To start this off, I thought I would include some of my favorite resources about these amazing ladies and Rockabilly music. Most of these sources I have used in my own research. Some are more complete than others, but all have a place in the history of Women in Rockabilly music and I would love to see them circulate more to inspire others to write more about this overlooked topic.
The Women of Rockabilly: Welcome to the Club DVD
Blue Rhythms: Six Lives in Rhythm and Blues
Sexing the Groove: Popular Music and Gender
Girls Rock!: Fifty Years of Women Making Music
Go Cat Go!: ROCKABILLY MUSIC AND ITS MAKERS
Little Miss Dynamite: The Life and Times of Brenda Lee
Memphis Belles - The Women Of Sun Records CD
Rockabilly a Bibliographic Resource Guide
Rockabilly queens: The careers and recordings of Wanda Jackson, Janis Martin, Brenda Lee
She's a Rebel: The History of Women in Rock and Roll
Welcome to the Club-Early Female Rockabilly CD
There are also two theses that are available through interlibrary loan:
Della Rosa, J. L. (2005). Hard rockin' mamas : female rockabilly artists of Rock'n'roll's first generation, 1953-1960.
This Masters thesis discusses how early female performers in rockabilly music, specifically Janis Martin, Lorrie Collins and Wanda Jackson, were able to defy traditional social roles, yet were not given the ability to stand on equal footing with their male counterparts. The author uses Billboard charts analyses to demonstrate how underrepresented women were in the business at the time and how the media played into social fears of gender roles.
Conor, E. (2006). Women take the stage : Janis Martin, Brenda Lee, and Wanda Jackson.
This book starts to ask questions of why some female performers could transcend stereotype, yet never achieve the same success their male counterparts did. Includes references in notes for further research beyond the bibliography sources and analyzes lyrics and performances to explore the difference in gender perceptions.
This may be a bit scholarly, however I think it is good to get an overview of some of the more helpful sources out there. If you notice, the list is fairly short. There are more from popular magazines and newspapers, but in general you can see that this topic is sorely lacking in research. Hopefully I can change that!
"Tea for Two," which was actually recorded in 1955. Accompanied only by piano, Kenney's voice has a fragility on par with fellow 50s vocalist 
, with a shot of 
and 
thrown in. I agree completely that she is obscure enough to be "rediscovered" for this compilation, yet this track sets a high standard for the rest of the album as well.
immediately catches the listener with his question "Are you ready for some Boogie Woogie?!?" and jumps into a high energy audio assault of vocals, stride piano, guitar, bass, drums, conga drums and a pair of saxes. Like Kenney, McNeely has been making music for quite some time and helps to create the base on which the other tunes on the CD will be compared to, conscious or not. The contrast of this jump blues tune against the first really grabbed me and I started to look forward to the next tune.
did not let me down and became my favorite on the compilation. The mix of jazz, torch song, and big band with dance pop is to me the essence of what This Is Vintage Now should be, a marriage of old and new in a way that supports each other. The short instrumental sax and piano jazz samples are perfectly blended behind a catchy vocal line to almost create a call and answer within the verse. The addition of a horn section over a pop band harkens back to Joe Jackson's successful crossover album 
, however this tune is much more dance oriented.
, and the song "Piece" is noteworthy with compelling lyrics, however it is awkward in the context of this particular compilation. It is not the sparseness of the instrumentation, voice and piano, because the first song on the CD is the same. It is more that the song has too much of an indie feel to it compared to the other songs. This is felt mostly in the melody line in the verse which tends to linger around the same note. The bridge section is closer to a "vintage" sound in that the melody and lyrics are on equal footing much more like a Tin Pan Alley song, however the bridge is only 16 bars out of essentially a 48 bar song. While I would agree that Charnelle's song is channeling a 
sound, this is really the only song on this CD to cover this type of genre and it really sticks out.
is nice blend of lounge, exotica and bossa jazz, with a little bit of gypsy thrown in. This tunes definitely makes me think of 
album in that it is fleshing out a jazz idiom with native flavor. The juxtaposition of vibes, flute and violin in the different sections of the tune outline each flavor and provide quite a bit of texture in a fairly short song (3:22) for this genre. I personally would have liked the quicker middle section to have been longer to allow the soloists to explore more.
meets the 
. The use of a shout chorus and a guitar that fills in for the absence of a horn section is effective, giving the song a firm swing feel to it. There is no solo section in this tune which is unusual, however the song does not drag on due to the switch in underlying tempo textures in each section of the 16 bar blues.
. Creveling is another talented but overlooked jazz singer that has a fluid, sing-songy sound similar to a younger 
or even 
ala "Come On A My House." She is backed by a combo of piano, bass and drums and has a sound typical of most female jazz vocalists at that time. What is atypical is that she was 18 when she recorded the album that the track comes from, 
and 
decided to cover a 
song at a circus. The lack of percussion in this song just adds to the amorphous feeling of floating through a dream, however the echo on the guitar adds a sinister sense of excitement as you half expect a zombie clown (courtesy of the glock). I love it and fits perfectly within the theme of this CD.
. Billed as Halloween jazz/swing, the group is a combo with vocals and sax that teeters on the brink of a rockabilly shuffle sound. There is something restrained about this particular recording that I can't quite place my finger on. It's as if everyone but the sax player is holding back or is fatigued from a day of recording. I keep expecting more as the song goes on and it never quite gets there. I would have especially liked to have heard more from the vocalist who has a powerful and expressive voice, perhaps some scatting. Overall this tune fits within the objective of the compilation yet is unremarkable in defining a new vintage sound in and of itself.