It Hurts me, Too

Another “versions” post.

I love Elmore James, and I love this song. I know there are quite a few versions of it out there.

Karen Dalton does an excellent job of sounding hurt…

Anybody else have a version that they like?

42 thoughts on “It Hurts me, Too

  1. I did like that, Maki. He’s got a pretty guitar. Thanks. I just looked on Spotty and there are about a million versions of the song. Actually, listening to him play made me realize that this song is similar melodically to Sittin on Top of the World. Hmmm…

    Empathetic songs might make a good RR topic someday.

    • His pretty guitar is a National Resophonic, Steen, but you probably knew that. I think it’s a Triolian, with those roundy shoulders, but it’s not a vintage one from the ’30s, unless he’s had it refinished.

  2. Well, you-know-who used to do it when Pigpen was alive but it was a bit too slow for him to be convincing. Love Karen Dalton’s voice.

    • Wait ’til John hears what I’ve done to Ice Cream Man, Tin. Spinnin’-In-His-Grave John, they call him in guitar heaven…

      • I just spoke* to him and he says it’s fine. Switzerland isn’t a big market for him anyway.

        *I know I look large in my photos, but I’m actually a medium

    • Love the John Brim. I didn’t know it was his originally. Good heavenly days. I have to admit I can’t bring myself to listen to Eric Clapton. I like to think of myself as pretty open-minded when it comes to music, but there’s something about him that just puts me off. I’ll take your word for it. I actually used to like a couple of his own songs.

    • P.S. Thanks for the John Brim heads-up, Tin; it has led me to rediscover his ‘Tough Times’, a song over which I was racking my brains back in the ‘Songs About Desperation’ days….

  3. Steen – Compare and contrast:

    One of my favourites, recorded in November ’36, three years before Tampa Red cut ‘It Hurts Me Too’.
    That’s not intended as a put-down, btw; I really like both songs…

  4. Steen, can you edit my 9.08 reply to Tin’s comment and take out the italic markers I put in wrongly, please?


      • Thanks Steen! The Robert Johnson track is a goose-bumper for me. He cut two versions, second one much faster and with less feeling. As one of his biographers, whose name escapes me, said, you can imagine the engineer saying, ‘Nice, Robert, now let’s have a fast one that the people can dance to…..’

      • I’ll take that as a compliment, Tin, though I know you normally spell ‘scholar’ a-n-o-r-a-k…

      • I’m with you there, WB. Hearing Robert Johnson for the first time was a musical “O Brave New World” moment for me. Did you read the article in the Guardian about the discovery that they may have had the RPM wrong on all of his songs?

      • Missed that one, Steen. Just checked the dates of his two recording sessions, though, and Wiki quotes the Grauniad article. Interesting.

  5. Here’s a couple more, Big Bill’s from that LP that I posted from last week, ‘Trouble in Mind’, and I recently pulled Freddy, BB and Albert King to do a post of their styles but it didn’t happen but the album was still sitting here.

    [audio src="" /]

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    • Love the BIg BIll Broonzy. Thanks, GF. I’ve been meaning to try and find some more of his songs. His voice is moving, and I like the sparse arrangement.

    • Glad you liked them. And the second clip is from a…well, a French documentary. It looks brilliant, and I hope it instills a good sense of national pride in you.

      • It does look good, but surely any sense of national pride would be trumped by yours (and partly mine, when it suits me) for producing the music featured in the documentary!

  6. Wow- Love this song. I’ve got the Tampa Red but only on vinyl & haven’t had it out in ages. So mini project there. Of the ones I have digitized a version by Angela Strehli seems to fit the bill nicely specially late into the evening.

    • Steen – dropped The Angela Strehli version in the Sittin’ on top of the world directory so you can listen. She’s a Texan, plays bass & vocals. Saw her with Pinetop Perkins here in the 90’s I think.

  7. Ooh, Angela Strehli. Once upon a time, before Bill the Burglar came our way, I used to have (and love!) a sampler “Women at Antones” where Angela was featured. I recently heard Susan Tedeschi for the first time, and she made me think of a cross between Bonnie Raitt and Angela Strehli.

    Getting back to ‘Hurts So Bad’ – I’ve got a great version by Dr John, possibly with Mike Bloomfield and John Hammond. I’ll have a dig around later, see if I can find it for the Box

  8. Fintan – love that Angela Strehli. It manages to rev up the oomph without losing the essential feel of the song.

    GF – I’m with Steen on the Big Bill; it’s grand. The Freddy’s pretty good also, but he seems to be concentrating on the guitar and not really thinking about the song as a whole.

  9. WB: I think you’re right and it seems to dominate a lot of his music, he was generally known as the ‘King of the electric Guitar’. I was thinking recently of doing a thing comparing him with BB and also Albert, BB’s got the chops, Albert’s just so-so.

    • Co-incidentally Albert Collins was nommed this week and so I listened to him for the first time in probably 20 years. I’d forgotten how much joy he always seems to play with. Its almost like he knows by now he’ll never be remembered and an elite and its set him free to just enjoy himself. I’d think he’d be fun to see live.

      • Albert Collins was indeed fun to see live, Tin. I saw him a couple of times, including at the Crystal Palace Bowl in July ’92, which must have been one of his last shows in the UK. He died of lung cancer with complications in late ’93. That ‘Ice Picker’ style was never improved, despite dozens of imitators. In ’84 (or ’85), I walked into the blues dept at Tower Records, straight up to the desk, asked what record was playing and said, ‘I’ll take it.’ First and only time I ever did that – it was Albert Collins’ ‘Live In Japan’.

        The only one of the Kings that I didn’t see, GF, was Freddy. I quite enjoyed Albert, the one time I saw him, although he did keep kicking up about the onstage sound quality. It was a favourite trick of his, apparently. He claims that the Gibson Flying V was designed for him (He used it all the time, an upside-down RH model strung for a RH player, i.e. with the strings ‘backwards’).

        BB’s problem by the time that I saw him was that he had so many crowd-favourite songs that he ended up playing medleys all night – not the best way to hear the songs IMHO. I’d have killed for his tone, though.

      • This is apparently Albert Collins’ final recording, for Branford Marsalis’ jazz-hiphop-R&B crossover recording Buckshot Lefonque. There are two guitarists, Collins is the soloist, the riffer is Dave Barry.

        [audio src="" /]

      • I liked that, Nilpferd.

        I love the ‘Spill — you can start with an Elmore James tune (sorry, a Tampa Red tune) and somehow arrive at a crossover jazz/hip hop/R&B recording.

        This has turned into an interesting (and beautifully illustrated, thank you GF!) discussion.

        I loved your description of your first Blues concert, Tin.

  10. One of my first concerts was James Cotton Blues Band.
    I was 15/16 and I’d been to a few concerts of the KISS ilk with girls but this one was of the smokey bar variety and I went with my older brother and a friend of his. I don’t think I’d heard any real blues yet, and I’m pretty sure I went not having a clue just to be included with the big boys.
    Nonethelesss this was 75/76 when Cotton was probably at his prime and when the band kicked in full belt it was like a body blow. I still think hearing a real blues guy belt out Mannish Boy for the first time is a bigger right of passing than losing your virginity. I do know I can still picture Cotton and the place and even what Cotton was wearing whereas the other is a bit hazy.

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