"I just want you all to know that without the encouragement of Elvis Presley, I may never have even recorded rock 'n' roll or rockabilly."

So proclaims Wanda Jackson in the spoken introduction to her new album for Golden Lane titled, "I Remember Elvis." Indeed, few performers can claim the personal connection that the Oklahoma-born songstress enjoyed with the King of Rock 'n' Roll. While touring together during the mid-'50s, the teen-aged singers became sweethearts.

Presley not only gave Jackson a ring - to wear on a chain around her neck - he also introduced the budding country starlet to the rough and rowdy sounds of rhythm and blues.

Their puppy love evaporated when Presley's career exploded, but his impact on Jackson's musical life continued.

During the late '50s, she recorded several torrid rockabilly growlers á la "Fujiyama Mama," "Hot Dog! That Made Him Mad" and "Mean Mean Man," that probably frightened away as many country programmers as they enticed. (Today, the rock 'n' roll recordings she made for Capitol are the foundation of her worldwide appeal.)

It wasn't until her 1960 remake of Presley's "Let's Have a Party" that Jackson achieved notable pop music success. By then, rave up rockabilly was a novelty approach upon which continuing chart clout could not be built.

Subsequently, she dropped the growl and returned to country music, trilling such classic hits as "Right or Wrong," "In The Middle of a Heartache" and "Tears Will Be The Chaser for Your Wine."

Jackson found religion during the '70s, released several LPs of strictly sacred songs on the Myrrh and Word labels and hosted her own religious program. Eventually the European rockabilly revival restored the secular career initially inspired by Elvis Presley. (Jackson finds no conflict between her deeply held religious beliefs and the relatively innocent rock music that brought her fame.) Recordings for DCN and CMH - along with some fine Capitol reissues - reintroduced the rockabilly belter to modern American audiences.

However, her recent musical tribute to Presley is the centerpiece for a stateside career that has gotten conspicuously hotter.

"I had no way of imagining all that's been happening," reflects Jackson, "because I hadn't even been working in America that much. All of my work - the majority of it - was in Europe and Scandinavia and had been for 10 years, where I was doing this rock music all along. Some exciting things went on over there, but I never dreamed of America embracing me once again. It's been a shock, but a very wonderful surprise. I'm enjoying every minute of it."

A 2005 nomination for induction into the Rock and Roll Hall of Fame fell short. That said, later in the year a greater, more surprising honor was bestowed, a National Endowment for the Arts Fellowship.

"Well, you weren't the only one that was surprised," chuckles Jackson. "Pleasantly surprised, I might add. Well, we were just contacted, and I was told that we were a recipient of this. It was nothing that we did. So, these good things happen, and you just have to kind of revel in it and enjoy it for what it is because it is the highest honor that a government can pay on an artist."

Since the NEA doesn't usually give grants to country singers or rock 'n' rollers, does Jackson feel that the artistic community is now willing to recognize roots music as authentic forms?

"Well, I don't know why it has taken them so long," opines the singer. "You know, when it's the biggest music in America, next to plain old rock music. I'm the first female country singer - Minnie Pearl was a recipient one year, but she was a comedian - so the first girl country singer, the first female rock singer - I'm the only one in there. I'm scratching my head and I'm saying, 'This is hard to believe.' But I'm glad that maybe they finally woke up and maybe many more of our very talented artists in this field of music will be recognized."

Jackson was also portrayed in the recent Johnny Cash biopic "Walk the Line" by actress Amy Kudlea. Jackson gives the film high marks. "It was done in such a super way. My recollection of Johnny Cash from the times that I worked with him, it was just very true, right down the line. Even to the point of showing Elvis in the wings watching him. Because Elvis didn't miss any of his performances if we were on a show together. And he'd usually get me by the hand and make me come watch him too. He said, 'He's going to be the greatest thing in country music.' And, so his predication came true, of course. But I thought they did a very nice job of portraying all the little small incidents."

Although she has always enjoyed telling concert audiences stories about Elvis, Jackson has never tried to capitalize on her relationship with him.

So, why do it now? "Well, I believe it was because of my fans," she explains, "the interest that they show when I mention Elvis on stage or at my autograph table. Also, my husband has been wanting me to do it. So, we were waiting for a good opportunity and when we felt the time was right."

Most husbands would be miffed at the prospect of their spouse constantly talking about another man. Not Wendell Goodman. Jackson's manager and husband for 45 years, he can joke philosophically, "That's all right. She can talk about it because I'm the guy that beat Elvis out."

The mock wisecracks don't stop there. Three years ago, Jackson's "Heart Trouble" album featured a guest appearance by Elvis Costello.

"So now I'm talking about Elvis Costello, I have been the last three years," giggles Jackson. "Wendell says, 'That's all I need - another Elvis in my life.' But he has a very good sense of humor. I also tell on that talking track that I was glad he got the opportunity to meet Elvis. Because I would be talking about him the rest of my life. He was very impressed with him and liked him as well."

Jackson's inclusion on Cleopatra Records' Shania Twain tribute - she sang "Whose Bed Are Your Boots Under Now" - led to Goodman pitching the idea of a Presley tribute for their Golden Lane imprint.

In turn, the label brought rockabilly guitarist Danny B. Harvey in as producer. "I had heard about him from one of my fans that lives in Iowa," says Jackson. "She had just sent me one of his recordings and said, 'I wish you'd listen to this guy. You need to work with him,' and things like that. So, later on that year, I met him and did work with him. I was most impressed with his knowledge of those years and music, and then when I heard him play I was doubly impressed. He's one fine guitar player and as it turned out, a very fine producer."

Presley's best early music was made in conjunction with the Blue Moon Boys - Scotty Moore, Bill Black and D.J. Fontana.

Did Jackson ever encourage Harvey to replicate their seminal sounds? "I was very tempted, yet as I listened to him I thought, 'I don't think this record needs to copy Elvis' exactly.' We got the spirit of the songs and after all, when I'm singing the song, it becomes mine. As much as I wanted to say that, I enjoyed very much everything (Harvey) did. It freshened the songs up."

Song selection was a key factor for Jackson, but some proved trickier than others. "Well, I wanted to do all the early things - the songs he was doing when I worked with him," she explains. "For many years, I've been doing 'Trying to Get to You' because that was one of my favorites. But 'Baby Let's Play House,' if I wanted to hear Elvis do one of those old '50's songs, that's the one I would play.

"One I really loved, 'That's All Right (Mama).' You know, I can't do that song. I can't change that gender without changing the whole song. Then also 'Heartbreak Hotel,' which he was beginning to perform when I was still working with him. 'Give Me the Right,' 'Too Much' and 'Ain't That Lovin' You Baby' were some of his earlier Victor songs. I liked 'em very well and enjoyed singing 'em, so I just threw those in."

The lone new song "I Wore Elvis' Ring," was directly inspired by Jackson's history with Presley. Still in her possession, the ring in question has long been a subject of good-natured household controversy.

"My daughter and son, ever since they were old enough to know who Elvis was and their mother had a ring of his, they started fussing," she chuckles. "'Who was I going to leave that ring to? ' So, seriously, not too long ago, we were with our lawyer going over a will. I said, 'I want to add something.' I said, 'I want my will to read that I want Elvis Presley's ring to go to my first grandchild.' So, now, that's stopped all of the fussing on my kids' part. Only now, (granddaughter) Jennifer is waiting for me to kick the bucket."

Jackson's only regret about her new album is that she flat out forgot to record a gospel song because that was a very important part of Elvis' music.

"I think the song I would have done - I recorded it one time in Czechoslovakia for an album - was 'Crying in the Chapel.' I wish I had put that on there. To his fans, all I can say is I'm sorry. I don't know how I overlooked that."

"I Remember Elvis" is also the centerpiece of a documentary film being made by KPI films titled "Every Night is Saturday Night." Following Jackson all around the world, co-producer Vinnie Kralyevick describes the film as a labor of love, adding, "When you look at the Rock and Roll Hall of Fame, you have people like James Taylor in there that aren't necessarily rockers, but Wanda is out there with her husband Wendell just about every night, whether it's in Finland, Sweden, Oklahoma or Houston. They're always driving to the next gig. I just thought that was a story that had to be told."

While the film is being edited and completion funds are sought, Jackson will spend some time caring for her ailing 92-year-old mother before hitting the road. She is profoundly grateful for her young fan base and hopes the new album pleases them.

"Well, I hope that they do enjoy listening to it and maybe jitterbugging to it as much as I enjoyed singing for them. And I just want the rock 'n' roll and rockabilly fans out there to keep this music alive because it's the best music that America has to offer."