ROCKABILLY revivalist Imelda May may well have penned herself a hit album with Love Tattoo.
The Dublin-born star oozes the same kind of retro appeal as risen stars such as Amy Winehouse, and has more personality than a hundred Duffys, and Love Tattoo is a refreshingly different collection of 1950s-style country-meets-rock 'n' roll compositions.
However, despite some cracking tracks such as Johnny Got A Boom Boom, Imelda May's is missing that all important contemporary twist.
Earlier this year I waxed lyrical about Vincent Vincent And The Villains' debut Gospel Bombs, which was a halfway house between The Libertines and Eddie Cochran.
In comparison Imelda May plays the past well, but sadly here she is not elaborating on it.