Jackie Deshannon

This exciting set from Real Gone Music gathers all of singer-songwriter Jackie DeShannon's rootsy, soulful material from her short period on the Capitol label from 1970-1971, encompassing her sessions at Chips Moman's American Studios and more, and including five previously unreleased tracks.

Best Of…1958-1980: Come and Get Me is a generous collection of Jackie DeShannon's biggest hits, important album cuts, and obscure non-LP singles. The keys to DeShannon's talent lie not only in her own songwriting and ability to handle non-originals as if they were her own compositions, but her versatility as a performer. DeShannon's arsenal of orchestrated pop, rockabilly, the Phil Spector-inspired girl group sound, soul, gospel, folk-rock, and country-pop is rivaled by few. She could also pull off sentimental ballads and was believable when in the singer/songwriter mode. There are many peaks in this anthology, including the proto folk-rock of "Needles and Pins" (written by Sonny Bono and Jack Nitzsche) and "When You Walk in the Room" (a sole composition from 1964 that sounds like a Byrds tune as carried out by the Ronettes), as well as the soulful rocker "It's Love Baby" (which features a hot guitar solo) and the initial recorded version of "Bette Davis Eyes" (co-written by DeShannon and later a number one hit for Kim Carnes). A 4,000-word essay by longtime fan Glenn A. Baker rounds out the package.

It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority – the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry – sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing.