The story behind songs can be as captivating as the melodies themselves. When it comes to novelty songs and parodies, the narratives often take unexpected turns, intertwining humor, legal battles, and musical history. One such story involves “Big Bad Bruce,” a song that emerged as a playful response to Jimmy Dean’s iconic “Big Bad John.” This article delves into the origins of “Big Bad Bruce,” exploring its connection to “Big Bad John” and the intriguing journey it took from a stage act to a recorded track, navigating through copyright complexities and performer sensitivities.
Randy Sparks, the creative force behind the New Christy Minstrels, revealed the genesis of “Big Bad Bruce” in an email shared online. Sparks recounted that in November 1961, when “Big Bad John” dominated the music charts, inspiration struck. He crafted “Big Bad Bruce” as a good-natured parody, a humorous take on the masculine archetype portrayed in Dean’s hit. Initially conceived for his solo performances, “Big Bad Bruce” quickly became a crowd favorite. Sparks observed the audience reactions, noting the contrasting reception between different groups. While many found humor in the song, some perceived it differently, highlighting the evolving sensitivities around representation and comedy even in the early 1960s.
Sparks himself acknowledged the shifting social landscape, reflecting that in those times, understanding of what was considered appropriate was still developing. He introduced the song in his act by playfully framing it as a work song, contrasting the traditionally masculine image of mining with a less conventional occupation – hairdressing. This setup served as a comedic preface to “Big Bad Bruce,” setting the stage for its parodic nature. Interestingly, when Sparks performed the song for Jimmy Dean himself, the reaction was not of amusement but offense. Dean viewed “Big Bad Bruce” as a slight against his “personal masterpiece,” prompting Sparks to apologize and assure him of no intention to record the parody commercially.
Despite Sparks’ reservations, “Big Bad Bruce” found its way to recording through Casey Anderson. Anderson, having witnessed Sparks perform the song, sought permission to record it. Sparks explained the concept of “Special Material” and his reluctance to have the song recorded, partly due to potential copyright issues with Acuff-Rose, the publishers of “Big Bad John.” This was before the landmark Two-Live Crew court case that broadened the scope of parody under copyright law. Sparks, aiming to keep “Big Bad Bruce” as “Special Material,” intentionally avoided publishing it. However, Anderson, undeterred, proceeded to record a version, altering the name and some story elements.
Later, Sparks discovered another recording of “Big Bad Bruce” by Steve Greenberg, coinciding with a recording by a group of college students in Florida. Upon learning of the Florida recording, Sparks consulted a copyright attorney. However, legal recourse proved futile as Acuff-Rose had already granted a license for the parody to the Florida group. The attorney advised that pursuing the matter was unviable, especially since the song’s earnings were modest and publishers intended to withdraw it from the market. While expressing initial frustration, Sparks adopted a philosophical perspective on the situation, viewing it as an ironic form of flattery – having his work deemed worthy of imitation, even if unauthorized.
“Big Bad Bruce,” despite its popularity in Sparks’ live shows, didn’t align with the repertoire of the New Christy Minstrels, who achieved fame shortly after its creation in 1962. As the New Christy Minstrels gained momentum, “Big Bad Bruce” remained a footnote in Sparks’ career, a testament to the era’s evolving humor and copyright landscape. Decades later, reflecting on the song’s journey, Sparks humorously pondered if there were “bragging rights” for inadvertently pioneering the terrain of musical parody. His initial intention was simply to entertain, and “Big Bad Bruce” largely succeeded in that regard.
Adding another layer to the story, Tom Pickles, a music historian and liner notes writer for New Christy Minstrels reissues, offered further insights. Pickles revealed that contrary to Sparks’ recollection, “Big Bad Bruce” was indeed recorded by the New Christy Minstrels in late summer 1962, intended for their second album “In Person.” The track may have been omitted from the final album release, possibly due to concerns from Columbia Records or in consideration of Jimmy Dean’s reaction, especially given that both Dean and the New Christy Minstrels were associated with Columbia Records. The New Christy Minstrels’ clean-cut image, amplified by their appearances on “The Andy Williams Show,” might also have contributed to the decision to exclude the song. While the master recording reportedly still exists within Sony (Columbia), its rediscovery and potential reissue remain uncertain. Pickles, who has never heard the New Christy Minstrels’ version, anticipates it to be characteristically witty and entertaining, albeit potentially requiring a tolerance for its dated comedic sensibilities.
The tale of “Big Bad Bruce” serves as a fascinating microcosm of the early 1960s music scene – a time of folk revival, novelty songs, and evolving cultural norms. Born as a lighthearted parody of the chart-topping “Big Bad John,” “Big Bad Bruce” navigated a path through live performances, near-recordings, copyright ambiguities, and ultimately, a somewhat obscured place in music history. Its story, as recounted by its creator and music historians, provides a unique glimpse into the creative and legal landscape surrounding musical parody and the ever-evolving dynamics between artists, audiences, and the industry.
