Following her 2009 induction into the Rock and Roll Hall of Fame, Jackson collaborated with musician Jack White to record the commercially successful The Party Ain't Over.

[21] It was soon released as Jackson's debut single on Decca and became a major hit, climbing to the number eight spot on the Billboard Hot Country and Western Sides chart.

[22] Jackson continued recording rock and roll music under her Capitol contract and was given full permission to do so by producer Ken Nelson.

[36] Meanwhile, Kurt Wolff found that Jackson's rock material was also mixed with traditional country elements, which added to her musical individuality: "Jackson mixed straight country material and hot-to-the-core rockabilly numbers almost right from the beginning...Songs like 'Fujiyama Mama' and 'Mean Mean Man' were hard and fast, giving her plenty of reason to shimmy around in her glamorous fringe dresses".

[46] Upon her return to America, Jackson played in Las Vegas with Bob Wills and did additional concerts with her newly formed touring band.

[65][22] Wonderful Wanda received a positive review from critics, including Billboard magazine, which described her vocal performance as being "in fine form".

[79] Jackson had eleven more charting Billboard country singles during the 1960s, including the top 40 songs "A Girl Don't Have to Drink to Have Fun", "Both Sides of the Line", "My Baby Walked Right Out on Me" and "Two Separate Bar Stools".

[81] Mary A. Bufwack and Robert K. Oermann gave the music a mixed review in their 2003 book: "Of Wanda's many country hits between 1961 and 1972, none recaptured her rockabilly zing, although several were self-assertive about women's issues.

[18] "Wendell and I both felt like God was calling us to stop working in nightclubs and bars in order to dedicate ourselves to the ministry," her autobiography recounted.

[87] Jackson's husband started removing her concerts from the country music night club circuit (which accounted for eighty percent of her income).

[118] As the decade progressed, she found opportunities touring in various European counties, including Spain, Switzerland, Hungary, the Czech Republic and the United Kingdom.

[120] She also continued releasing gospel material, such as Show Me the Way to Calvary (1981) on the Christian World label[121] and Teach Me to Love (1984) on Vine Records.

"[133] The project received a positive response from Mark Deming of AllMusic, who wrote, "I Remember Elvis is something short of revelatory, but it is a sincere and loving tribute to an influential artist from someone who learned from him first-hand.

[134] Slant Magazine gave the collection a three-star rating and praised Jackson's vocals while noting that the arrangements lacked distinction from Presley's originals.

[146] The record received a three-star rating from Allmusic's Stephen Thomas Erlewine who argued that White's influence overshadowed Jackson's musical image.

"Jackson’s not content to just remake the greats: Her slaying of Amy Winehouse's 'You Know I’m No Good' is a master class for her wild-child inheritors", Dolan concluded.

[154] Mark Deming of AllMusic gave the project a positive response in his review: "Unfinished Business shows that six decades after her first recordings, that strategy still works, and she can still deliver the goods without a lot of needless fuss.

"[155] Greg Kot of the Chicago Tribune found the album was better-suited to Jackson's musical roots compared to previous release, praising her vocal quality and Earle's production.

[164] American Songwriter commented that Jackson "sets the standard, and even in her seventh decade of making music, that confidence and control remain readily apparent.

Critic Bruce Eder explained that "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".

[168] Author Kurt Wolff wrote that Jackson released both genres simultaneously because she "never [felt] the need to hide one set of songs from fans of the other.

"[37] Critic William Ruhlmann theorized that Jackson "was encouraged to straddle musical genres" due to her record label's worries that rock would decline in popularity.

[169][170] Mary A. Bufwack and Robert K. Oermann stated that Jackson's vocal growl "captured the elemental, low-class wildness of this music [rock and roll] better than any female of her day.

"[112] NPR's Maria Sherman claimed that Jackson's snarl changed the way audiences view female singers and performers.

[170] Stephen L. Betts of Rolling Stone commented that Jackson's vocal snarl gave her a "one-of-a-kind voice like spring-loaded dynamite wrapped in sandpaper.

[176] Mary A. Bufwack and Robert K. Oermann added that Jackson's outfits demonstrated "fire, energy, and uninhibited nerve that doubtless shocked conservatives".

[7][172] Bobby Moore added that Jackson's live shows embedded "upbeat songs" and "high-energy" that "compelled audience members to party like they don't have to work the next day."

In the same interview, she explained her reasoning for putting on a high-energy performance show: "I feel like it's my job to see that people have a good time when they come out to a concert.

[18][179] Flores spoke of how Jackson influenced her career in a 2012 interview with the Chicago Tribune: "The main thing I learned was that the older you get, the music you do and the way you put it out doesn't change.

[204] In her autobiography, she explained that Presley "won my heart as I was just beginning to understand what it really meant to embrace my femininity and express myself as a young woman.