Wanda Jackson – Encore (Blackheart Records): Album Review

Wanda Jackson presents her final, Wild Gift of Rock’n’Roll. Encore is her farewell album.

Born in 1937, ten years after the Big Bang of Americana when the Original Carter Family and Charley Patton first recorded. She was a child prodigy in Country music. At age seventeen she had a major hit with You Can’t Have My love, her debut single.

She was teamed with Elvis Presley in 1955 on concert dates. They got into the new Rock’n’Roll musically and physically. Rockabilly was birthed. Wanda Jackson was and still remains the Queen of Rockabilly.

Whilst she recorded classics like Let’s Have a Party, Fujiyama Mama, I Gotta Know and Funnel of Love, she never really rose above the status of cult favourite.

The picture of her on this album is stunning. It has the hyper-real look of Pop artists like Lichtenstein or Warhol. The reaction to her sexuality was as provocative as Elvis. She was described as raunchy, sexually aggressive, and having almost frightening savagery.

She can burn you up in bed just like she said ‘cause she’s a hot head. That’s Captain Beefheart describing her music perfectly on Hot Head.

By the early Sixties she headed back into Country music. In the early Seventies there was an embracing of Christianity and Gospel music followed.

The artists following in her wake paid homage. The Cramps, Elvis Costello, Rose Flores amongst many. Jack White produced a great album for her, The Party Ain’t Over.

You could call Joan Jett a perfect love-child of Wanda and Elvis, and she produces this album along with her long-time collaborator Kenny Laguna.

Big Baby is basic bar-room Honky-Tonk, lifted by some nimble piano boogie Jerry Lee Lewis style.

Two Shots was written by Elle King (daughter of Rob Schneider!) and the first song on the album to be backed by the Blackhearts. Both songs with clean production sound and not really standing out in any special way.

You Drive Me Wild and we get some dirt and sweaty raunch. Let’s get together and build a fire. Yeah, you know what I’m talking about. Jackson intersperses Blues phrasing with Country and smoulders.

More formulaic Rockabilly with Good Girl Down. As in, can’t keep a good girl down. Let’s keep our minds above the belt. Co-written by Angaleena Loletta McCoy Presley who is a backing vocalist. There’s a whole heap of Southern American history right there, Bubba.

Then we get to the songs that make this an outstanding testament.

It Keeps Right On Hurtin’. There is real emotional depth and hurt in her voice as she dwells in the heart of Americana. A slide dobro adds heartbreak tears. Dripping with pain in the way the best of them could, like George Jones.

We Gotta Stop. The guitar intro is the same one the Rolling Stones invented for their version of Love in Vain. Country Soul or White Blues. That easy voice with hints of a choke and a sob. Miley Cyrus has this sound. Husky Roots Country with a signature twang.

Joan Jett and the Blackhearts are on board for the last two songs.

Treat Me Like a Lady is a perfect blend of Country and Rock’n’Roll. There is a good, nasty drive from the band and they keep their presence minimal.

That’s What Love Is. Stripped back to showcase a superb vocal performance. Minimal piano and that dobro is crying quietly again. Jackson can stand out with expert phrasing whilst eschewing over-emotive flash. Every day’s a gift.

The Wild Gift.

An over-used term unfortunately, but what a real legend. The great Wanda Jackson.

Rev Orange Peel