Having already played together in various bands and being old friends, the guys thought it made more than a little sense to put their heads together to form a suitably funked up outfit that reflected their shared love of original dance music flavours. Since then BBM have taken their infectious ramshackle road-show around Spain twice (selling out 500+ venues), and through Germany and Italy. They have played huge festivals in France, as well as being invited by Artemy Troitsky (Russia's answer to John Peel) for a special one-off in Moscow. All of which have helped them earn their deserved reputation as the punks of Hammond funk!
The release of their debut Humanize album in 2001 was marked by a show at the opening of the "My Generation" H&M Fashion & Photography Exhibition in Stockholm, and since then BBM have built up a loyal following touring extensively in the UK, Europe and further afield.
In-between their hectic live schedule their debut LP Humanize provide the entire soundtrack to short film "Sweet" starring the Perrier award winning comedy duo The Mighty Boosh. The band were also featured as the live band in the nightclub sequences in the film, which has won a Turner Classic Film Award at the National Film Institute, an Empire film award, as well as being nominated for a BAFTA. The same year also saw the inclusion of a specially recorded BBM track "Christmas Boogaloo", on the Xfm charity album It's A Cool Cool Christmas, alongside such artists as Belle and Sebastian, and The Flaming Lips.
The 2005 follow up album Winner wass produced by the band and Morgan Nicholls (The Streets / Muse / Senseless Things / Morgan). The initial recording sessions, when the band laid down the basic tracks, took place in a disused classroom using just a crusty old analogue 8-track tape recorder and about 3 cheap mics to get that required dirty funk sound. The results were taken to A Major Studios in Shepherds Bush, West London, for editing and additional recording and mixing with Morgan. Morgan is the son of Immediate Records' in-house songwriter Billy Nicholls, so the studio was choc-full of groovy stuff: The Who's Hammond, Steve Marriott's first guitar, Clavis, Wurlis etc, etc. All of which were put to good use on the album!
Winner continues the trip through 60's Funk, along the way taking in Bongo/Fuzz in Everybody Boogaloo, Latin Soul in Complicated Lady, French Beat in Tu As Gaché, Floor-fillers such as Kelvin Stardust, Boogaloo in, er, B.o.o.g.a.l.o.o. and general Hammond/Moog mentalness everywhere else.
BBM have also found time to work their magic on a re-mix of Japanese sensation Mansfield's track "If I Want It" for his album "Golden Hour", as well as reworking an obscure 60's cult Euro TV theme, "Robbi, Tobbi..." for Germany's Diggler records. Most recently, BBM were requested to provide two remix versions of Paul Weller's UK Top 20 hit The Bottle (2004), both of which featured on a limited 7"-only version of the single which sold out on the day of release. The band have also featured on numerous compilations.
In 2009, Big Boss Man released their long-awaited third album Full English Beat Breakfast. Recorded by the band at their 8-track ramshackle studio and mixed by Nick Terry at Studio 2 at The Premises, Hackney, London. Big Boss Man have been described by Russian TV as "the Worlds hottest Hammond beat group" and currently hold the record for the longest drum break at the 2007 World Breaks & Beats Festival in Helsinki. Not wishing to let this go to their head they thought it was high time they got back into the studio to complete album number three. They got down to business after finally getting over their collective hangover from their mini-tour of Tinkoff Brewery music venues in some of the more remote parts of Russia. The locals treated them to a touch of Beatlemania with clothes being ripped off and the band had to have security at all times, not that they’re complaining!
As usual the band have made good use of their extensive collection of vintage (and temperamental) gear for Full English. Head honcho Nasser (a.k.a the Bongolian) plays mini-VIP, Farfisa and Hammond organs, Wurlitzer piano, Moog synths and drums and percussion. Driving fuzz guitar and bass beat is provided by bassman Scott Milsom "the Hawk" and guitarist Trev Harding. The band have once again created a superb spaced-out selection of prime 60’s inspired dance floor tracks: Northern Soul vibes with ‘Black Eye’, garage sounds with ‘The Bloater’, Boogaloo with ‘Pies and Pastiche’ and even samba with ‘Full Brazilian’.
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Big Boss Man
Big Boss Man Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Big boss man, can't you hear me when I call?
Can't you hear me when I call?
Well you ain't so big, you know you're just tall that's all, All right
Well you got me workin' boss man
Workin' round the clock
I wanna little drink of water
Big boss man now can't you hear me when I call? All right
I said you ain't so big, you know you're just tall that's all
Big boss man, why can't you hear me when I call? All right
You know you ain't so big, I said you're just tall that's all, All right
I'm gonna get me a boss man
One who's gonna treat me right
I work hard in the day time
Rest easy at night
Big boss man, can't you hear me when I call? Can't you hear me when I
call?
I said you ain't so big, you're just tall that's all
I'm gonna get me a boss man
One that's gonna treat me right
I work hard in the evenin'
Rest easy at night
Big boss man, big boss man, can't you hear me when I call?
I said you ain't so big, you're just tall that's all
All right, big boss man
It's all right
The song “Big Boss Man” by Jimmy Reed, also known as “Boss Man Blues,” is a blues classic that was released in 1961. The song is about an employee who is unhappy with his boss, who is referred to as the “big boss man.” The employee wants to be heard by his boss and lets him know that he is not as big as he thinks he is. The lyrics “Big boss man, can’t you hear me when I call?” are repeated throughout the song and emphasize the disconnect between the employee and the boss. The employee works hard for the boss, but still feels underappreciated, as seen in the lines “Well you got me workin’ boss man, workin’ round the clock, I wanna little drink of water but you won’t let big Al stop.”
Despite the theme of dissatisfaction in the relationship between the boss and employee, the song maintains a catchy beat and upbeat rhythm. Interestingly, the song’s repetitive structure and hooks have made it a popular cover song, with versions recorded by many artists such as Elvis Presley, Grateful Dead, and B.B. King. The song’s influence on rock and roll music is evident, as it has been covered by so many prominent musicians. The lyrics of the song have also made an appearance in popular culture, being referenced in movies and TV shows such as the sitcom Roseanne and the film Blues Brothers 2000.
Line by Line Meaning
Big boss man, can't you hear me when I call?
The singer is questioning why their boss is not responding or listening to their requests.
Can't you hear me when I call?
The singer is repeating their earlier question, expressing frustration and annoyance.
Well you ain't so big, you know you're just tall that's all, All right
The singer is mocking their boss, claiming that while they may be physically imposing, they are not actually powerful or intimidating.
Well you got me workin' boss man
The artist is acknowledging that they are under the authority of their boss and have been given work to do.
Workin' round the clock
The artist indicates that they are working continuously without breaks or rest periods.
I wanna little drink of water
The singer is expressing their basic need for hydration.
But you won't let big Al stop
The singer's boss is preventing them from taking a short break to get a drink of water.
Big boss man, why can't you hear me when I call? All right
The artist is expressing further frustration that their boss is not responding to their requests or addressing their concerns.
You know you ain't so big, I said you're just tall that's all, All right
The artist reiterates that their boss's stature does not equate to true authority or respect.
I'm gonna get me a boss man
The artist is declaring that they will seek out a new, more responsive boss.
One who's gonna treat me right
The singer is hoping to find a boss who will treat them with fairness and respect, unlike their current boss.
I work hard in the day time
The artist acknowledges that they are a diligent worker during business hours.
Rest easy at night
The singer is expressing the desire to have peace of mind and relaxation after a long day of work.
Big boss man, big boss man, can't you hear me when I call?
The singer is repeating their original query, as well as their dissatisfaction with their current boss's lack of responsiveness.
All right, big boss man
The singer is concluding their song with a sarcastic, dismissive tone towards their boss.
Lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management
Written by: Dixon Luther, Al Smith
Lyrics Licensed & Provided by LyricFind
@andrewcutts3197
I met Jimmy and the rest of the artists during the 1968 American Folk Blues Festival, when they visited the De Montfort Hall in Leicester during the U.K. leg of the tour. I was invited up to the dressing room to meet everyone by John Lee Hooker after a chance meeting in the bar. They all signed my programme, and made a young blues fan the happiest person on Earth. Bless you John, and everyone else who used to come over.
@patriciavega1563
This song reminds me of my big brother. Lost him in April of 2023. I listen to this song and I can see him snapping his fingers and and singing! Love you Danny and ull always be in my heart !
@sheeshee5210
This is my uncles favorite song! He loved blues “real blues” as he would always say. I miss him so much and whenever I hear this I think of him dancing and playing the harmonica! Rest In Peace Unk D.D.L 🥰
@RetroJenny
I love this song. There's nothing like an old blues tune to calm your nerves after a hectic day.
@stonehand49
AMEN
@ryan72232
Agreed lol 10 yrs later 🤣🤣
@terrywyatt8304
I got it all right here in my head. Fifty years of blues and blues rock Texas style.
Guitar strat fender vintage.
@l.russellbrown9732
Elvis recorded this song
Of all the brilliant blues men that came out of the deep south
Jimmy had the most hauntingly distinctive way of performing his simple but unique tunes.
Being both simple and unique is close to impossible
And Jimmy Reed was
Pure magic
@everettbass8659
They used to play this on the oldies weekend when I was a kid,loved it.Im 70 now😆
@HomeAtLast501
Elvis sped the tempo way up, compared to Jimmy. Elvis also removed the heavy syncopation/emphasis on the backbeat, and evened out the rhythm. He also sang the lyrics with more legato.