It's a terrible shame that so many people see the headlines about Pete Doherty's infamous antics, and immediately associate everything he has ever touched as awful, drug addled nonsense. That phrase in particular may sound familiar, because it is the sort of thing cited time and again by his critics. Now, in no way do I agree with his behaviour, and I must admit that, at first, I was put off this album simply because of the notoriety surrounding it. However, when I learned that Doherty's partner in crime was one Carl Barat, whose Dirty Pretty Things are amazing, I took the plunge. Boy, oh boy, I'm mighty glad I did, too. Whoever it was written by, it's hard to deny that this is an incredible album, possibly even a masterpiece. I wouldn't have any trouble in placing it at the top of the album hierarchy since the noughties began, and perhaps the only album in the same league would be The Strokes' 'Is This It'. The Libertines have more energy than virtually any other band around today. Clever, melodic riffs, a highly charged atmosphere, poetic lyrics, a very British swagger, and some superb production come together to make an album you'll want to listen to time after time. It has an almost under-produced feel to it, but this fits the music perfectly, and the raw nature gives this album a heap of character, and a more unique sound.
Track By Track:
1) Vertigo - This is the way to start an album. Bags of energy, clever lyrics, lots of passion and a brilliant tune. Doherty's trademark slurred vocals are ever present on this album,
and do grate in places, but also help to lend a whimsical feel to the music. The hand-clap background rhythm is a master stroke, and the spiraling, spiky guitar solo is superb. 9/10
2) Death On The Stairs - A standout track in a consistently stunning album. Barat shares vocal duties, and personally, I much prefer his voice - it's more traditional, and Doherty can be hard to understand at times. The emotion in this song is incredible, but the riff is inspired, and the true star of the show. If you don't like this song, you probably won't like the album. 10/10
3) Horror Show - Ramshackle and all over the place, but it works so, so well. Another incredible song, with one of the highest tempos on the album. Doherty's vocals are slightly out of control, but it fits the rest of the song. This is one of the few tracks where the drumming shines stronger than the guitars. Pure energy from start to finish. 9.5/10
4) Time For Heroes - The start of this album is truly astonishingly good. Another track that would be the best, were it not for the consistency of the album as a whole. Tuneful, with some excellent guitar work - amazing solo - and top class drums. The vocals take centre stage, however, and shine above all else - one of the few tracks with such a balance. Words can't really describe just how good this song is, you really need to hear it. 10/10
5) Boys in the Band - What I see as the end of the first half of the album. The first five songs are all of similar style - charged, energetic guitars played at a high tempo. The chorus is particularly good on this track, with a nice, pounding rhythm. Another top quality song. 9/10
6) Radio America - This is a strange track. I don't really like it, but it's absolutely essential. The album's only acoustic song, it drifts along, and has an old fashioned, lazy feel to it. In my opinion, it's too long, and it's a pity this acoustic track was chosen, since the band would prove on their second album that they could expertly pull off that style of song - the hidden track on their second album, 'France', is stunning. Despite the dip in quality here, the album wouldn't be the same without this track. It breaks up the two halves of adrenaline, and prevents monotony setting in. A very necessary 6/10.
7) Up The Bracket - To the title track, the second half of the album, and a return of the energy from before. A roaring, relentless anthem, perfectly suited to Doherty's vocal style. Every aspect of this song is superb, from guitars, to drums, to singer. The low key, garage-y production is ideal here. A wonderful track, worth the wait of the previous song. 10/10
8) Tell The King - A slower track following the raw electricity of it's predecessor. The lessening in pace allows the guitars to show a more subtle beauty, and highlights the range of the band. Quiet beauty sums up this song perfectly. Doherty's vocals are a little out somehow on this song, but it's hard to say why. The lyrics are good, though. 9/10
9) The Boy Looked At Johnny - The high tempo energy doesn't go AWOL for long, and this track storms in with as if it's on fire. The verses are relentless, before transforming into tuneful, beautifully melodic choruses. Another great guitar solo, but my favourite part is definitely the vocals. Slurred, drunken, and absolutely brilliant. 10/10
10) Begging - Perhaps not quite of the same quality of the songs around it, but still very good. The vocals are excellent, mainly from Barat, and the lyrics are quite clever. The melody is where it falls apart slightly; it doesn't have the strength or power of some tracks, nor the beauty of others. It doesn't quite work, and slightly misses the mark, compared with the rest of the album. Having said that, it's by no means bad, just not as good as the rest. 8/10
11) The Good Old Days - The same can't be said of this song. It manages to meld the reserved beauty with a degree of power with more success. The bass is key to this track's success, and the simple guitars work well. The lyrics are clearly dear to Doherty, and he delivers perhaps his best vocal performance, putting everything into the song. Passion by the bucketload. 9.5/10
12) I Get Along - If the opening track was good, it's possibly upstaged slightly by this magnificent closing. Achingly cool, thanks to Barat's drawl, few other songs beat it for energy, and while it can sound slightly messy upon first listen, it's definitely catchy. Perhaps not as melodic as some other tracks, although it has it's moments, but still brilliant. A great ending. 10/10
The individual track ratings may seem slightly inflated, but they are deserved, in my mind. Everything fits together perfectly, even the weak link in 'Radio America' being an essential part, and while not all of the songs quite make 10/10, the album certainly does. It's a case of the total being greater than the sum of it's parts, and it is definitely the sort of album you'll enjoy most if you listen to it in one go. Even 'Radio America' won't be skipped, because the album wouldn't work as well without it. This is truly an incredible album, whatever you may think about the people who wrote it. The performance of the tracks is excellent, the production perfectly fitting, and the style of the music incredible. The combination of wonderful melodies and boundless energy make this an album everyone should listen to at least once, and it's worth putting aside any preconceptions you may be harbouring. So, it's a great album from the band famous for one member's drug habit. Perhaps the most important thing about this album is that the drugs started afterwards, when fame was achieved, and unfortunately, Doherty has written nothing as good since. If he can remain clean, and team up with Barat again, we could have another of these, which would be a good thing for everyone.
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Can Up the Bracket, the debut album from London dandies The Libertines live up to the ... more
hype? Sure, they walk the walk: it's hard to see how four doe-eyed indie dreamboats with greasy hair, cider-stained leather jackets and a wide-eyed mythology that pla...
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Advantages: Great melodies; some excellent lyrics; mainly good vocals; lots of energy; drumming; invention Disadvantages: Lack of consistency; some of the experimentation doesn't come off
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