All Dolled Up

Although this release is now discontinued, "Weighting", "Prowler" and "Made to Love You" have received updated mixes and a remaster for the 2025 Poperratic EP Shake the Ground.

Six new versions of music popularized by the soundtrack of May (Lionsgate, 2002), a few of which feature arrangements based on the original demos. Tracks originally created for the MAY OST double vinyl set released in partnership with Terror Vision Records, an official selection of Record Store Day 2022.

All Dolled Up is a special collection of tracks for fans of the cult classic film MAY, directed by Lucky McKee.

Originally featured in the 2002 Lionsgate film, these six originals received a fresh makeover in celebration of the soundtrack's 20th anniversary.

The first four tracks are faithful recreations of Luckett’s original ATE 13 demo arrangements that were significantly altered for the film. All Dolled Up kicks off with the rock energy of fan favorites "Made to Love You" and "Prowler." You’ll also find the complete versions of two others. These include the vocal version of "Weighting" and the electronic version of "Autopheresis."

Finally, All Dolled Up concludes with reimaginings of two other popular tracks: the deliciously subversive "Frox" and the Mussorgsky-inspired "Deviation on a Theme: Construction."

While this version of the E.P. is being discontinued, the first four tracks will be reissued on other releases.

Critical Acclaim for Luckett's OST
Both at the time of release and in the 20+ years since, Luckett's original songs and score in the film have received a lot of love from critics. Among reviews of the film and its subsequent releases (such as its recent Blu-Ray edition), as well as analysis articles and essays covering the film's cultural importance within the horror genre and as a character study, the soundtrack consistently earns high praise. Words frequently used to describe the work are "great", "amazing," and "killer."

Upon the film's initial premiere, Luckett received award nominations for "Best Score" from multiple international film festivals, as well as nods from Ain't It Cool News, the late Roger Ebert, The Los Angeles Times, and Variety Magazine (the latter two of which cited Jammes as "One to Watch").

Among those with a deep knowledge of film music, Luckett's score and original songs have stood out as a key element that both enhanced and elevated the film's atmosphere and its crucial emotional and psychological aspects. This distinctive and evocative score is often cited by both critics and fans as a primary reason for May's enduring cult classic status.

More than just an accompaniment, Luckett's music has often felt to many like a direct conduit to May's inner world, mirroring her escalating isolation, her childlike innocence, and her eventual descent into madness. Its distinct sound, melodic nature, and ability to seamlessly weave disparate genres into one cohesive soundtrack have been praised for not only deepening the audience's connection to the story but also for having played a crucial role in solidifying the film's unique, often unclassifiable blend of dark character study and psychological horror. Its often melancholic yet subtly whimsical motifs perfectly encapsulate May's fractured innocence and burgeoning pathology, making it an integral part of the film's lasting impact and appeal.

See a sampling of reviews below.

All music performed by Jammes Luckett (all instruments)

All music and lyrics written by: Jammes Luckett © Pied Piper Lorre Musesick (ASCAP)
Production by Jammes Luckett
Sound Recording ℗Art Mechanix. All Rights Reserved.

Album Art: Jammes Luckett, Art Mechanix

“MAY and Other Selected Works” CD review originally published by KitleySkrypt.com – 2006

Having scores from 5 different movies is great, giving a taste of the different scores of each. …Since this CD is well over an hour long, there is still enough tracks here to appease my singular appetite. Luckett does have some creepy melodies throughout this CD. One track from MAY, which even features star Angela Bettis on vocals, sounds like something from a 70’s Italian film. Very cool. The brief snippet from her score for Hooper”s THE TOOLBOX MURDERS left me wanting to hear more of it. Over all, while there is a lot of “normal” music for my particlar soundtrack tastes, this is a great sampler of a very talented composer, showing that she can hit any theme style.

“MAY and Other Selected Works” CD review originally published by FearZone.com – 2006

Not many directors seemed brave enough or confident enough in their own film to just allow the score to shut up for a bit. But MAY director Lucky McKee understood; and so did his composer [Jammes] Luckett. The result is one of my favorite film scores of the last 10 years, and now it’s available on CD. The folks at La-La-Land have issued this collection of Ms. Luckett’s soundtrack work, and it is a treat. What is interesting to me is that the material spans several films, years, and improved technical production value, yet all of it feels at home on this CD; flowing seamlessly from track to track.

Pay attention. those of y’all who fancy yourselves musicians out there: This is called having your OWN STYLE. [Jammes] is also a performer and songwriter, which is why I think her scores have an emphasis on themes & catchy melodies.

Before you go thinking this is gonna be an unashamed love letter to Ms. Luckett, and not a review…let me point out that (to my ears) some of the material is a bit hit and miss here and there. Some things just work better in conjunction with a visual (which obviously is not available in this release), and that was how this music was intended to be presented. However, this seems symptomatic of the soundtrack album format in general.

As much as I love hearing this music on its own, it should be understood that it (especially some of the demo material for the unused score to “The Woods”) are components of something bigger, and in some cases not quite fully realized. If you listen you’re gonna hear some flubbed notes, some sloppy execution in the guitars here and there, perhaps some of the instrument sounds themselves are a bit rushed (I’m not a fan of direct-in guitar; gotta get a microphone on it, and that’s the gospel truth ), but NONE of these things ruin the material for me. In fact, they serve to make the performances MUCH more human.

There is an urgency to these tracks. This music feels like it emerged; raw & bleeding; straight from the composer’s heart. In this day & age where so much of what passes for film “composition” is actually some jerkoff programming tempo grids in computer programs such as Reason, Cakewalk, or the dread Acid….well, I’ll take [Jammes’] stuff any day. The tracks are ripe with experimentation, great textures, and what I like to call “Brilliant Accidents.”

For example, during “The Toolbox Murders” there is some nasty tape hiss that is cleverly panned left & right in tempo with the music, thus making it an instrument to itself and not a technical liability. “Lazy Liars” (from the Masters Of Horror episode “Sick Girl”) has some sleek-n-sexified retro keyboard that is very much in keeping with the film proper (Misty Mundae & Angela Bettis…oh my, don”t mind if I do…)

The music from “Roman” shows Luckett truly coming into her own, and the arrangements are more sophisticated and yet more subtle. Not an easy task, I assure you. These are among my favorite works on this CD, and they close the disc with a gloomy, desperate beauty.

Simply put, this is a grab bag of great stuff; a wonderful retrospective of a very talented up and coming musician. I highly recommend it to anyone looking to add some beautiful, emotional music to their CD collection.