Episode 69: “Fujiyama Mama” by Wanda Jackson

Speaker 1 A History of Folk Music and 500 Songs

Speaker 1 by Andrew Higgie.

Speaker 2 Episode 69

Speaker 2 Fujiama Mama by Wanda Jackson.

Speaker 2 Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture.

Speaker 2 If that, or or flippant lyrics about the bombings of Hiroshima or Nagaseki, are likely to upset you, be warned.

Speaker 2 When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder.

Speaker 2 I Gotta Know had been a hit, but there hadn't been a successful follow-up. In part, this was because she was straddling two different genres.

Speaker 2 She was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well.

Speaker 2 In later years, it would be recognised that the music she was making combined some of the best of both worlds.

Speaker 2 She was working with a lot of the musicians on the west coast who would later go on to become famous for creating the Bakersfield sound and changing the whole face of country music.

Speaker 2 and her records have a lot of that sound about them.

Speaker 2 And at the same time, she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market and a little bit too rock for the country market.

Speaker 2 Possibly the place where she fit in best was among the Sun Records Acts, and so it's not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins, and Johnny Cash did over much of North America in early 1957,

Speaker 2 the tour on which Jerry Lee Lewis moved from third build to top of the bill by sheer force of personality.

Speaker 2 But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other's cars and living off nothing but whiskey, Wanda's principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her.

Speaker 2 To a great extent, she was shielded from the worst aspects of the men's behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tour mates.

Speaker 2 But she seems to have been happy with that situation. She didn't seem to have much desire to become one of the boys, the way many other female rock and roll stars have.

Speaker 2 She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting.

Speaker 2 She didn't think that her on-stage persona had to match her off-stage behavior at all.

Speaker 2 And one of the wildest records she made was Fujiyama Mama.

Speaker 2 And when I start erupting, ain't nobody gonna make me stop.

Speaker 2 I drink a quarter sake, the smoke on a mine. I chase it with the backee and then shoot out the lights with all my Fujiama mama.
And I'm just about to.

Speaker 2 Fuji Yama Mama was written by the Rockabilly and RB songwriter Jack Hammer, whose birth name was the more prosaic Earl Burroughs, who is best known as having been the credited co-writer of Great Balls of Fire.

Speaker 2 We didn't talk about him in the episode on that song, because apparently Hammer's only contribution to the song was the title.

Speaker 2 He wrote a different song with the same title, which Paul Case, who was the music consultant on the film Jamboree, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit.

Speaker 2 But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote Rock and Roll Call, which was recorded by Louis Jordan.

Speaker 2 Bob, Duke, Dan, and Pat, Bert, Eddie, Phil, and Matt, A, B, C, and D, roll on down to

Speaker 2 Milkshake Mademoiselle for Jerry Lee Lewis.

Speaker 1 Down to the drugstore to be with the crowd, hand in soda popper crying out aloud. All day long, she's sitting on a stew.
She drank a milkshake and giggle like a boo. She's a milkshake, Mademoiselle.

Speaker 1 Ooh, she can't be.

Speaker 1 But she's a milk chicken malawazell.

Speaker 1 Ooh, what you do to me?

Speaker 1 She wanna go study just to have an avoid. Same old line for Peter and Paul.
Come on, baby, now give me her date.

Speaker 2 And in nineteen fifty-four, when Hammer was only fourteen, he wrote Fujiama Mama, which was originally recorded by Anna Steen Allen.

Speaker 1 I'm a Fujiama Mama, and I'm just about to blow my top.

Speaker 1 I'm a Fujiama mama and I'm just about to blow my top.

Speaker 1 Cause of when I start erupting, ain't nobody gonna make me stop.

Speaker 1 I drink a quarter psyche, smoke dynamite.

Speaker 2 This was a song in a long line of songs about black women's sexuality, which lie at the base of rock and roll.

Speaker 2 though of course, as with several of those songs, it's written by a man, and it's mostly the woman boasting about how much pleasure she's going to give the man.

Speaker 2 While it's a sexually aggressive record, this is very much a male fantasy as performed by a woman.

Speaker 2 Alan was yet another singer in the early days of RB and Rock and Roll to have come out of Lucky Millander's Orchestra.

Speaker 2 She had been his female singer in the late 40s, just after Rosetta Tharpe had left the group, and while Wynoni Harris was their male singer.

Speaker 2 She'd sung lead on what turned out to be Millinder's last big hit, I'm Waiting Just For You.

Speaker 2 After she left Melinda's band, Alan recorded for a variety of labels with little success, and when she recorded Fujiyama Mama in 1954, she was on Capital.

Speaker 2 This was almost unique at the time, as her kind of RB would normally have come out on King or Savoy or Apollo, or a similar small label.

Speaker 2 In its original version, Fujiama Mama wasn't a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record.

Speaker 2 She quickly learned the song and added it to her own act.

Speaker 2 In 1957, Jackson was in the studio recording a country song called No Wedding Bells for Joe, written by a friend of hers called Mary John Wilkin, who would later go on to write country classics like Long Black Veil.

Speaker 2 Then came the

Speaker 2 For the B side, Jackson wanted to record Fujiama Mama, but Ken Nelson was very concerned. The lyrics about drinking, smoking and shooting were bad enough for a girl who was not yet quite twenty.

Speaker 2 The blatant female sexuality was not something that would go down well at all in the country market.

Speaker 2 And lyrics like I've been to Nagasaki, Hiroshima 2, the things I did to them I can do to you were horribly tasteless.

Speaker 2 And remember, this was little more than a decade after the bombs were dropped on those cities.

Speaker 2 Nelson really, really disliked the song and didn't want Jackson to record it.

Speaker 2 And while I've been critical of Nelson for making poor repertoire choices for his artists, Nelson was someone with a great instinct for for performers, but a terrible instinct for material.

Speaker 2 I can't say I entirely blame him in this instance.

Speaker 2 But Wanda overruled him.

Speaker 2 And then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her, You're the one who wanted to do it, so you need to do it your way.

Speaker 2 In the last episode about Jackson, we talked about how she tried to do her normal growling roar on Hot Dog That Made Him Mad, but was let down by having drunk milk before recording the song.

Speaker 2 This time she had no problem, and for the first time in the studio, she sang in the voice that she used for her rock and roll songs on stage.

Speaker 2 And when I start erupting, ain't nobody gonna make me stop.

Speaker 2 Baby, you can say I'm crazy, so deaf and dumb. But I can cause destruction just like the Adam Barba Bamba.

Speaker 2 To my ears, Jackson's version of the song is still notably inferior to Alan's version.

Speaker 2 But it's important to note that this isn't a Georgia Gibbs-style white person covering a black artist for commercial success at the instigation of her producer and copying the arrangement precisely, this is a young woman covering a record she loved and doing it as a B-side.

Speaker 2 There's still the racial dynamic at play there, but this is closer to Elvis doing That's All Right than to Georgia Gibbs ripping off Laverne Baker or Etta James.

Speaker 2 It's also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song.

Speaker 2 Barton was a novelty singer, whose biggest hit was If I Knew You Were Coming I'd have Baked the Cake from nineteen fifty.

Speaker 2 Come in,

Speaker 2 well, well, well, look who's here. I haven't seen you in many a year.

Speaker 2 If

Speaker 2 I

Speaker 1 I knew you were coming, I'd have bake the cake, baked the cake, bake the cake. If I knew you were coming, I'd have bake the cake.
Hutch you do, how to do, hut you do.

Speaker 1 Had you dropped me a letter, I'd have hired a band and spranded a band in the land. Had you dropped me a letter, I'd a hired a band and spread the wand.

Speaker 2 Barton's version of Fujiama Mama was the B-side to a 1955 remake of If I Knew You Were Coming, I'd Have Baked a Cake, redone as a blues.

Speaker 2 I've not actually been able to track down a copy of that remake, so I can't play an excerpt. I'm sure you're all devastated by that.

Speaker 2 Barton's version, far more than than Jackson's, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Alan's original recording.

Speaker 1 I'm a Guji Yama Mama, and I'm just about to blow my top.

Speaker 1 Cause the way I've got erupted, ain't nobody

Speaker 2 I think the difference between Barton's and Jackson's versions simply comes down to their sincerity. Barton hated the song and thought of it as a terrible novelty tune she was being forced to sing.

Speaker 2 She did a competent professional job because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record.

Speaker 2 Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer.

Speaker 2 For all the many, many problematic aspects of the song, which I won't defend at all, that passion does show through in Jackson's performance of it.

Speaker 2 Jackson's single was released, and did absolutely nothing sales-wise, as was normal for her records at this point.

Speaker 2 Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, Party, which in her version was retitled Let's Have a Party.

Speaker 2 That album also did essentially nothing. And while Jackson continued releasing singles throughout 1958, none of them chartered.

Speaker 2 Ken Nelson didn't even book her in for a single recording session in 1959.

Speaker 2 By that point, they'd got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn't need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy.

Speaker 2 And then something really strange happened. Fujiama Mama became hugely successful in Japan.

Speaker 2 Now, nobody seems to have adequately explained quite how this happened. After all, this record was

Speaker 2 not exactly flattering about Japanese people, and its first couple of lines seemed to celebrate the bombings of Hiroshima and Nagasaki, and it's not as if they didn't know what was being sung.

Speaker 2 While obviously Jackson was singing in English, and most listeners in Japan couldn't speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about.

Speaker 2 Yet, somehow, the record made number one in Japan.

Speaker 2 In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty.

Speaker 2 But also, while in the USA pretty much all the rock'n'roll hits were sung by men, Japan was developing its own rock and roll culture.

Speaker 2 And in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson.

Speaker 2 Now, I am very far from being an expert on post-war Japanese culture, so please don't take anything I say on this subject as being any kind of definitive statement, but from the stuff I've read, and in particular from a very good, long article on this particular song that I'm going to link in the liner notes, and which I urge you all to read, which goes into the cultural background a lot more than I can here.

Speaker 2 It seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings.

Speaker 2 For example, here's Izumi Yukimura's version of Kokomo.

Speaker 2 to me, baby, whisper in my ear.

Speaker 2 Oh, talk to me, baby,

Speaker 2 whisper in my ear.

Speaker 1 Won't you come a little closer? Don't have no fear.

Speaker 1 Don't you know

Speaker 2 I love you so? In many of these versions, they would sing a verse in the original English and then a verse in Japanese translation, as you can again hear in that recording.

Speaker 1 Don't you know

Speaker 1 I love you so

Speaker 1 don't you know?

Speaker 2 Izumi Yukimura also recorded a version of Fujiama Mama patterned after Jackson's

Speaker 2 I mean I've been psyched

Speaker 2 here in Shima too The thing I did to them, baby, I can do too The life of Rujiyama Mama and adjust the fire below my topiamo yama

Speaker 2 And when I start erupting, ain't nobody gonna make me stop

Speaker 2 There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock'n'roll recording that version of Fujiyama Mama actually is.

Speaker 2 When you compare it to the music that was coming out of places like the UK or Australia or France, it's far more energetic and shows a far better understanding of the idiom.

Speaker 2 It's important to note though that part of the reason for this is the peculiar circumstances in Japan at the time.

Speaker 2 Much of the Japanese entertainment industry in the late 40s and 50s had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers.

Speaker 2 But this meant two things: it firstly meant that young women were far more likely to be musical performers in Japan than in the US.

Speaker 2 And it also meant that the Japanese music industry was geared to performers who were performing in American styles. And so Japanese listeners were accustomed to hearing things like this.

Speaker 1 1, 2, 3 o'clock, 4 o'clock, rock. A 5, 6, 7 o'clock, eight o'clock, rock.
A nine, ten, eleven o'clock, twelve o'clock, rock. We're gonna rock around the clock tonight.

Speaker 1 Put your bat rackets on, and join me home. We're having some fun.
When the clock strikes, and we're gonna rock around the clock tonight. We're gonna rock, rock, rock till broad daylight.

Speaker 1 We're gonna rock, gonna rock around the clock tonight.

Speaker 2 So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it.

Speaker 2 While in America, rock and roll was largely viewed as a male music, in Japan they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan.

Speaker 2 In her autobiography, she makes clear that she was the kind of person who would nowadays be called a weeb, having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture.

Speaker 2 She had always wanted to visit Japan Japan growing up, and when she got there, she was amazed to find that they were organising a press conference for her, and that wherever she went, there were fans wanting her autograph.

Speaker 2 Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture, though in her autobiography, she talks about visiting a bar over there where Japanese singers were performing country songs.

Speaker 2 She just knew that they had latched on, for whatever reason, to an obscure obscure B-side, and given her a second chance at success.

Speaker 2 When Jackson got back from Japan, she put together her own band for the first time, and unusually for country music at the time, it was an integrated band with a black pianist.

Speaker 2 She had to deal with some resistance from her mother, who was an older southern white woman, but eventually managed to win her round.

Speaker 2 That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips.

Speaker 1 Yeah, I don't like the singles that you used to be mine. You can't eat and sleep.
Just about to lose my mind.

Speaker 1 Alright, can't eat, can't sleep. Just about to lose my mind.

Speaker 2 Downing also had disco hits in the early 70s, and later had a run of hits on the country charts.

Speaker 2 Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show He-Hore with Buck Buck Owens, who had played on many of Jackson's earlier records.

Speaker 2 In 1960 Jackson returned to the studio. While she'd not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her.

Speaker 2 But Ken Nelson had a specific condition for any future recordings.

Speaker 2 He pointed out that while she'd been recording both rock and roll and country music in her previous sessions, she'd only ever charted in the US as a country artist, and she'd been signed as a country artist to Capital.

Speaker 2 All her future sessions were going to be purely country to avoid diluting her brand.

Speaker 2 Jackson agreed, and so she went into the studio and recorded a country shuffle. Please call today.

Speaker 1 at all

Speaker 1 For you belong to someone else Your love I must borrow

Speaker 1 Please call today

Speaker 2 For I'll be gone tomorrow But a few weeks later she got a call from Ken Nelson telling her that she was in the charts not with Please Call Today but with party the album track she'd recorded three years earlier.

Speaker 2 She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show.

Speaker 2 So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capital and convinced him to put the track out as a single, and it had made the pop top forty.

Speaker 2 As a result, Capital rushed out an album of her previous Rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album, as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously released singles.

Speaker 2 This album was full of cover versions of rock and roll hits from the previous few years. like Elvis's Hardheaded Woman, Laverne Baker's Tweedledee, and Buddy Holly's It Doesn't Matter Anymore.

Speaker 2 And she also recorded a few rock and roll singles, like a cover version of The Robins' Riot in Cell Block No. 9.

Speaker 2 Those sessions also produced what became Jackson's biggest hit single to that point.

Speaker 2 At the time, Brenda Lee was a big star and a friend of Jackson.

Speaker 2 The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with I'm Sorry. I'm sorry,

Speaker 1 so sorry

Speaker 1 that I

Speaker 1 was

Speaker 1 such a fool.

Speaker 1 I didn't know

Speaker 1 love could be

Speaker 1 so cruel.

Speaker 2 That was one of the first recordings in what would become known as the Nashville Sound, a style of music that was somewhere between country music and middle-of-the-road pop.

Speaker 2 Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record.

Speaker 2 However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it.

Speaker 2 And once he heard it, he insisted on recording it with her, saying that Venda Lee had enough hits of her own, and she didn't need Wanda Jackson giving her hers.

Speaker 2 The result was Right or Wrong, which became her first solo country top ten hit, and all of a sudden she had once again switched styles.

Speaker 2 She was now no longer Wanda Jackson the Rock'n'Roller, but she was Wanda Jackson the Nashville sound pop country singer.

Speaker 2 I'll do what you ask

Speaker 2 me to.

Speaker 2 For I believe that I belong

Speaker 2 by your side,

Speaker 1 right or wrong,

Speaker 1 right or wrong, it's gotta be

Speaker 1 always you

Speaker 2 always.

Speaker 2 Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned Wake the Town and Tell the People, which had been a hit in 1955 and had an undeniably similar melody.

Speaker 2 Sing it to the moon apart

Speaker 2 Wake the town and tell the people

Speaker 2 Tell them that we're so unlock

Speaker 2 Even so, her switch to pure country music ended up being good for Jackson while she would have peaks and troughs in her career She managed to score another 15 country top 40 hits over the next decade.

Speaker 2 Although her biggest hit was as a writer rather than a performer, when she wrote Kicking Our Hearts Around for Buck Owens, who had played on many of her sessions early in his career, before he went on to become the biggest star in country music.

Speaker 1 and let's don't dare to try to hurt the other.

Speaker 1 Let's stop kicking our hearts around and let's love one another.

Speaker 1 We've said goodbye.

Speaker 2 Like almost everything Owens released in the 60s, that went top 10 on the country charts.

Speaker 2 Jackson was a fairly major star in the country field throughout the 60s, even having her own TV show, but she was becoming increasingly unhappy and suffering from alcoholism.

Speaker 2 In the early 70s, she and her husband had a religious awakening and became born-again Christians, and she once again switched her musical style, this time from country music to gospel, though she would still sing her old secular hits along with the gospel songs on stage.

Speaker 2 Unfortunately, capital weren't interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the 70s, she was reduced to re-recording her old hits for mail-order compilations put out by KTEL Records.

Speaker 2 But then her career got a second wind.

Speaker 2 In Europe, in the early 1980s, there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson, and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans.

Speaker 2 By the 90s, American Rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janice Martin's Last Sessions, invited Jackson to duet with her on a few songs and tour North America with her.

Speaker 2 thing called love. Rockin' little angels gonna rock him up to heaven tonight.

Speaker 1 Rockin' little angel, a little angel, rockin' little angel, a little angel, rockin' little angel gonna rock him up to heaven tonight.

Speaker 1 I'm this rockin' Billy angel gonna rock him like the devil tonight.

Speaker 2 In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats.

Speaker 2 But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens.

Speaker 2 After duetting with her, Costello discovered that she wasn't yet in the Rock and Roll Hall of Fame and started lobbying for her inclusion, writing an open letter that says in part, For heaven's sake, the whole thing risks ridicule and having the appearance of being a little boys' club, unless it acknowledges the contribution of one of the first women of rock and roll.

Speaker 2 It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today.

Speaker 2 Even though their records will always be thrilling, their sound is not really heard in echo.

Speaker 2 Look around today, and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girllike wonder.

Speaker 2 She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking, How much is that doggy in the window?

Speaker 2 Thanks in large part to Costello's advocacy, Jackson finally made it into the Hall of Fame in 2009,

Speaker 2 and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers.

Speaker 2 One produced by Justin Townse Earl, and the other by Jack White.

Speaker 2 Jackson has been having some health problems recently, and her husband and manager of 56 years died in 2017, so she finally retired from live performance in March last year, but she's apparently still working on a new album produced by Joan Jett, which should be out soon.

Speaker 2 With luck, she will have a long and happy retirement.

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