Too many people give Lily Allen a hard time, because of who her father is, because she’s got an unfettered mouth, because she writes songs that tell how it is – at least for a young LDN lady. She’s undervalued as an artist. She runs the full gamut of pop – straightforward catchy songs, ska, hip hop, even country – and somehow is taken less seriously for it. Where the hell was her Mercury nomination? Sweet Jesus, Glasvegas got a nomination. Kasabian got one.
‘The Fear’ is Lil’ at her best: sharp, witty, personal, snippy and set to the best pop hook of the year. For Junior, it means earnest school disco dance moves and her parents coughing loudly over the swearwords.
In many ways – visual, musical, camp – Scissor Sisters were a shot in the arm for a moribund pop scene. The teen bracket was thriving, sure, mainly through the reality parade, but Jake Shears, Ana Matronic, Babydaddy et al negotiated a glitzy path to the heart of the big record buyer. A crossover triumph. Their showtuny, Elton John-infused (and frankly pretty flimsy) debut album was neck and neck with the more prosaic Keane in the year’s bestselling chart, laying bare 50 Quid Man’s lesser-spotted appetite for gay-as-a-window flim-flammery.
They waved their jazz hands over the parapet with this impudent romp over Pink Floyd’s dour classic. We heard the Bee Gees, KC & The Sunshine Band and – perhaps most of all, but less acknowledged – Frankie Knuckles. What initially appealed as a Night Fever throwback turned out to be a modern house monster with pop bells on, a gleeful destruction of Roger Waters’ puffed-up, jacked-up sense poem, but a destruction somehow executed with poignancy and cheeky respect.
I think it’s respect anyway. The euphoric hand claps after “But you may feel a little sick” don’t suggest much forelock-tugging.
Reactions from Junior tread the thin line between the surreal and Keanely prosaic – “Are they cutting?” “Is it Lily Allen? Is it soldiers?” “Where’s the lady?” Junior’s in the back of the car, but I can hear her clapping along, sending up Pink’s peril and “Uh-huh-uh-huh”ing where called upon. “I sang lots of that,” she tells me as the song echoes away, so there’s your proof. A crossover triumph.
By now firmly settled in the pantheon of Britain’s great sub-/urban chroniclers – a line stretching from Ray Davies through Tilbrook, Le Bon, Ryder and Doherty (in his Arcadian dreams), right down to Lily Allen – Paul Weller was knocking out the sure-eyed classics with spittled ease. ‘That’s Entertainment’ makes you feel awfully jolly about your lot as you watch the telly and think about your holidays, as it pisses down with rain on a boring Wednesday, as you decide – Jesus – let’s get right out of Dodge. Controlled aggression slips its moorings and soon a ditty turns into an anthem.
Junior strums her imaginary acoustic, bearing a look of fierce Wellerian concentration. She tells me that she doesn’t like it, but that’s difficult to believe and soon she breaks into a smile: “I was only joking!” Just like our Paul? Some chance.
Jukebox Junior 