Imelda May - Albums Collection 2003-2011 (3CD)

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Imelda May - Albums Collection 2003-2011 (3CD)

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Born in Dublin, Ireland, Imelda May is a unique vocal talent, one whose gift lies outside the normal order of pop culture time and trends. Inspired by vocal jazz à la Billie Holiday and the sound and look of rockabilly, May began performing with the swing outfit Blue Harlem, and released a handful of independent CDs before scoring attention in 2007 with her nomination for an award as Best Burlesque Singer as well as the release of her more official debut, Love Tattoo. The album featured her strong backing band including her husband, guitarist/co-songwriter Darrel Higham, along with trumpeter/multi-instrumentalist Dave Priseman, bassist Al Gare, and drummer Steve Rushton. Critically and commercially well-received, it garnered May some high-profile live gigs, including hitting the road with Jools Holland. It was released in the U.S. by Decca in 2009, followed by two singles, and scored a mid-level success.

Her third studio effort, Mayhem, arrived in September of 2010, preceded by the single "Psycho." Also featured on the album was a rockabilly-tinged cover of Gloria Jones' single "Tainted Love," previously made famous by Soft Cell in 1981. Buoyed by the success of Love Tattoo, Mayhem performed similarly well, landing at number one in Ireland and number seven in the U.K. Two years after the release of the album, May announced she was pregnant with her and Higham's first child. In August, 2012, she gave birth to her daughter.

In 2014 May released her fourth album, the Mike Crossey-produced Tribal, featuring the singles "It's Good to Be Alive" and "Wild Woman." The album hit number one in Ireland and reached number three on the U.K. albums chart. During promotional duties for Tribal in 2015, May announced she had separated from husband and longtime guitarist/collaborator Higham. They ultimately divorced and Higham launched a solo career.

May returned in 2017 with Life. Love. Flesh. Blood, her first album not to feature Higham. The record was more stripped-down than previous efforts, with an accompanying shift in her image that found her eschewing her trademark blonde-accented pompadour in favor of a dark brunette shag. Produced by T-Bone Burnett, it also featured guest performances from friends and collaborators Jeff Beck and Jools Holland.

Chris True, Allmusic.com

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Imelda May - Albums Collection 2003-2011 (3CD)

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Imelda May - Albums Collection 2003-2011 (3CD)

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Originally released under her maiden name of Clabby in 2003, rockabilly revivalist Imelda May's debut album, No Turning Back, was re-recorded two years later when the Dubliner had the money to improve on its bedroom studio quality. Whatever the sound problems were, they appear to have been ironed out on a foot-stomping first offering which effortlessly evokes the '50s jukebox joint era thanks to its swinging rhythms, honky tonk piano hooks, and bluesy guitar riffs, not to mention May's versatile vocals, which sit somewhere between the pure jazz delivery of Billie Holiday and the raw, earthy tones of Janis Joplin. The old-fashioned rock & roll of "Dealing with the Devil," the infectious boogie rock of "Flame of Love," and the twanging surf pop of "Wild About My Lovin'" all sound like the kind of feel-good tunes the Fonz would bop along to on Happy Days, while "Till I Kissed You" (a duet with Elvis soundalike and guitarist/husband Darrell Higham), would make even the sternest of teddy boys swoon. But perhaps hinting at the more eclectic direction her later output was to take, the album's retro influences occasionally extend beyond the vintage rock & roll of Eddie Cochran and Buddy Holly, as on the smoky jazz-tinged torch song "Once More," the Nina Simone-esque gospel blues of "What Am I Gonna Do?," and the gorgeous Nashville-inspired rendition of Skeeter Davis' "End of the World." The amount of covers (Cliff Richard's "No Turning Back," Baker Knight's "Bring My Cadillac Back," Junior Wells' "Lovey Dovey Lovely One"), suggest she didn't quite have the confidence in the songwriting abilities she would later pursue on Love Tattoo and Mayhem. But No Turning Back is still a consistently strong romp through the sounds of the '50s, which undoubtedly helped sow the seeds for her future mainstream success.

Review by Jon O'Brien, Allmusic.com

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Imelda May - Albums Collection 2003-2011 (3CD)

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Love Tattoo is the debut solo album by Irish vocalist Imelda May, formerly of the roots outfit Blue Harlem. Originally released by the indie Foottapping imprint, it was later licensed in the U.K. by Ambassador and in the United States by Verve Forecast. May has captured the attention of the United Kingdom with its release, and for good reason. It's a striking gumbo of tough boogie-woogie, streetwise razor-edged rockabilly, intimate sultry vocal jazz, and sassy jump blues. May wrote all but two of the set's 12 tracks and produced the set; she also plays the bodhran, an Irish percussion instrument from antiquity. She's surrounded herself with an ace band that includes her husband, guitarist Darrell Higham, trumpeter Dave Priseman (who also plays flügelhorn and percussion), pianist and organist Danny McCormack, bassist Al Gare, and drummer Dean Beresford. The kickoff is the stomping rockabilly of "Johnny Got a Boom Boom" (infer what you might from the title). With a slapping double bassline intro, the drum kit latches on and takes it for another eight measures before Higham's nasty guitar begins its cutting strut. But May's vocal tops it all and swaggers confidently with its expression of raw sensuality. This is a love song from the streets, but it isn't trashy. It's got its own kind of in-your-face class. Contrast this with the gorgeous bluesy ballad "Knock 123," with its slow walking piano and basslines and a halting guitar figure, and May's voice all croon and caress. The title track is a wild stomp and roll where blues, rock & roll, country, and boogie collide behind her blues shout. May is a trained vocalist to be sure, but when the material calls for it, her voice contains a certain rough grain – earthy, raw, and full of unbridled passion. It's even evident in the country ballad "Falling in Love with You Again" (one of the tracks where her bodhran can be heard prominently). The lilt, grace, and haggard elegance of her voice reveal an entire well of feeling that seems to bubble up effortlessly yet without artifice. The entire album is deliciously and unabashedly retro, but comes off as spontaneous, fresh, and full of adventure. The uptempo tunes are simply unhinged, while the ballads are full of authentic emotion. The tunes aren't overly arranged, the production is minimal, and the instruments – as well as her voice – sound unembellished. Imelda May is capturing the attention of Europe for a reason; she is a rare and very exciting talent who understands the history of American roots music and knows how to use that understanding in a contemporary context without pandering. Love Tattoo is righteous. Period.

Review by Thom Jurek, Allmusic.com

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Imelda May - Albums Collection 2003-2011 (3CD)

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Trying to sustain the momentum of 2011, a year which has seen her perform in front of Barack Obama, tour the U.S. with Jeff Beck, and reach the U.K. Top Ten for the first time, Irish rockabilly revivalist Imelda May's international breakthrough album, Mayhem, is the latest chart hit to receive the deluxe edition treatment. Keeping her in the public eye may be a smart move on behalf of the record label, but the loyal fan base who bought the original are likely to feel short-changed by the slim new pickings on offer. Whereas recent reissues by the likes of Lady Gaga and Ellie Goulding have treated audiences to almost an entirely new extra studio album, the imaginatively titled More Mayhem only features six additional tracks, two of which are remixes. Nevertheless, the four brand-new recordings are more than worthy of taking their place in her increasingly popular back catalog. With its fast-paced surf guitars, galloping percussion, and May's feverish tones, "Road Runner" doesn't exactly reinvent the wheel, but it's an infectious example of what she does best; "Gypsy" is a charming slice of old-fashioned country interspersed with Wild West-style whistles, and "Blues Calling" shows that the convincing attempt at funereal blues on "Too Sad to Cry" was no fluke, as May mournfully croons her way around a backdrop of smoky jazz trumpets and twanging guitars. A playful take on Patsy Cline's "Walkin' After Midnight" is a nice accompaniment to "Tainted Love," the album's only covers, but apart from the slight Latin twist to "Inside Out" and a rawer production on "Proud and Humble," the two "remixes" tacked on at the end are pretty much indistinguishable from the originals. The new material here would have undoubtedly meant more value for the money if it had been released separately as an EP, but for any casual fans yet to put their hand in their pockets for Mayhem, this More edition is still worth the extra cost.

Review by Jon O'Brien, Allmusic.com