There was always going to be an evolution to rock and roll. The only way that rock will survive is if someone manages to take those tired clichés and make them sound fresh again, regardless of how many people whine that the music was better in the past. The Libertines were proud to uphold the punk ideals of the genre, even though bands like Radiohead had been straying far from it. However, Noel Gallagher initially failed to see Pete Doherty’s attraction.
When it came to Up the Bracket at first, he wasn’t by himself. At the time, it distinguished itself as a point of divisive difference with a waywardness that ran counter to a lot of polished indie music of the time. But the more people listen to it, the more they’ll understand what they were doing. They were creating a kind of accessible punk on songs like “The Boy Looked at Johnny” and “I Get Along.” The best art is, after all, always contentious.
This was, if anything, a more melodic take on what some of the earlier hardcore punk bands had been doing. These kinds of bands had been around for decades in the US thanks to The Replacements. It appeared that the disillusioned punk rock energy was beginning to seep into the next generation.
However, Noel Gallagher, who was always a punk, said to Stuff Magazine that Doherty was overrated and that his music wasn’t all that great. He’s not nearly as good as me, but he is somewhat talented. No one outside of NME would care about him if he wasn’t fucking a supermodel.
Having said that, for the casual fan, this is Noel Gallagher 101. Although the whole point of his persona is to destroy anything he doesn’t consider to be genuine rock and roll, The Libertines have all the makings of a fantastic rock band. This becomes evident when you examine their credentials as a rock act.
Apart from their well-known behind-the-scenes antics, Doherty and Carl Barat’s relationship reminds us of Mick Jones and Joe Strummer’s dual genius roles during the height of pop music. Each artist alternately creates hit songs. Though it isn’t groundbreaking at times, a song like “Can’t Stand Me Now” doesn’t have to be deep. Every time it plays, the intention is to evoke a reaction in the listener.
Gallagher’s praise of Doherty’s overrated status is, if anything, extremely perplexing given his affinity for Sex Pistols. Why can’t the same logic be applied here? The pioneers of British punk were the kind of band that, in their heyday, made the most of their image and poured mountains of attitude into every song.
However, Doherty never meant to copy the first punk regime’s aesthetic. Gallagher may have become a rock and roll legend with Oasis. The Libertines restored the fun factor to gritty clubs and boozy rock songs. They did this much like The Strokes had done half a world away.
