Wanda Jackson, the “Queen of Rockabilly,” offers an intimate look into her 2003 album, Heart Trouble, in this previously unpublished conversation. While not her most recent release, Heart Trouble serves as a pivotal point, showcasing Jackson’s versatility and enduring appeal. This discussion delves into the creative process behind the album, her collaborations, and her reflections on a career that has spanned decades and genres. For fans of classic American music and those seeking to understand the roots of rock and roll, this interview provides invaluable insights into the artistry of a true icon.
The Genesis of Heart Trouble
Jackson’s journey to Heart Trouble began with a desire for a new release in America. The approach from CMH Records, a label primarily known for bluegrass, initially led her to believe they wanted a bluegrass album. “I was thrilled because I’d never done one. And I love bluegrass and I know a lot of the songs,” she recalled. However, as discussions progressed, the project evolved into a broader showcase of her talents. “So they said you can do anything you want. You can do country or rockabilly or old or new or you can do gospel,” Jackson explained. This freedom allowed for a rich tapestry of sounds, including new country songs from contemporary Nashville writers, alongside her signature rockabilly and classic country tracks.
A Track-by-Track Exploration
Jackson provides a personal commentary on each song, revealing the stories and motivations behind their inclusion:
“Heart Trouble”
The title track, “Heart Trouble,” was a new song from Nashville that Jackson immediately fell in love with. She and her producers, John and Aretha, decided it should lead the album, establishing the record’s tone and giving listeners a preview of the diverse sounds to come. Jackson emphasized her preference for placing the title track at the beginning, a nod to her “old school” sensibilities.
“Cash on the Barrelhead”
A deliberate choice to reach back into country music history, this song by Ira and Charlie Louvin from the 1950s was reimagined for a contemporary audience. Jackson noted her continued connection with Charlie Louvin.
“Mean, Mean Man”
A powerful rockabilly anthem written by Jackson herself, this track was a personal request to revisit. She had been performing it regularly in her shows due to its enduring popularity with fans and wanted to update it with new musicians.
“It Happens Every Time”
Another contemporary song from Nashville, this track showcased Jackson’s willingness to embrace newer material.
“Want Me to Walk Out the Door”
This song features a collaboration with Rosie Flores, a fellow artist who had previously invited Jackson to sing on her album. This collaboration marked a significant point in Jackson’s career revival in America, leading to a series of tours and a strong artistic connection.
“Riot in Cell Block Number Nine”
Similar to “Mean, Mean Man,” this song was a consistent crowd-pleaser in Jackson’s live sets, prompting its inclusion on the album to bring it to a wider audience.
“Funnel of Love”
Jackson shared an anecdote about the resurgence of this song’s popularity, driven by fan requests during tours. Initially on the flip side of a 45, it had become a fan favorite, leading Jackson to re-learn and incorporate it into her performances.
“Crying Time” with Elvis Costello
A highlight of the album is the duet with Elvis Costello. Jackson expressed her honor at his request to record with her. The collaboration was unique, with Costello insisting on recording together in person. Jackson noted his deep appreciation for her work, evident when he revealed he already owned her #1 and #2 box sets. She described him as a “real perfectionist” and a “nice guy,” forging a strong connection during the recording session.
“Rockabilly Fever”
Co-written by Carl Perkins, this song had been an opener in Jackson’s shows for years. She recounted hearing it from Perkins in the early ’90s and feeling an immediate connection to its message of rockabilly’s enduring appeal.
“What Gives You the Right to be Wrong”
Co-written with Rosie Flores, this track was a personal favorite for Jackson, who believed it had the potential to be a major hit for a contemporary country artist.
“Any Time You Wanna Fool Around”
Jackson described this as her “second favorite on here,” calling it a “greatest little country song.”
“Hard-Headed Woman”
A song she frequently included in her Elvis tribute performances, this track was suggested for the album by her producers, acknowledging its connection to Presley’s influence on her rockabilly career.
“Lonely for You”
Jackson posited this as a potential “21st-century rockabilly song,” highlighting its modern feel within the album’s diverse offerings.
“It’ll Be Me”
Originally a Jerry Lee Lewis song (though Jackson initially attributed it to Chuck Willis, later clarifying it was Jack Clements’ song), this was another favorite that resonated with her.
“Walk with Me”
Jackson noted that the backing vocalists for this track were recorded after her departure, expressing a desire to credit them for their “fantastic job.”
“Let’s Have a Party”
This classic, recorded originally in the late 1950s, was re-recorded for the album. Jackson aimed to provide fans with an updated version of familiar hits alongside new material, creating a balanced listening experience.
A Career Defined by Versatility and Passion
Throughout the interview, Jackson reflects on her extensive career, her travels, and her enduring passion for music. She expresses gratitude for her longevity in the industry, particularly her consistent popularity in Sweden, which she affectionately calls a “love affair.” The conversation underscores her adaptability, willingness to explore different genres, and her deep respect for musical collaborators, from country legends to rock and roll icons. Heart Trouble stands as a testament to Wanda Jackson’s remarkable ability to connect with audiences across generations, blending her iconic past with a vibrant present.