No, it's never easy to forgive and forget the cult that was "The Teletubbies," but Allen's debut album, "Alright, Still," contains so many excellent moments that she ultimately convinces us to let bygones be bygones.
Originally released in the United Kingdom in 2006, "Alright, Still" just became available in the United States yesterday.
Naturally, critics have compared Allen to every white female alternative artist on this side of the Atlantic, yet she is a star in her own right. Unlike post-No Doubt Gwen Stefani, Fergie and Nelly Furtado, Allen seems to be extremely comfortable in her own skin and oversized bamboo hoops. However, being the daughter of famous British comedian Keith Allen does place an extreme amount of expectation and doubt on one's hopes of success and artistry. Fortunately, this 21-year-old sensation is also equipped with the songwriting skills that many of her contemporaries would kill to have; what's more, Allen composed and produced all 11 songs on her album. From the first track to the last one, "Alright, Still" exemplifies what I like to call a "chick album," complete with themes of breakups, guy bashing and girl power.
With regards to musical sound, the album evokes a clever mix of contrasting genres such as ragtime, reggae, blues, calypso and ska. While male listeners may not appreciate Allen's narratives, the innovative arrangements of diverse music styles are sure to freshen our current musty pop selection like a nice cup of English tea. However, the light and breezy sounds of each track belie the blunt, in-your-face lyrics that leave the listener in a state of blissful scorn.
In her first hit single "Smile," a saccharine-sounding ska track, Allen confesses to her cheating boyfriend how seeing him miserable makes her giddy: "At first when I see you cry/ Yeah it makes me smile/At first, I feel bad for a while/But then I just smile."
Even though Allen has lived very comfortably thanks to her father's fame, in her track titled "LDN," she claims that she would not want to be anywhere else other than the London streets. Having grown up in London, Allen uses her firsthand experiences of the city to spin a "my hood" type of tale. For a second time, the sampled reggae merengue on the track creates a fantastic juxtaposition that amplifies Allen's observation of London's double-life: "Everything seems to look as it should/But I wonder what goes on behind doors/A fella' looking dapper but he's sittin' with a slapper/Then I see it's a pimp and his crackwhore."
Whatever a young girl is going through, there's a good chance that Allen's got a song about it. Tired of weak-ass losers approaching you when you're out on the town? "Knock 'Em Out," an infectious dance track featuring a sample of the late, legendary blues musician Professor Longhair, is for you. Throughout the song, Allen hurls hilarious excuses at her suitors explaining why she is not interested: "You can't have my number, 'cause I've lost my phone/I'm having a baby in like six months/My house is on fire/I've got herpes … err no, I've got syphilis."
Perhaps you are reminiscing on the memories of a love lost. If so, check out the unexpectedly tender "Littlest Things," on which Allen finally shows her vulnerable side: "The first time that you introduced me to your friends/And you could tell I was nervous/So you held my hand when I was feeling down/You made that face you do/No one in the world could replace you." Unfortunately, that's the last glimpse of her emotional side that Allen offers to us. Even though Lily Allen thrives on brutal honesty, featuring one or two additional poignant songs would only have given Allen's album a dose of humanity. Excluding any vulnerablity may cause listeners to mistake Allen's bravado for bitchiness, but, apparently, Allen doesn't give a flying you-know-what.
For the remainder of the album, the gritty Allen returns with a vengeance, singing about pathetic, attention-seeking "c***ts" (well, she is British), a less-than-satisfactory lover with a small package, her younger brother Alfie being a lazy, pothead (true story), stingy English bureaucrats, backstabbing friends and, basically, how screwed up the world is.
With a number two spot on the U.K. charts in 2006, "Alright, Still" has gained much warranted attention in the United States. Allen's jagged lyrics might rub the pop audience the wrong way, but judging from their fascination with Lil' Jon and The Pussycat Dolls, Allen's powerful musical production will ultimately trump any lingering hesitation on their behalf and residual resentment on BBC's behalf.