You're probably wondering how the word on the street/window on the future portal that is TLOBF gets to review the Welsh pop-soul starlet's debut album a couple of months after her hugely successful assault on the UK charts. Well, TLOBF has a multi-national following now, and petite pocket-rocket Amy Ann Duffy is about to try and crack America. Oh, and just in case you're in any doubt, we did bring you news of Duffy before 'Rockferry' was released last December, when I was one of a very small crowd at Rough Trade East for one of her first warm up shows. The result was a thumbs-up prediction, especially for modtastic single 'Mercy'. I only stress that as my predictions don't often go well.That night BBC pay checks were actually dished out to Duffy and her band (unfortunately I did not see the amount) - presumably after recording the Later With Jools Holland appearances that brought wider notice and started the ball rolling, and from a brief chat it was clear that she was a grounded individual endearingly in awe of the road to stardom that were unfolding before her and the kind of people she was now working with, such as co-writer/producer and ex-Suede guitarist Bernard Butler. I had enjoyed the in-store event. It was easy to recognise real raw talent, and I expected her to do well given the expertly judged campaign her management (led by Rough Trade's Jeannette Lee) was about to swing into action after a full three years of preparation. I wished Duffy success myself, for all the above reasons, plus I'm also Welsh. It's been too long since Shaking Stevens ruled the roost (you think I'm joking, but we look after our own you know), and I had hopes of a new female face appearing to sing the National Anthem before the rugby internationals - though it's hard to knock Katherine Jenkins and what Brains Beer must consider the most perfect product placement in the history of advertising. I think you know what I mean. Where was I ... Oh yes. Duffy. Well, I'd actually left things at that - apart from bopping to 'Mercy' on TV/radio and seeing the slew of interviews in newspapers and music mags, most of my time for music was spent with the more exotic scraps dealt from the table of my TLOBF masters. So it is with relatively fresh ears that I actually get to hear the album for the first time, just like an American. For the next 45 minutes call be Brad. I've got a pickup truck you know.After Amy Winehouse's massive publicity boost at the Grammys, and with Leona Lewis proving a Brit female can top the US charts again (Simon Cowell isn't just a pretty face you know - err ... can I take that back?), perhaps the timing couldn't be better for Duffy. Even Kylie has been doing the rounds there - and Duffy has some of the more immediate attractions of Kylie but, as far as I'm concerned, can actually sing too. She lines up squarely between the former two ladies perhaps. Undoubtedly she is without the edge of Winehouse (be that good or bad as far as the US market is concerned), but is also more reliable for the required extended campaign and not perpetually about to self-destruct. Most importantly, she has the raw vocal talent to match (at the very least), and more credibility and absolutely more artistic input that the manufactured anonymous r'n'b of Lewis, with its associated 'diva' overtones.Strictly speaking, Rockferry is not Duffy's debut. Her Welsh language recording following exposure on S4C's Pop Idol-like talent programme may be a collector’s item in years to come. She finished runner up. Her musically-sheltered upbringing in the coastal hamlet of Nefryn on the Lleyn Peninsula meant that, for example, she had not heard of Suede before meeting Butler; and discovery of a video of 60s music TV show 'Ready Steady Go' as almost sole entertainment led to her drawing inspiration from the likes of Aretha, Dusty, Motown, etc. That retro sound has been meticulously reproduced on this album, with sweeping epic strings, Stax rhythm section, and Steve Cropper guitar licks.Echoing piano opens the title track, as it builds slowly and ominously until Duffy reaches full throttle for the first time, though the song never seems to develop to its full potential before the end, retaining its lumbering pace without finally completely bursting free. 'Warwick Avenue' references the Bakerloo line tube stop close to Duffy's relocated home whilst working on the album. It's more laid back, has a verse bass line reminiscent of 'My Girl', and the distinction between verse and chorus this time gives the song a more fulfilling structure. 'Serious', 'Hanging On Too Long', and 'Delayed Devotion' are more 70s smooth in feel with strings high in the mix. As typical of the album, lyrics repeat simple styles of refrain without being annoyingly glib and these tracks bubble along pleasantly if unremarkably. 'Stepping Stone' has more emotional and vocal bite and is reportedly autobiographical, while 'Syrup And Honey' is a true soulful work out for Duffy over classic rising and falling blues guitar and little else to impair her impact. All songs are improved by being heard live and a bit raw. Endearingly, Duffy hadn't developed the slick moves of a consummate performer when I saw her, and it was indeed pleasingly reminiscent of the earlier, simpler, era of pop she purveys. I think that is already changing though as reported from an appearance at industry showpiece South By Southwest in Austin last month. I for one regret the inevitability of that.'Mercy' is central to the album and the killer single that should be the key to breakthrough in the US just as it was here - cleverly keeping some street credibility with its gritty Northern Soul video. Her voice rasps and soars. Simple but effectively addictive like the perfectly judged raunchy pop it is. You'll have to lash yourself down if you think you're too cool to dance to this. In truth, 'Scared' is slight, but there's something about the melody that appeals and as always, the vocals are again easy to appreciate and carry the day. Final track 'Distant Dreamer' gets the full Spector production workout, with a 'Be My Baby' Supremes feel by the end. Nice. Not a bad track on the album. Your girlfriend will most probably like it. So will your mum. I like it too. There are enough nods to classic songs to give this 60s fan a cosy smile. The less involving tracks are pleasant at worst and the best tracks are the perfect platform for her fantastic voice - a weapon so siesmically potent to blow any retro derivative reservations out of the water. I wonder how she'll go with the Welsh National Anthem? She'll have 60,000 to help out with the backing vocals if she gets stuck. One more reason to wish I’m there. 78%Links Duffy [myspace]