turn up for a gig.
In January 2005, Gemma Clarke quit the band, citing disagreements with the management who she considered irresponsible for failing to address Doherty's obvious drug problem. She was replaced with Adam Ficek, Patrick Walden's former bandmate in The White Sport. In February 2005 Doherty, along with fellow musician Alan Wass, was arrested on suspicion of assault and blackmail. It was alleged that Doherty assaulted Max Carlish, a documentary maker, in a London hotel, a charge he strenuously denied. Carlish had made a documentary about Doherty, from which clips were used for the channel 4 documentary 'Stalking Pete Doherty'. After allegedly assaulting Carlish, Doherty spent several nights in prison until £150,000 bail could be raised. After being released on bail Doherty spent several weeks in a recording studio in Wales working on Babyshambles' debut album. All charges against him were dropped in April 2005.
On October 1, 2005, the Babyshambles tour bus was raided by police. Doherty was charged on suspicion of possession of class A drugs and bailed until December, although Doherty claims that the substances were related to his Naltrexone implant.
Work on Babyshambles' debut album continued throughout April and May 2005 with Mick Jones, who worked with Doherty on the producing of The Libertines' albums. The album, Down in Albion was released on 14th November, having been leaked onto the internet on 19th October. It came 10th in the Radio 1 Album Charts. The single Albion was released on the 28th November and came 8th in the Radio 1 Single Charts. Another single Fuck Forever was released on August 15th, reaching #4 on the UK Singles Chart.
Peter Doherty appeared on Newsnight at the end of 2005, and played a few secret and personal gigs to fans at the end of the year. At the start of 2006 the band announced that they would play 3 small club shows in London, Sheffield and Stoke. To fans' surprise, Babyshambles performed at the first of the London dates without guitarist Patrick Walden. Instead of Walden, Doherty played guitar at the London date. The band have since made an announcement that Walden quit the band to pursue other projects. Walden was replaced by Mick Whitnall.
December 2006 saw the release of a new EP, featuring The Blinding EP, the July single 'Beg, Steal & Borrow' and new single 'I Love You (But You're Green)'.
On January 18th, 2007 it was announced that the band signed a "long term" album deal with Parlophone.
Babyshambles released their 2nd album, Shotter's Nation, on October 1, 2007. It was produced by Stephen Street (Morrissey, Blur) and features Bert Jansch on guitar on the last track Lost Art Of Murder.
Killamangiro
Babyshambles Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh, oh, oh
Why would you pay to see me in a cage?
And why would you pay to see me in a cage?
Some men call the stage
Listen now, I have gone
You will know
What was wrong in the eyes of the unwell and unwise
They killed a man for his giro today
Oh, wasn't very gay, I didn't mind
I wasn't money-mad anyway
They killed a man for his giro today
Why, would you pay
Why, would you pay
See me in the cage
Which the whole world calls a stage
And know
When the night has come
You might say
I was not the only the one who would've died
What was wrong in the eyes of the cruel and unwise
And they killed a man for his giro today
On the off chance that you're listening
To the radio
I thought you might like to know you broke my heart
Can only saddle-up or hedge your bets
Or take a chance and never get to you again
All my ties, time and time again
Trying hard not to try too hard
When I forgive, I won't forget
To killing time, so I'm better now
Don't need it anymore
Anything that makes you feel hate
Can do without hate
Now I believe in love
Now I have gone
Oh yeah, I will pay
For everything you've done
What was wrong
In the eyes of the unwell and unwise
They killed a man for his giro today
Oh, oh, oh
The lyrics of "Killamangiro" by Babyshambles are a reflection on the commodification of art and the ways in which society pressures individuals, particularly those in the entertainment industry, to conform and perform for the pleasure of others. The repeated question of "why would you pay to see me in a cage" highlights the sense of confinement that comes with being constantly under public scrutiny, while the reference to "some men call the stage" acknowledges the power dynamics that exist within the industry, with artists often at the mercy of those who control their access to audiences.
The second half of the song takes a more political turn, with the lyrics referring to the killing of a man for his "giro" (British slang for a welfare check). This highlights the ways in which poverty and inequality can lead to violence and desperation, and suggests that the societal pressures that artists face are part of a broader pattern of oppression and injustice. The final verse, which includes lines such as "now I believe in love" and "trying hard not to try too hard", speaks to the idea of self-acceptance and the struggle to balance personal authenticity with external pressures and expectations.
Line by Line Meaning
Oh-oh, oh, oh, oh-oh
The song begins with an upbeat and catchy tune
Why would you pay to see me in a cage?
The artist questions why people would want to watch him perform behind bars
And why would you pay to see me in a cage?
He repeats his question, emphasizing the absurdity of the situation
Some men call the stage
He acknowledges that some people refer to the stage as a cage
Listen now, I have gone
The artist declares his absence or departure from the situation
You will know
He asserts that people will realize his importance once he's gone
I was the only one that gladly died
The artist claims that he is willing to make sacrifices for his craft
What was wrong in the eyes of the unwell and unwise
He suggests that those who criticize him are misguided or ignorant
They killed a man for his giro today
The artist alludes to a recent event where someone was killed for their welfare check
Oh, wasn't very gay, I didn't mind
He comments on the seriousness of the situation but admits it didn't affect him personally
I wasn't money-mad anyway
He suggests that he's not obsessed with money, unlike some people who might kill for it
Why, would you pay
He repeats his earlier question, incredulous at the idea of being paid to perform in a 'cage'
See me in the cage
He describes the stage as a trap or prison
Which the whole world calls a stage
He recognizes that the world sees the stage as just that - a performance space
And know
He instructs the listener to understand
When the night has come
He speaks poetically about darkness falling
You might say
He implies that people might have different opinions
I was not the only the one who would've died
He suggests that others are also willing to make sacrifices for their art
What was wrong in the eyes of the cruel and unwise
He repeats his earlier idea that critics are foolish and misguided
And they killed a man for his giro today
He repeats the shocking event of someone's murder for their welfare check
On the off chance that you're listening
He addresses his audience directly, acknowledging that they might not be paying full attention
To the radio
He humorously references the medium through which people might hear his music
I thought you might like to know you broke my heart
He confesses his emotional pain to his listeners
Can only saddle-up or hedge your bets
He begins to explore the idea of taking a risk or playing it safe
Or take a chance and never get to you again
He suggests it's possible to miss an opportunity by playing it safe
All my ties, time and time again
He has repeatedly found himself in situations where he has to choose between taking a risk or playing it safe
Trying hard not to try too hard
He acknowledges the difficulty of finding a balance between caution and impulsiveness
When I forgive, I won't forget
He promises not to hold a grudge but still remembers past slights
To killing time, so I'm better now
He reflects on past mistakes and how they've helped him become a better person
Don't need it anymore
He declares that he's grown beyond certain mistakes or experiences
Anything that makes you feel hate
He speaks generally about negative emotions
Can do without hate
He advocates for positivity and love instead of hate
Now I believe in love
He declares his faith in the power of love
Now I have gone
He repeats his earlier statement about his absence
Oh yeah, I will pay
He claims to be willing to pay the price for his art
For everything you've done
He's addressing someone who has wronged him and suggests they'll pay for it in the end
What was wrong
He repeats his previous idea of unfair criticism
In the eyes of the unwell and unwise
He still believes that his detractors are misguided and foolish
They killed a man for his giro today
He ends the song on this refrain, repeating the shocking event from earlier in the song
Lyrics © Sony/ATV Music Publishing LLC
Written by: Peter Doherty
Lyrics Licensed & Provided by LyricFind
@owenbitowski7572
This song captures everything great about that time; romance, pain, hope and urgency….reminds me of many sticky dance floors and many more cans of red stripe.
@Wintis_Swizzle
Red stripe 😅 The Caribbean beer. Good times
@warrendavies3904
A stomping victory of a song easily one of the best songs ever written and performed
@Darvana-
I could NOT AGREE MORE!! - Bud!. Everything about this Song, Has Class Written All Over!!. 🤘🤠😎🤘
@JulieJulieTheRockChickhermiz
This is by far the best performed version of this song here on YouTube. I’ve listened to very many and It’s exactly like the version I purchased from ITunes, absolutely LOVE it and rate it an easy 10/10
@stephanieschmitt6112
So much talent the Babyshambles! And Pete is a fucking genius! Thanks from France
@jasonschaaf9176
If you don't get how incredible this, and Peter are, you have no soul.
@SamuelEMPowell131
I love Babyshambles but I feel like these early recordings were better than what came after, I especially love the man who came to stay. I saw the libertines them live in Hyde Park with my friend when they reunited, it was one of the best shows I've been to in my life, the crowd was amazing, everyone was singing along to every song, they had to stop playing numerous time because of crowd crushing and people climbing on the light towers, my friend and I had to lift people up constantly who were getting knocked down and even lifted a girl over the barriers to security for her safety, I wanna throw my friend some love as we've been through a lot together, he's heavily influenced by The Libertines, try searching Lonely Gimmick - Grumpy Days ,you may be in for a surprise and he would love to hear your opinion
@theworstguy390
third babyshambles album was brilliant
@doctornov7
Peter was untouchable musically in 2004:
- Libertines second album (he wrote most of the songs on it)
- Bayshambles singles
- For Lovers