Johnny Winter, along with his brother Edgar Winter, were nurtured at an early age by their parents in musical pursuits. Both he and his brother, who were born with albinism, began performing at an early age. When he was ten-years old, Winter appeared on a local children's show, playing ukelele and singing Everly Brothers songs with his brother.
His recording career began at the age of fifteen, when his band Johnny and the Jammers released "School Day Blues" on a Houston record label. During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days Winter would sometimes sit in with Roy Head and The Traits when they performed in the Beaumont, Texas area, and in 1967, Winter recorded a single with The Traits: "Tramp" backed with "Parchman Farm" (Universal Records 30496). In 1968, he released his first album The Progressive Blues Experiment, on Austin's Sonobeat Records.
Winter caught his biggest break in December 1968, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York. As it happened, representatives of Columbia Records (which had released the Top Ten Bloomfield/Kooper Super Session album) were at the concert. Winter played and sang B.B. King's "It's My Own Fault" to loud applause and, within a few days, was signed to reportedly what was then the largest advance in the history of the recording industry–$600,000.
Winter's first Columbia album, Johnny Winter was recorded and released in 1969. It featured the same backing musicians with whom he recorded The Progressive Blues Experiment, bassist Tommy Shannon and drummer Uncle John Turner, plus Edgar Winter on keyboards and saxophone, and (for his "Mean Mistreater") blues legends Willie Dixon on upright bass and Big Walter Horton on harmonica. The album featured a few selections that became Winter signature songs, including his composition "Dallas" (an acoustic blues, on which Winter played a steel-bodied, resonator guitar), John Lee "Sonny Boy" Williamson's "Good Morning Little School Girl", and B.B. King's "Be Careful With A Fool".
The album's success coincided with Imperial Records picking up The Progressive Blues Experiment for wider release. The same year, the Winter trio toured and performed at several rock festivals, including Woodstock. With brother Edgar added as a full member of the group, Winter also recorded his second album, Second Winter in Nashville in 1969. The two-record album, which only had three recorded sides (the fourth was blank), introduced a couple more staples of Winter's concerts, including Chuck Berry's "Johnny B. Goode" and Bob Dylan's "Highway 61 Revisited".
In 1984, Winter began recording for several labels, including Alligator Records and Point Blank Records, where he has focused on blues-oriented material. He continues to perform live, including festivals throughout North America and Europe. Winter has headlined such prestigious events as the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, Swedish Rock Fest, Warren Haynes X-mas jam, and Europe’s Rockpalast. He also performed with the Allman Brothers at the Beacon Theater in Manhattan on the 40th anniversary of their debut. In 2007 and 2010, Winter performed at Eric Clapton’s Crossroads Guitar Festivals. Two guitar instructional DVDs have been produced by Cherry Lane Music and the Hal Leonard Corporation. The Gibson Guitar Company released the signature Johnny Winter Firebird guitar in a ceremony in Nashville with Slash presenting.
In 2004, Winter received a Grammy nomination for his I’m a Bluesman album. Backing him are guitarist Paul Nelson, bassist Scott Spray, and drummer Vito Liuzzi. Beginning in 2007, a series of live Winter albums titled the Live Bootleg Series and a live DVD have all entered the Top 10 Billboard Blues charts. In 2009, The Woodstock Experience album was released, which includes eight songs that Winter performed at the 1969 festival. Johnny Winter is signed to Megaforce Records, who will release a new studio album titled Roots on September 27, 2011. It will include Winter's interpretation of eleven early blues and rock 'n' roll classics and feature several guest artists.
Winter produced three Grammy Award-winning albums by Muddy Waters, Hard Again (1977), I'm Ready (1978), and Muddy "Mississippi" Waters – Live (1979). Several Winter albums were also nominated for Grammy Awards. In 1980, Winter was on the cover of the first issue of Guitar World and in 1988, he was inducted into the Blues Foundation Hall of Fame.
Big Boss Man
Johnny Winter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Big boss man, can't you hear me when I call
Well, you ain't so big, you're just tall, that's all
Got me working, boss man, working 'round the clock
I want me a drink of water, but you won't let Jimmy stop
Big boss man, can't you hear me when I call?
Well, you ain't so big, you just tall, that's all
Well, I'm gonna get me a boss man, one gonna treat me right
Work hard in the day time, rest easy at night
Big boss man, can't you hear me when I call?
Well, you ain't so big, you're just tall, that's all
The lyrics to Johnny Winter's song "Big Boss Man" tell the story of an individual who is being dominated and exploited by their boss. The first verse asks if the big boss man can hear when he is called, indicating a lack of communication between the two. The singer then goes on to explain that the boss may be tall but is not as big as they think they are. This could be an indication of how the boss views themselves and how they may be using their status to manipulate and control others.
In the second verse, the individual is working around the clock and is not even allowed to take a break for water. This is a sign of a demanding boss who doesn't care about the welfare of their employees. Once again, the singer questions whether the boss can hear them calling out. The final verse expresses a desire to find a boss who will treat them well and allow them to have a work-life balance.
The song could be seen as a criticism of the capitalist system and the way in which it allows individuals with power to exploit those without. The singer wants a fair and just boss who cares about their employees and does not use their status to control them.
Line by Line Meaning
Big boss man, can't you hear me when I call
I am trying to get your attention, but you are not responding
Big boss man, can't you hear me when I call
I am trying to communicate with you, but you are not listening
Well, you ain't so big, you're just tall, that's all
You may be physically tall and in a position of power, but you are not impressive to me
Got me working, boss man, working 'round the clock
I am laboring for you constantly, without any rest or breaks
I want me a drink of water, but you won't let Jimmy stop
I am thirsty, but you are denying me a basic need and preventing someone else from helping me
Well, I'm gonna get me a boss man, one gonna treat me right
I am going to seek out a better employer who will treat me with respect and fairness
Work hard in the day time, rest easy at night
My ideal boss will require me to be productive during working hours but also provide me with adequate rest and relaxation
Big boss man, can't you hear me when I call?
I am still trying to reach you and convey my message
Well, you ain't so big, you're just tall, that's all
No matter how authoritative or intimidating you may seem, you are nothing more than a tall human being in my eyes
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: JAMES A WILLIAMSON
Lyrics Licensed & Provided by LyricFind