Wanda Jackson - Queen Of Rockabilly - Flac - Abrasax

Wanda Jackson - Queen of Rockabilly - Flac -Abrasax CDrip: Wanda Jackson - Queen of Rockabilly RELEASED: 2000 Recorded between 1956 - 1963 LABEL: ACE Records FORMAT: CD COMPILED: Rob Finnis BITRATE: Flac Tracks: 01. Baby Loves Him 02. Mean Mean Man 03. Fujiyama Mama 04. Cool Love 05. Honey Bop 06. I Gotta Know 07. Let's Have a Party 08. Money Honey 09. Long Tall Sally 10. Hot Dog! That Made Him Mad 11. Searchin' 12. Savin' My Love 13. Kansas City 14. Hard Headed Woman 15. Tunnel of Love 16. My Baby Left Me 17. Sticks and Stones 18. Who Shot Sam? 19. There's a Party Goin' On 20. Brown Eyed Handsome Man 21. You Don't Know Baby 22. Tongue Tied 23. Riot in Cell Block #9 24. Slippin' and Slidin' 25. Fallin' 26. Rip It Up 27. Rock Your Baby 28. Whole Lotta Shakin' Goin' On 29. Honey Don't 30. Man We Had a Party Wanda Lavonne Jackson (born October 20, 1937) is an American singer and guitarist who had success in the mid-1950s and 60s as one of the first popular female rockabilly singers and a pioneering rock and roll artist. She is known to many as the The First Lady (or Queen) of Rockabilly. Jackson mixed country music with fast-moving rockabilly, often recording them on opposite sides of a record. As rockabilly declined in popularity in the mid-1960s, she moved to a successful career in mainstream country music with a string of hits between 1966 and 1973, including, "Tears Will Be the Chaser for Your Wine," "A Woman Lives for Love" and "Fancy Satin Pillows." She has enjoyed a resurgence of popularity among rockabilly revivalists in Europe, and was inducted into the Rock and Roll Hall of Fame as an Early Influence on April 4, 2009 Ace Records' Queen of Rockabilly is such a good idea for a Wanda Jackson collection that it's astonishing that it didn't get put together and released until 2000 -- or that Bear Family Records, which is no slouch when it comes to distilling down certain aspects and angles of American country and rock & roll stars, didn't do it first. It should have been out a lot earlier, in the 1970s -- that would have saved hundreds of listeners (maybe thousands, around the world) having to buy, borrow, or steal her old LPs and singles, so we could isolate and distill down her rockabilly and rock & roll tracks onto open-reel tape or audio cassette. Compiler/annotator Rob Finnis allows the songs to jump across seven years, back and forth, pulling together the strands and threads of this side of Jackson's work into a killer collection of 30 songs, clocking in at less than 70 minutes. And running through the rough and raucous rock & roll sounds is the enigma of Wanda Jackson herself -- this CD touches more musical and cultural buttons than even the man who put it together seems aware of, or than Jackson herself will ever admit to. She has said that she was never as consciously committed to rockabilly or rock & roll as her career direction would seem to indicate; she spent years walking a tightrope between traditional country and rock & roll, just trying to carve out a niche for herself and earn a living, and rock & roll was as new to her as it was to most country music fans in 1954-1955. In keeping with the sensibilities of the era, as the daughter of white working-class Texas-born transplants to Oklahoma (and then to California -- around Bakersfield, natch -- and back to Oklahoma), blues and R&B, as something that she would do herself or allow herself to be influenced by, were mostly alien to her when she began exploring the music (with help and encouragement from Elvis Presley) in 1955. Luckily, the King of Rock & Roll was correct in his assessment of Jackson as a natural, and she became the Queen of Rockabilly at a time when Janis Martin was "the Female Elvis" and Brenda Lee was some child mutant doing rock & roll with some success. Jackson even recorded with a mixed-race band, the Poe Cats (including Big Al Downing), beginning in early 1958, and the records were amazing, although they didn't start selling seriously until 1960, when a DJ started playing "Let's Have a Party," a three-year-old track off of her 1957 debut LP, and Capitol got it out as a single. She was suddenly on the pop charts, as a unique voice and personality by then, and her career, which had started to coast, was suddenly thrown into high gear. It's all here, the astonishingly raucous and even raunchy early singles like "Hot Dog! That Made Him Mad" and "Fujiyama Mama" (the latter a huge hit in Japan, amazingly enough), the LP renditions of "Long Tall Sally" and "Rock Your Baby," and the raw, throat-ripping performances of "Rip It Up," from as late as 1963. There are some especially amazing moments amid the rip-roaring rock & roll that even Finnis misses, such as Jackson's rendition of Chuck Berry's "Brown Eyed Handsome Man." The song itself was Berry's commentary on the plight of the black man in white society, but for a white Southern woman rocker to sing it in 1961, even on an LP, while Berry was in the middle of his first-round trials for alleged illicit activities with an underage girl, was an amazingly challenging and provocative act -- Finnis extends the effect by following it with the later LP track "You Don't Know Baby," a slow, smoldering blues that Jackson makes work as a woman's song. She's equally bold and convincing on Little Richard's "Slippin' and Slidin'" from the same session as the Berry song; of course, in 1958 Jackson was also singing "Rock Your Baby," with its demand "Rock your baby all night long, and don't be slow" -- a song she wrote herself, no less. By the time it's over, this CD will make one wonder if Jackson -- her denials and professed innocence notwithstanding -- was the most sexually and musically subversive white woman ever to step in front of a microphone. The sound is great too, up to Ace's usual high standard and then some. Bruce Eder/All Music Guide http://thepiratebay.se/user/Abrasax/

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