The Libertines debut album Up The Bracket is one to remember. Fronted by Pete Doherty, Carl Barat, Gary Powell and John Hassall, the London quartet proves that they are a band to watch in the future with their mix of punk and rock influences. Produced by The Clash legend Mick Jones, Up The Bracket has reintroduced teenagers to a new concept of rock music.

The mid-’90s was a disaster for guitar music, as pop became more dominant on the charts and on the shelves. Even the late ’90s British music was in a state of decline; haunted by the Brit-pop era of Oasis and Blur. However, as the sun set on the 20th century, the dawn of modern rock was set. Spearheaded by The Strokes and The Libertines, a new generation of music was introduced to the media, critics, and most importantly, music lovers.

The first intention of the Libertines as a band was to sign with a major label. When they formed in 2000, they began to gather a following; playing impromptu concerts in the band members’ apartments. This not only created a solid foundation of friendship with her fans, but also helped convey her image. This image was soon strengthened when Doherty used the Internet as an alternative means of communication with his fans. This act illustrated two things. The influence that Doherty could have on people through message boards and that he could always be in contact with someone. When the release of Up The Bracket came around, The Libertines’ following increased dramatically as their scheduled concerts soon sold out quickly. Mick Jones realized that he had started a revolution, just like he had with The Clash.

Despite the two main influences on Up The Bracket of Carl Barat and Pete Doherty, the former Clash frontman notably appears on one track. Horror Show is a brilliant song that captivates the band’s punk roots. “Hardly fuck me to death.” Horror Show’s visceral lyrics talk about the effects of alcohol and drugs on the body. Although Doherty knew of the consequences of it, he would continue to use throughout the band’s journey. The range of genres covered on Up The Bracket meant that they could appeal to all sides of the spectrum. The alcohol and drug parallels that are so apparent between The Clash and The Libertines were what made Mick Jones the perfect person to produce the perfect album.

The release of Up The Bracket in 2002 was surrounded by the return of Foo Fighter and Coldplay. Therefore, the band did not get the press coverage it deserved. But did they want the press coverage? Since nobody knew who the gang was, it was difficult for the newspapers to make preconceived ideas. They could only be judged by how they sounded. Today everyone knows Pete Doherty as that addicted junkie who dated Kate Moss. However, it was clear from songs like Boys In The Band and The Good Old Days that he knew how to write a song that could have many levels of interpretation. Boys In The Band is a brilliant postmodern tune, which is an ode to the groupie. “And they all take them out… for the guys in the band” The arrogance of such a chorus leads the listener to assume that he is talking about sex. However, according to the band’s biography, The Libertines: Bound Together, it’s more about alcohol. About a week after the release of Up The Bracket, the band was released.

As everyone got used to the excess of concerts, drugs and alcohol surrounding the album, visions of Doherty and Barat soon surfaced. I Get Along is a definite highlight that uses Barat’s clearer voice to send a message to the band’s critics. “People tell me I’m wrong…fuck them.” The lyrics define what a libertine is: a free thinker. There were no rules and no place in society for The Libertines and, in Doherty’s case, he gave him the ability to do what he wanted, when he wanted.

Beginning to treat himself (and Barat) with various drugs, the band was soon constantly surrounded by the media. Doherty, whose influences range from Emily Bronte to Morrissey, believed he was on the “Albion” ship sailing to “Arcadia,” where there are no rules and no authority. The vision is instantly recognizable in (song name) by Up The Bracket. (Up The Bracket lyrics are inserted here). Doherty resembles the vision of him as The Libertines ride, but as he and Barat became increasingly aware of each other’s presence, other terms soon developed. “Death On The Stairs” is both a song and a phrase (devised by Barat) to define people who get old and do nothing but watch TV. “Don’t bring that ghost to my door” The song illustrates how the band wanted to stay as far away from the term as possible. Ironically, the gang, especially Pete, would turn to drugs and alcohol which would lead to his demise. But at that moment The Libertines could not be wrong.

Most of their accolades came from major music magazines, led by NME, which crowned them the best breakout band in 2002. The Libertines were driven into the fast life involving drinking, drugs and gigging. However, they were still able to establish a relationship with their fans. Time For Heroes demonstrates how they saw themselves as “the savior” of their own generation: “We will die in the class we were born into.” Doherty’s attitude seemed to show that the band was more interested in music than money. Despite being made up of a drummer, a bassist and two on guitar, The Libertines made their intentions known on Up The Bracket. The different rhythms that accompanied each song on the album showed that they were raw talent.

The distinctive voice of The Libertines was not how they sounded, but what they said. To communicate with their audience, some of the songs used very colloquial lyrics. “So divvy, so fucking divvy” Doherty’s use of profanity didn’t make any of the songs sound violent, just smarter. In What A Waster (the debut single) Doherty, despite having 6 A* and 5 A at GCSE, used very colloquial expressions. This turned out to be a stroke of genius. Although heavily criticized by almost everyone, What A Waster wowed her teenage audience. The debut song had managed to do what punk and rock ‘n roll were all about: get them heard nationally and piss everyone off at the same time.

The Libertine’s Up The Bracket not only reintroduced rock music from a different perspective, it proved to be a catalyst for the younger generation. Today, Bloc Party, Arctic Monkeys and The Kooks are helping to continue what The Libertines had started: getting more and more teenagers to enjoy music and the life that comes with it.

By Joel Girling