Crack rock meets punk rock

The Libertines' Pete Doherty is on crack. No, seriously -- Doherty's very public addiction crises have swollen to Scott Weiland-esque proportions in his native UK, leaving some surprised that 2005 has arrived without news of his death. This newly-released deluxe edition of the Libertines' 2004 sophomore effort includes a special edition DVD with live footage and hype-laden documentary, which make up in part for the inconsistency of its songs.\nWhen they're good, they're great -- the opening track "Can't Stand Me Now" is sharpened and polished rock 'n' roll covered in dirt, as if someone melted down and mixed Sticky Fingers-era Stones and '77 Clash before recording it with a telephone. I'd love to say the rest of the album is as immediately likeable, but the unfortunate fact is that many of the songs are half-cocked and seemingly incomplete. "Don't Be Shy" has biting guitar work in parts but sloppy, disinterested lyrics -- the song eventually tapers off so awkwardly that it comes across as an unfinished demo. Similar things happen on "The Man Who Would Be King," where there are moments of elevated brilliance that linger only briefly before disappearing into uninspired mud. It could be the drugs or the pressure of following up 2002's widely-praised Up the Bracket, but one sense that all of the Libertines' faculties aren't being put to good use.\nBasically, what should be fat-free, face-smashing garage becomes meandering and even boring at times. But not all the time, at least -- "Music When the Lights Go Out" is slow and sung slightly off-key before diverging into an ear-catching riff and a memorable ending. "Narcissist" is just a punk/blues free-for-all that pleases the ear almost as much as Up the Bracket's life-changing opener "Vertigo." There are powerful moments here, but they're only few among the 14 tracks you're paying for.\nConsidering Amazon.com is selling this for $15, it's hardly a bad thing to own. However, the Libertines are not the long-sought saviors of rock -- they're just a talented, oft-surprising band with a world of potential and a penchant for wasting it all and copping dope instead. That might make for a romantic rock stereotype, but it's hardly adequate if you're actually after good music. On the last track Doherty repeats, "What happened to the dreams we had?" In more ways than one this album is the limp catharsis that comes from realizing those dreams are entirely gone.