I was digging around my desktop earlier today and I came across any early draft of a piece that was in this week's paper - it's longer with more songs and it's in chronological order (roughly).

Anyhow here's a video of Peter and Wolfman recording the new unreleased song 'Darksome Sea':

continued...

And here's that list:

NAME Kill A Man For His Giro (Alternate version)
DATE June 2003
PERSONNEL Solo (ish)
RECORDED Kentish Town, North London
ABOUT
During Peter’s first estrangement from The Libertines he put together a new band with a view – initially – to tour under the name The Libertines. The band recorded six tracks and phoned fan and friend Dean Fragile to ask him to mix them despite no prior experience. Dean sat with the instruction manual of the recorder and mixed it (“They were pretty awful sessions – or at least the other musicians were, I basically eliminated everything except Peter and his guitar”).
There’s one earlier version from The Libertines May 2003 New York Sessions (confusingly-titled the ‘Babyshambles Sessions’), but this is the first recorded complete run through. The punning title (‘Killamangiro’) would come later but this version marks the beginning of Peter’s self-referencing in songs. He employed his ‘Bilo’ moniker to express the victimisation he felt at the hands of the music industry in a lyric that would be refined later (“Why would you pay to/See me in a cage?/Bilo wrapped in chains”).
Dean Fragile dubbed them the ‘Sailor Sessions’ – after his naval home town of Chatham – and uploaded the tracks to the internet complete with cover art by friend Sophie Thunders. When The Libertines reformed in 2003 after Peter’s stint in prison for burgling Carl’s flat, it was Dean who arranged The Libertines reunion gig.
WHERE TO FIND http://www.albionarks.com, ‘Sailor Sessions’
Full Session
1. ‘Black Boy Lane’
2. ‘The Ha Ha Wall’
3. ‘Campaign of Hate’
4. ‘Killamangiro’
5. ‘Music When The Lights Go Out’/’Never Never’
6. ‘The Whole World Is Our Playground’
7. ‘Hooligans on E’
8. ‘What Katie Did’

NAME Hooligans On E (Unreleased)
DATE June 2003
PERSONNEL Solo
RECORDED North London
ABOUT
One of two songs attached to the ‘Sailor Sessions’ (the other being an early version of ‘What Katie Did’) by a helpful fan who wanted to give people a bonus. Both of these songs would be recorded by The Libertines for the second album. Sadly this one – about football fans embracing ecstacy after drink was banned in some grounds - never made it, although The Libertines version is available on the ‘net. However, it was recorded and released as a single by Kill City.
WHERE TO FIND http://www.albionarks.com, ‘Sailor Sessions’

NAME Lady Don’t Fall Backwards (Unreleased)
DATE August 2004
PERSONNEL Solo
RECORDED At home, Exmouth Market (above La Strada Restaurant)
ABOUT
Pete, a massive fan of tragic mopey comic Tony Hancock, took the title from an episode of Hancock’s Half Hour entitled The Missing Page. He recorded a version of this song for a BBC2 documentary on the comedian called The Unknown Hancock. This elegant version runs straight into ‘Bollywood To Battersea’
WHERE TO FIND http://www.albionarks.com, Shaken & Withdrawn Megamix
Full Session
CD1
1. ‘My Darling Clementine’
2. ‘Back From The Dead’
3. ‘Lady Don’t Fall Backwards’/’Bollywood To Battersea’
4. ‘The Whole World Is Our Playground’
5. ‘Hooray for the 21st Century’
6. ‘Curtain Call’
7. ‘There is a Light That Never Goes Out’/’32nd Of December’
8. ‘Conversation Diva’
9. ‘Never Never’
10. ‘East of Eden’
11. ‘My Darling Clementine’
12. ‘There She Goes (A Little Heartache)’
13. ‘Can’t Stand Me Now’
14. ‘The Ha Ha Wall’
15. ‘The Ballad of Grimaldi’
16. ‘Stix & Stones’
CD2
1. ‘Can’t Stand Me Now’
2. ‘Pipey McGraw’
3. ‘Music When The Lights Go Out’
4. ‘The Whole World Is Our Playground’
5. ‘Albion’
6. ‘Arcady’
7. ‘Black Boy Lane’
8. ‘Scouser In Space’
9. ‘The Ballad of Grimaldi’
10. ‘Love Rain O’er Me’/’The Saga’
11. ‘Killamangiro”
12. ‘Stix & Stones’
13. ‘My Darling Clementine’
14. ‘Curtain Call’
15. ‘Don’t Look Back Into The Sun’
16. ‘I Love You (But You’re Green)’
17. ‘If You Fall’

NAME Curtain Call (Unreleased early version)
DATE August 2004
PERSONNEL Solo
RECORDED At home, Exmouth Market
ABOUT
Although this is a great acoustic tune in its own right, it’s also a fascinating glimpse at a songwriter at work. This song would eventually be recorded as ‘A Rebours’ (with additions from the song ‘If You Fall’) and appear on the debut Babyshambles album ‘Down In Albion’. The chief difference between this acoustic sketch and the final full band record more is that in this version he sings “You ignore, adore, McGraw me” – McGraw would become ‘A Rebours’, a reference to Joris-Karl Huysman’s 19th century outsider book Against Nature.
WHERE TO FIND http://www.albionarks.com, Shaken & Withdrawn Megamix

NAME Can’t Stand Me Now (Alternate version)
DATE July/August 2004
PERSONNEL Solo
RECORDED At home, Exmouth Market
ABOUT
In contrast to many of the other tracks that feature early versions of officially released songs, this is a new version recorded after the original was supposedly finished. In fact, it was recorded immediately after Pete was ejected from the Libertines for the last time. It features a primitive drum machine, guitar and vocals. In the way that the lyrics differ from the original it’s a decidedly uncomfortable but revealing snapshot of Peter’s state of mind. At this time, he clearly blamed the people around Carl Bârat for being ejected from The Libertines (“They took him out and down” he sings of himself, while “You twist and tore our love apart” becomes “They twist and pulled...”), while elsewhere in the song there’s a whiff of gritted-teeth nostalgia for their past friendship (“You taught me how play guitar/Smoke like a superstar”). It closes with a paranoid belief that it’s not only The Libertines machine against him, but the world as a whole. (“I read every review/They all prefer you”). In reality, only for the most cynically voyeuristic.
WHERE TO FIND http://www.albionarks.com, ‘Branding Sessions’
Full Session
1. ‘Can’t Stand Me Now’
2. ‘ Stix And Stones’

NAME Gang Of Gin
DATE October 2004
PERSONNEL Babyshambles (Pete Doherty, Patrick Walden, Drew McConnell, Gemma Clarke)
RECORDED With Paul Epwroth at...
ABOUT
Originally intended as a B-side to ‘Killamangiro’ and featuring the most acerbic demonstrations yet of Patrick Walden’s guitar playing and some fine drumming from Gemma Clarke, it was never released as the lyrics contain a scathing attack on Carl Bârat and Libertines manager Alan McGee. It’s an insight into Pete’s feelings of anger at the time (“Showed no decorum/Spilt my heart out on the forum”), but Pete has since claimed that this was “method acting”. Starting with an uncurling metallic guitar figure, it bursts into a kind of delicious skittering ska line before hitting the accelerator as Pete settles scores with everyone. Brief respite comes when it paraphrases ‘Who Will Buy’ from the musical Oliver! – Pete identifies with the Victorian flower-selling tykes (“Who will buy my beautiful roses?/Who will buy my beautiful songs?”)
WHERE TO FIND http://www.albionarks.com

NAME Fuck Forever
DATE 27/10/04
PERSONNEL Babyshambles (Pete Doherty, Patrick Walden, Drew McConnell,. Gemma Clarke)
RECORDED Zane Lowe session, Maida Vale
ABOUT
Babyshambles’ first bona fide classic recording had been roadtested in Autumn 2004 where it was an instant success with fans (some even compared it to Nirvana’s ‘Smells Like Teen Spirit’). By the time they recorded a three track session for Zane Lowe (including ‘Do You Know Me?’ and ‘Darling Clementine’) it was – in contrast to their reputation – a precision weapon that looked set to slay all before it. For many fans this remains the definitive cut, even surpassing the album version recorded by Mick Jones.WHERE TO FIND http://www.albionarks.com

NAME Children Of The Revolution (Collaboration with Elton John)
DATE 2/7/05
PERSONNEL Pete Doherty, Elton John and band
RECORDED At Live 8
ABOUT
Well, this is the decider for most. Either you love the way that Doherty waltzed into the asinine starfest as though he was taking to the stage of Whitechapel’s Rhythm Factory or you think he’s a useless waste of space who should be kept away from recording studios.
Now, two years on, it looks increasing like a magnificent gesture that even managed to overshadow the reformation of pomp-rock emperors Pink Floyd. After all, it made millions of parents - former punks and hippies to a T - as one declare “He can’t bloody sing, and what does he look like?” forgetting perhaps that once upon a time the point of rock and roll was to get up the noses of mums and dads, not provide a soundtrack to shopping at Ikea.
WHERE TO FIND http://www.youtube.com, tagged as Elton, Doherty

NAME 352 Days
DATE 27/8/05
PERSONNEL Babyshambles (Pete Doherty, Patrick Walden, Drew McConnell, Adam Ficek)
RECORDED At Reading Festival
ABOUT
Something of a lost classic, this. They opened their storming Reading set with it and almost caused a riot, with Patrick Walden tossing his guitar half way across the tent. The song is marked from the outset with some terrific psychedelic sliding runs that recall the beauty of Hendrix’s Little Wing and act as a real showcase for Patrick Walden’s talents – a definitive version now seems impossible to track down.
WHERE TO FIND http://www.albionarks.com

NAME I Wish - CLASSIC
DATE 27/6/06
PERSONNEL Babyshambles (Pete Doherty, Mick Whitnall, Drew McConnell, Adam Ficek)
RECORDED Paris Rehearsals
ABOUT
This four-track session came about after a show that Babyshambles were due to play in Paris was cancelled unexpectedly (by the promoter, not the band: settle down you critics at the back) and shows the increasing ska influence of guitarist Mick Whitnall. The final version on ‘The Blinding’ EP has an infectious beauty that suggests it should have been a single in its own right but this take, in contrast to the rest of the session, sounds wonderfully intimate, almost like stumbling straight into the band’s rehearsal studio. Thanks to its echoey sound and rough recording it resembles the classic ‘60s ska records that Mick is so fond of.
WHERE TO FIND http://www.albionarks.com, Paris Rehearsals
Full Session
1. ‘French Dog Blues’’
2. ‘I Wish’
3. ‘Sedative’
4. ‘Fixing Up’

NAME Dirty Fame
DATE July 2006
PERSONNEL Solo
RECORDED Turnmills Recording Studio, Clerkenwell, London
ABOUT
A naked recording even by Pete’s stripped-down standards. A plugged-in electric is hesitantly strummed as a harmonica wanders by, before a final coda featuring Peter singing in Spanish (?). Never played live, with its title referencing the lyrics of ‘There She Goes (A Little Heartache)’ from the forthcoming album, its origins are clear.
WHERE TO FIND http://www.albionarks.com

NAME Cuckoo 1440 - CLASSIC
DATE November 2006
PERSONNEL Babyshambles (Pete Doherty, Mick Whitnall, Drew McConnell, Adam Ficek)
RECORDED By Babyshambles
ABOUT
Recorded and released to the public via www.frenchdogblues.com, the bulk of these nine tracks make up forthcoming album ‘Shotter’s Nation’. A couple got away, however, with the best being Cuckoo 1440, an uncharacteristic song that clocks in at an epic-for-them six minutes. It saunters in with the titular cuckoos as Doherty’s delicate melodies float over exquisitely dreamy lyrics: “We’ve got forever/But you know that’s not much time”. Initially sounding like it could have similar kinship to Babyshambles’ mighty ska stomper ‘I Wish’, it actually betters the haunting opening with Pete sounding like he’s elucidating a desire for an earthly love from beyond the grave.
WHERE TO FIND: http://www.frenchdogblues.com, ‘Stookie & Jim Bumfest Demos’.
Full Session
1. ‘There She Goes (A Little Heartache)’
2. ‘Crumb Begging Baghead’
3. ‘New Love Grows on Trees’
4. ‘Unbilotitled’
5. ‘Unstookietitled’
6. ‘Carry On Up the Morning’
7. ‘Cuckoo 1440’
8. ‘Delivery’
9. A Fool There Was’

NAME Terrible Pain (Collaboration)
DATE 7/12/06
PERSONNEL Babyshambles (Pete Doherty, Mick Whitnall, Drew McConnell, Adam Ficek) & General Santana
RECORDED Hammersmith Apollo
ABOUT
The frequently-derided General Santana, who co-wrote ‘Pentonville Rough’ on ‘Down In Albion’, proves himself with this Clash-esque pogoing delight. Featuring both Pete and the General but yet to see the light in an official recording, this has the potential to be one of Babyshambles’ best records
WHERE TO FIND http://www.youtube.com, tagged as Babyshambles, Santana

NAME La Belle Et La Bête (Collaboration)
DATE 11/4/07
PERSONNEL Pete Doherty, Lethal Bizzle, Kate Moss
RECORDED Hackney Empire (An Evening With Pete Doherty)
ABOUT
Lethal Bizzle’s second album ‘Back To Bizznizz’ contains ‘Boy’, a song based round a sped-up riff from ‘Down In Albion’s opening track ‘La Belle Et La Bête’. A great song in its own right, but the first night of the two-night Evening With Pete Doherty at Hackney Empire featured perhaps one of the strangest collaborations of recent memory as Kate Moss contributed her verse from the album before Lethal Bizzle’s fantastic rapping stole the show. Incongruous but brilliant, it was like ‘50s skiffle being carelessly tossed five decades into the future without a safety net.
WHERE TO FIND http://www.youtube.com, tagged as Doherty, Lethal

NAME Needle Of Death (Classic Collaboration)
DATE 12/4/07
PERSONNEL Pete Doherty, Bert Jansch
RECORDED Hackney Empire (An Evening With Pete Doherty)
ABOUT
Although the two evenings were overshadowed by the extraordinary reunion of Pete with Carl Bârat, it birthed at least two other magnificent collaborations. Sixties folk legend Bert Jansch, whose fans also include Bernard Butler and Jarvis Cocker, played solo before being joined by Pete on perhaps Jansch’s most famous song. On both nights Pete Doherty sang this bruised elegy to heroin, staking a claim for perhaps Pete’s finest recorded vocal performance.
WHERE TO FIND http://www.youtube.com, tagged as Doherty, Hackney, Needle. Alternatively there are good mp3s around.

NAME Darksome Sea - CLASSIC
DATE July 2007
PERSONNEL Pete Doherty, Wolfman
RECORDED Unknown
ABOUT
At time of going to press, this hadn’t hit the web yet but is, apparently, “imminent”. Written by Wolfman, who also co-wrote the Top Ten hit ‘For Lovers’, this is essentially the follow-up to that song. Like its predecessor, it’s an unutterably winsome romantic number that highlights the haunting and tender side of Pete’s performances with a sparse arrangement that builds from solo voice to an intimate epic complete with electric piano which deals with love and escape from normality (“Let’s get out of here/We can’t lose”).
WHERE TO FIND Keep watching the web!