When that voice starts up, it seems like this is just another lightweight pop diva, the next in a group where they come a dime a dozen. Then she drops an f-bomb in the second line of the song and all of a sudden, the rules have changed.

Lily Allen's lead single, "Smile," from her debut album Alright, Still is a wonderful pop song. But the first 30 seconds of the No. 1 UK hit tell all that needs to be told about this album. The beat is catchy, the production is smooth, and -- most importantly -- the lyrics are candid. The hooks rarely miss and the voice never does.

Allen is already a superstar in England, where Alright, Still peaked at No. 2 on the charts and she scored four hit singles from the album. Even beyond the singles, the album is chock-full of pop gems and save for the generic "Take What You Take," it never sounds stale.

That quality can be attributed to the strength of the backing tracks. Allen's got vocal chops and good rhythm, but the production and instrumentation are what make these songs. They incorporate great reggae bass lines, horn sections and sweet piano licks on the upbeat numbers.

On the other end of the spectrum, as in the single "Littlest Things," when Allen wants to sing out, she can sing out. The ballad features a heartfelt string arrangement along with a soft, gentle piano part. This balance between low-key and up-tempo songs and sincere and fun songs is the hallmark of the album.

That's mostly a credit to producer Mark Ronson, who takes Allen's talents and highlights them well. It's easy for a producer to screw the pooch by burying a singer's vocals with Auto-Tune and some lazy mixing, but Ronson brings Allen's naturally sound vocals to the forefront along with a great blend of sampling and live instrumentation.

Allen has Gwen Stefani's style but she also has substance, not content to settle for inane lyrics or lazy melodies. She can spin a yarn in a three-minute pop song without any trouble. But the biggest strength of the album is its consistency. All the songs have their own unique styles, but none of them would feel out of place as a Top 40 hit.

That could conceivably come off as a left-handed compliment, but in reality, the songs have too much emotional depth to find themselves alongside tripe like "Fergalicious." Allen's ability to mix gritty lyrics with sultry melodies and seamless rapping is her greatest talent. She's the kind of pop princess that America sorely needs but still lacks.

One of the main criticisms of Allen in the UK has been her "chav" image, which is just the UK slang for "wigger." But whether her character is sincere or calculated, it's a good character nonetheless. The lyrics are never vapid, pushing forth real humanity despite the slick production.

The songs range from sullen to aggressive, but one highlight of the album is Allen's bouncy tribute to her little brother, "Alfie," a slacker stoner who spends all his time playing video games. Even when her mood is sardonic, such as on the 50 Cent parody "Nan You're a Window Shopper," the songs are unabashedly enjoyable.

Alright, Still would be the perfect guilty pleasure if anyone felt guilty for taking pleasure in it. As it stands, it's a fantastic pop album with few missteps.

Grade: A-