CREEM ONLINE: The Libertines

The Libertines
The Libertines
2004 Rough Trade

When CREEM Magazine was getting ready to go national in 1971, our founder Barry Kramer gathered some of the staff (including young Dave Marsh and Lester Bangs) for a sit-down panel discussion with Detroit's WTVS-TV. As Kramer discussed the magazine's mission, he decried the "death trips" of some rock stars of the time.

"Some of our 'stars' have chosen death versus life. We feel a moral responsibility not to enhance anyone's death trip, but maybe explain what it is and give the readers an alternative," Kramer said, showing off the visionary brilliance that was known for.

Keeping that in mind, it's hard to figure out what to say about the amazing second album by London's Libertines, cuz we don't want to be accused of encouraging Peter Doherty's death trip.

The band formed in 2001 with songwriters Doherty and Carl Barât and is rounded out by Gary Powell on drums and bassist John Hassall. Doherty's troubles with heroin and crack are well known. So well-known, in fact, that the record's publicist added a chronology of his drug-related legal troubles to the press kit for the self-titled record. He's spent time in jail and he's not currently touring with band.

This record was recorded quickly, as though they had to get the songs down while the gettin' was good. To wit, The Libertines benefits from a fresh immediacy. Mick Jones handled the production duties on the record—a production job that comes closest to capturing that Clash vibe that he has since that band's demise.

The Libertines is filled with semi-autobiographical songs that chronicle the band's painful, troubled relationships. In the record's lead-off track "Can't Stand Me Now," Doherty sings "Have we enough to keep it together / Or do we just keep on pretending /And hope our luck is never ending?"

The songs are romantic, punky and sexy. They're high-energy manifestos in the best "rebel without a cause" tradition. "Don't Be Shy" slinks with raw passion. "The Man Who Would Be King" is a cry from the darkness. "Music When The Lights Go Out" is clever, jaunty and sad. "What Katy Did" puts doo-wop in a punk context.

On the record's strongest track, "What Became of the Likely Lads," Doherty asks "What became of the dreams we had? / Oh, what became of forever?" And we feel the desperation in his voice.

But I've never bought that drug-fueled self-torment helped the work of Kurt Cobain, Johnny Thunders or anyone else. I don't want to be a prude here, but it would be nice if Doherty pulled himself back from the edge.. In the meantime, right now, he and the Libertines have created a gorgeous, exuberant and ultimately melancholy masterpiece.

Here's hoping for much more.