Here are the results of my second listen through The Best of The Libertines. On one hand, I feel semi-qualified to take on this task, as I think I’m one of the bigger Anglophiles on RTH. On the other hand, my favorite British bands tend to be bookish, socially awkward smart-asses (I will not use the word “arses.” There are, after all, limits), such as The Kinks and Pulp. I’m not sure The Libertines fit in that category, at least not in the terms under which Townsman Kpdexter defined them. Let’s do this.
Up the Bracket: Opens with a garbled yell (shades of “The Right Profile”) which is at least attention-grabbing. Then the song starts with a sort of stiff, martial punk rhythm. Now I know where the Arctic Monkeys got it from. I can imagine this song serving as an awesome encore. Honestly, it’s a good song with a decent hook. I can see this band having a devoted fan base, but I don’t see how they’re worthy of any real appreciation by an outsider like myself. What’s here that I can’t get from The Clash or Buzzcocks — or Art Brut, for that matter? Besides the stupid junkie mythology shit, I mean.
Time for Heroes: Without paying close attention, I can tell the lyrics are worthwhile, and they’re sung with more personality than the Arctic Monkeys.
Are we on the second album now, is that why everything is now suddenly vaguely muted and pensive?
Mayday: More stiff, frantic punk. It’s getting old. Now I picture myself seeing this song performed live while everyone around me goes nuts. A lot of elbows in my face – not fun. Hey, the song is 1:04. That’s kinda neat.
Don’t Look Back Into the Sun: I realize this is a Best of… album, but did this band have more than one setting? I can see why BigSteve wondered how much credit for the band’s merits should go to the producer. This really wants to be on the first Clash album.
Tell the King: A slightly more acoustic number. Drummer plays with brushes and there’s a little bit of Kinks-like melancholy here. It’s nice, it’s good – don’t get me wrong, kpdexter – but it just seems awfully inessential to me.
What Katie Did: Nice opening riff, but these doo-wop harmonies are kinda dopey. Are we on the second album now, is that why everything is now suddenly vaguely muted and pensive? Rhyming “girl” with “world” – a bit of a buzzkill. This song wears out its welcome.
Can’t Stand Me Now: Another very Clash-like song, especially the melodic side that The Libertines’ producer brought to that band. I like this one. I’m a sucker for bap-bap-bap rhythms played by snare drums and/or handclaps.
What a Waster:– Oh the irony! Or not! This song feels rushed, in a whole number of ways. Not least similar to Saturnismine’s issue with latter-day Ted Leo. The need for bathroom breaks continues to plague neo-punk heroes!
The Delaney Boys: Didn’t this song come on earlier on the album?
In the Band: Zzzzzz. Oh wait, there’s a neat hook in the chorus. But do we need another song about “the boys in the band?”
Death On the Stairs:: Nice hooks and all. It’s got a little bit of that “American Girl”/”Last Night” rhythm. Again, though, I feel like I heard this earlier.
I Get Along: Must continue. Must get through pro forma punk anthems.
What Became of the Likely Lads: Whatever, guys!
So. Decent band. Some good tunes here. Great punk production. But I find they’re impalpable in album-length form. This thing ran out of steam, which is not something greatest-hits albums should do, you’d think. I can’t see this album passing Andyr’s exacting, greatest-hits standards.
So, not only do I prefer the 10 bands I listed, I prefer just about every other British band on my iPod. Of course, it is possible that I hate fun, rock ‘n’ roll, etc. I am, after all, a bookish, socially awkward smart-ass.
I can see I’m going to have to do a rebuttal, becuase this is undoubtedly one of the finest GH albums to hit the shelves in a decade.
Please do, Kpdexter. I will need to reassess the quality of this GH album in the meantime, but regardless of what I think it’s clear that Kate Moss is kind of hot.
If there are only two albums, and their sound and/or sensibility is different, it seems to me that a greatest hits album is bound to be an unsatisfactory experience.
Oats – 1
Libertines – 0
Count me as someone else who doesn’t get The Libertines. I bought Up the Bracket when I found it used partly based on all the hype and based on the fact that I actually liked the song “The Boy Looked at Johnny”, which I’d heard on a Mojo sampler a few months earlier.
I played it a few times and didn’t get it all. The only songs I liked were the one I mentioned above as well as “What a Waster”. The album seemed to go by in a blur, but without the songs and hooks that I’d been led to believe were gonna be there.
I avoided the second album (though I do like “Can’t Stand Me Now” as well) and my opinion of them as well as Babyshambles has gotten lower as the years go on due to all the unwarranted attention Pete Doherty has received for being a junkie.
I have a similar disdain for/disinterest in Arctic Monkeys, who were obviously inspired by The Libertines.
Then again, I’m also a bookish, socially awkward smart-ass. On the other hand, I do like fun rock and roll sometimes, but I just like it done better.
Another point is that my problem with these bands ties into the fact that they all seem to be inspired by the 1st Strokes album (the most overrated album of the decade, I think) than The Jam, The Clash or any number of other late ’70s bands they often get compared to.