Imelda May
Mayhem
Angela Macari O’Looney
Her distinctive coiffeur, shapely silhouette and above all her exceptional voice are Imelda May’s trademark.
The lady from Dublin’s liberties has put those Jazzy/Rockabilly sounds of yesteryear and the glamour of the 1940/50s and 60s into the hearts and minds of music lovers both young and old.
She uses acoustic piano, double bass and brass in her arrangements and resurrects the wonderful style of such singers as Patty Andrews and the Andrews sisters. But also she can suddenly become a seductive Patsy Cline, Crystal Gayle, or the Rockabilly Queen at the drop of a hat.
It’s this remarkable ability to cross music genres with ease that puts Imelda ahead of other female vocalists. She also performs bodhran and her influences include Billy Holiday, Elmore James, Elvis, Eddie Cochrane and Gene Vincent.
Along with her own captivating vocals, Imelda is surrounded by the Crème de la crème of musicians.
Her band are Darrel Higham-Guitars, Al Gare-Upright Bass/Guitars, Steve Rushton-Drums and Dave Priseman-Trumpet, Flugelhorn and Percussion.
Additional musicians on Mayhem include John Quinn-Fiddle, Stewart Johns-Steel Guitar, Olly Wilby-Clarinet and Andy Wood-Trombone.
Imelda’s singing career began with a band called Blue Harlem and with rock and roller Mike Sanchez.
Her debut album Love Tattoo caught the attention of Jools Holland back in 2008 and Imelda ended up touring with him and appeared on his Later show. She won Irish Female Artist of the Year in the 2009 Meteor awards. It’s not surprising that she’s among the final ten for this year’s Choice music awards!
Imelda has shared stages with Eric Clapton, Chuck Berry, David Gilmour, Sharon Shannon, Jeff Beck, Shane McGowan, Wanda Jackson, Paul Brady and Meatloaf. She toured Europe, the U.K and the U.S, which included a tour with singer Jamie Cullum.
This album is a fusion of her influences and showcases Imelda’s rockier side, with memorable melody lines and upbeat songs involving quality instrumentals.
Double bass features in the intro of Pulling the Rug and throughout. Beat has an exotic Rock’n’Roll feel to it. Acoustic guitars come in with superb rhythmic chords, followed by a sharp electric guitar riff that’s catchy and adds charm, with Imelda providing raunchy vocals.
Darrel's lead solo is elaborate. There’s a slow down for the choppy middle eight, then for the last explosive chorus harmonic vocals join in to lift the sound right up!
Psycho is performed with lots of yelps and screeches that add to the mood. Rangy electric guitar and a fantastic baseline feature here. Mad howls at the moon can be heard behind Imelda as she sings the chorus and lends extra scariness to this novelty number.
The title track Mayhem is a jitterbug with busy guitar throughout. An exciting riff at the intro continues for the whole number, with the adaptable Dave Priseman on brass also performing that memorable riff. This cleverly written song sticks in your mind. I love the guitar solo that has a good old fashioned Rock’n’Roll charm to it and of course Imelda’s stunning vocals that tell the age old story of a love affair gone stale;She said he didn’t mean a thing, so she threw her diamond ring out the window of a black cab in Camden. He couldn’t take it, what she did, so he threw a hissy fit and he took it out on anyone at random.
Bass is also wonderful and adds perfect jive type riffs for this chaotic and feel good piece.
Kentish town waltz
This is a gorgeous number with touching lyrics and a sweet melody line. The three four tempo and a hint of tambourine, along with Darrel’s wonderful trickling guitar lend to the beauty of this song.
Imelda tells the story with feeling and it’s a tale about real life, true love and survival through hard struggles; But we stuck with each other with all our might. We pulled it together and held on tight. And I’m glad for us; yeah I’m glad mo chroi. But it’s nothing to anyone ‘cept you and me.
For the second chorus Flugel comes in with a delicious riff. Darrel performs a divine solo on guitar.
This is a different Imelda May than the demur diva we’ve come to know. I enjoy how she lilts her voice and her comforting lullaby style. It’s yet another facet of this interesting jewel of talent and proves she can do absolutely anything she wants with her amazing voice, including telling a simple love story through music!
On this memorable track, violin is performed by John Quinn.
All for you
The sultry Diva returns for this song, as Imelda seduces her man with inviting lyrics and jazzy vocals to match; Every hook, every clip, every twitch of the zip. Yeah it’s all for you.
With a slinky beat and a gradual build up to a blasting chorus, where she roughens up her vocals to a commanding growl, you get the general impression that she’s not taking no for an answer!
I absolutely adore the band here. Guitar chords are exceptional; the brass section creates a sleazy sound with a wah wah style riff, with further brass coming in to boost the atmosphere. Darrel does a wonderful elaborate guitar solo, where he uses sliding notes for certain parts. It’s like each instrument becomes a seductive mistress in the hands of the musician. Even the drummer frames each phrase using strip tease rolls and cymbal and snare for that extra emphasis where required. Imelda finishes with a lingering ooh hoo!
The refrain style chorus is the most catchy feature of Eternity. This candy sweet number, with a pleasant touch of harmony throughout was written by Darrel Higham.
He performs some gorgeous riffs and hooks here and it also involves some busy bass. It somehow reminds me of American duo The Everly Brothers and their popular song Bye bye love!
Brass and guitar take you into Inside out with a twin riff. That riff is an important feature of this track which stars Andy Wood on Trombone. Priseman performs a superb trumpet solo. The subtle key change for the middle eight is wonderful and I have to laugh at one particular line; I love your arms and your laugh aloud charms, I love your wits and your wobbly bits.
For the last chorus Olly Wilby comes in with the liquorice stick and adds ragtime fun to the scene. It’s wonderful how things grow from the stroppin start, to the loud Smokey jazz club sound towards the end!
Old Sachmo wouldn’t be out of place in this number!
Proud and Humble is a choppy Soul/Gospel style number with poignant lyrics and Imelda uses a deep southern vocal, with her passionate delivery impeccable!
Bending double bass notation adds to the vibrancy of this hypnotic song. Percussion is superb and you hear Flugelhorn/Trumpet join in as the song moves along. Soon a profusion of instruments, including Imelda’s vocals are heard and everything winds down to a delicious finish with just vocals and rhythm.
Plucky guitars in Sneak Freak and echoic style reverb create an atmosphere of bobby socks, greased back hair and ice cream parlours. Bill Hailey and the Comets comes to mind as I hear Imelda and her band take me to yet another stop on the train ride through time!
Bury my troubles
This is the true Imelda May for me!
Slinky, seductive and provocative, this number involves awe inspiring brass, Darrel performing a fab guitar solo and rhythm and percussion beautifully adding the finishing touches of a masterpiece.
My favourite bit is at the end, where Dave plays a sombre death march on his trumpet/Flugel.
Too Tired is a sorrowful knell. It has amazing instrumentals in it and in particular the mournful trumpet/Flugel.
Steve Rushton on drums plays some really effective rolls, adding to the sense of finality reflected in Imelda’s pouring out of the lyrics. She makes sure you feel her blues right down to your toes!
I’m Alive
This song is outstanding and for me it’s the best track from this entire album!
It’s a sensational number with a Hawaiian feel to it and reminds me of Elvis Presley’s film Blue Hawaii. With the exotic melody line and rhythm, powerfully sweet trumpet riffs and Stewart Johnson’s steel guitar, along with Imelda’s intoxicating vocals as she sings the romantic words, you are transported to a sandy beach, an azure sky, girls with grass skirts and coco locos. Imelda seduces in a similar style to Wanda Jackson’s Rum and Coca Cola.
Where are my lei?!
After the soppy stuff and moodier songs, Imelda pulls you out of your blues and gets you up to boogie, when she performs Let me out, which is a stompin, upbeat number. It’s a real feel good Jive, with fantastic guitar and lots of twang!
Tainted Love is a jazzed up version of Soft Cell’s successful hit. Fast, with backing oohs that are harmonic, this exquisite performance by our fun loving gal oozes sparkle!
It’s just another example of how she can take a song, pummel it into shape and make it fit her as snugly as her pencil skirt!
Johnny got a Boom boom!
On this bonus track, we are treated to Imelda’s own percussion, as she plays bodhran. I doubt it’s what the inventors of this instrument had in mind, but it works!
Bass and guitar let loose and in turn answer each line of Imelda’s verse with a Boom boom and a Bam!
She personifies the double bass describing it as a woman, with Al or Johnny’s hand on her slim neck and his arm around her waist. The staccato notes are done in a creeping style that is very effective, building up to the blasts for the blasted out chorus.
I marvel at how Imelda May completely changes direction on this colourful album. It has a bright cover depicting her image painted with evocative red lips and long black eyelashes.
Her debut album Love Tattoo was for me a heady trip through time. But Mayhem is a little like opening a Lucky bag. It’s just full of surprises, as she and her band flit effortlessly through a different time tunnel, taking you down a new, but exciting track!
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