Review of Sequel to the Prequel [Bonus Disc]

Think about it: since the British tabloids have ceased to become stressed with the news on the abuses of personal life and (almost) private Pete Doherty, we also managed to reach a reconciliation with the former promising young British pop. This means being able to assess with much more objectivity a career that seemed to have stopped after a solo album, Grace / Wastelands, which had shown some interesting sides and unreleased Doherty composer.

It touches on a Sequel To The Prequel, graced by a great cover - a photo of the legendary Pennie Smith, one of London Calling to speak, transformed into object pop by Damien Hirst - show signs of maturity of the bad boy of the Libertines, in continuity with the recent past. Surprise (but not too much), the hard work all right and it promises often disregarded in the past. There are the classic moments to Babyshambles, which are derived directly from the saga Libertines, as Fireman or Maybelline, punk attacks of two minutes, but emerges often decisive influence of an author such as Ray Davies, see the bizarre Sequel To The Prequel, a almost vaudeville song, or Seven Shades of Nothing, one of the peaks of the disc and can be single. And by the way, the first to be taken from the album is Nothing Comes To Nothing, beautiful ballad, perfect for radio airplay and warm the hearts of those who felt orphaned Pete.

The best, for this writer, however, comes with the excellent Dr. No, a piece of white reggae as we have not felt since the days of The Clash, another influence of Our declared, and Farmer's Daughter, almost loureediana (Sweet Jane, perhaps ?), confirming that talent that, in flashes, Doherty showed off between bullshit and the other. Hopefully it's the right time ...