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How Blue Can You Get

"How Blue Can You Get" (also known as "Downhearted") is a slow song written by jazz critic Leonard Feather and his wife Jane Feather. It was first recorded by the vocal group Johnny Moore's Three Blazers, featuring vocalist , on February 25, 1949, in , and released as a single later that year by RCA Victor. The lyrics express profound emotional despair in a troubled relationship, capturing the genre's themes of heartbreak and melancholy, as famously adapted in B.B. King's version with lines like "I gave you golden diamonds and pearls / And you just gave me your blues." The song emerged during the postwar scene, where Johnny Moore's Three Blazers blended and elements with heartfelt vocals. Though not an immediate chart success, it entered the blues canon through numerous covers, establishing itself as a standard. Its structure adheres to the classic AAB lyrical pattern typical of , allowing for expressive improvisation, particularly on guitar. B.B. King's rendition, recorded live at Chicago's Regal Theater on November 21, 1964, and featured on the seminal album Live at the Regal (released in 1965 by ), propelled the song to iconic status. King's passionate vocal delivery and signature guitar work on his instrument "Lucille" transformed it into a highlight of the performance, showcasing his mastery of call-and-response dynamics with his band. This version, peaking at number 97 on the in 1964, influenced generations of blues and rock musicians, including covers by artists like in and a supergroup performance in the 1998 film . The track's enduring appeal lies in its raw emotional depth, making it a cornerstone of repertoire.

Origins and Composition

Songwriters

Leonard Feather (1914–1994) was a British-born pianist, , producer, and the preeminent jazz critic of his era, whose multifaceted career bridged , performance, and songwriting in the mid-20th-century American music scene. After emigrating to the in 1939, Feather immersed himself in the jazz world during the 1940s, serving as a press agent for bandleaders and from 1941 to 1943 before resuming his prolific writing for magazines like and Down Beat, where he championed emerging styles including and blues-inflected jazz. As a , he penned over 200 works, many tailored to the vibrant and milieu, blending sophisticated arrangements with accessible blues forms. Leonard Feather composed the music for "How Blue Can You Get," with lyrics by his wife, Jane Feather (née Larrabee), a former big band singer whose songwriting output was modest but impactful within their collaborative efforts. The couple met in California in 1945 and married soon after, forging a creative partnership that produced several blues standards amid the postwar boom in rhythm and blues. Jane contributed the lyrics to the song, drawing on themes of emotional desolation common to the era's jump blues repertoire, marking one of her notable forays into composition alongside works like "Blow Top Blues." Composed around 1948–1949, "How Blue Can You Get" emerged as a standard designed for and R&B performers, reflecting the Feathers' immersion in ' thriving music ecosystem. Its initial publication and copyright were facilitated through Feather's industry ties, registering under Modern Age Music () to align with the burgeoning R&B market. The track adheres to a classic structure, a format Feather frequently employed in his blues-oriented compositions.

Lyrics and Musical Structure

The lyrics of "How Blue Can You Get," as composed by Leonard and Jane Feather, employ a verse- structure typical of mid-20th-century songs, where verses build a narrative of escalating romantic and material disappointments, leading into a repeated that poses the titular question as a of profound emotional despair. The verses use AAB lyrical patterns, common in , to detail humorous yet poignant exaggerations of misfortune, such as the singer providing a "country " dismissed as "just a ," a "brand new " rejected in favor of a , a "ten dollar dinner" belittled as "just a snack," and even fathering "seven children" that the partner wishes to return. Thematically, the song draws on classic blues tropes of heartbreak, financial strain, and unappreciated devotion, infused with self-deprecating humor that underscores the singer's futile efforts to please an ungrateful lover, all delivered in a slow, melancholic that amplifies the sense of weary . This blend of and highlights the tradition of transforming personal suffering into relatable, cathartic expression, emphasizing emotional vulnerability over outright tragedy. Musically, the composition adheres to the form, a staple of the genre that provides a cyclical progression (I-IV-V chords) over three phrases, allowing for expressive vocal and elaboration. Rooted in the style, it incorporates a swinging influenced by , with a deliberate, shuffling feel that suits the song's introspective mood. The original suggests a piano-driven ensemble with and guitar support, creating space for vocal and subtle instrumental fills, such as piano rolls and guitar lines that echo the lyrical melancholy.

Early Recordings

Johnny Moore's Three Blazers Version

The song was first recorded on February 25, 1949, by , consisting of Johnny Moore and on guitars, on piano and vocals, and on bass. The recording adheres to a classic structure. Although recorded first by in 1949, the song's first commercial release was in 1950 by The Ellingtonians featuring Chubby Kemp on the label. The Three Blazers' recording remained unreleased until it was included on the 1960 compilation album . Billy Valentine delivered the vocals in a smooth, swinging style that highlighted the song's lyrics about romantic misfortune. This version emerged amid the post-war scene in , contributing to the movement characterized by laid-back grooves and influences. Although it achieved limited commercial success upon release, the recording helped preserve the tune, paving the way for its revival in subsequent interpretations.

Louis Jordan Version

In 1951, and His recorded "How Blue Can You Get" on June 5 for , issuing it as the B-side of the single "If You're So Smart, How Come You Ain't Rich?" under catalog number 27648. This version marked the second major early cover of the song, following its debut two years earlier by Johnny Moore's Three Blazers. The recording captured Jordan's ensemble during a transitional phase in his career, as his signature small-group sound expanded to incorporate larger horn sections while maintaining the lively, danceable essence of . The arrangement elevated the track into an up-tempo romp, contrasting the original's subdued piano trio intimacy with a fuller big band orchestration featuring brassy horns and Jordan's own alto saxophone solos. Clocking in at approximately 2:47, the performance pulses with syncopated rhythms and call-and-response elements typical of the era's R&B, emphasizing swinging brass accents and a driving backbeat that underscored Jordan's multi-instrumental prowess on saxophone and clarinet. Released in July 1951, the single exemplified the polished yet exuberant production values of Decca's postwar catalog. This rendition arrived amid Louis Jordan's sustained prominence in the R&B and scenes of the 1940s and early 1950s, a period when he amassed numerous hits and helped pioneer the rhythmic innovations that linked traditions to the nascent rock 'n' roll movement. Jordan's charismatic, rhythmically precise vocals delivered the song's lament with his trademark comedic timing and playful inflections, transforming the introspective lyrics into an engaging, humorous narrative that highlighted his role as a versatile entertainer.

B.B. King Interpretations

Studio Recording

B.B. King's first studio recording of "How Blue Can You Get," titled "Downhearted," was featured on his 1963 album Blues in My Heart, released on the Crown Records label. The track was part of a collection recorded in a small combo setting during late 1961, as King and the Bihari brothers stockpiled material ahead of his departure from the label. This version captured King's evolving style amid his efforts to expand beyond regional blues audiences in the early 1960s, blending raw emotion with more polished arrangements influenced by earlier interpretations like those by Johnny Moore's Three Blazers. The recording showcased King's vocals delivered with quiet authority and emotional depth, complemented by his tasteful guitar lines featuring signature bends and . Backed by a tight ensemble including keyboards from Maxwell Davis and by , the arrangement emphasized a slow, soulful structure with call-and-response elements between King's voice and instrument. Unlike the more dramatic live renditions that would follow, this studio take offered a straightforward , highlighting the song's introspective lyrics without orchestral flourishes. As an album track rather than a standalone , "Downhearted" did not receive individual but served as an early blueprint for King's signature performance of the tune, paving the way for its prominence in his live sets. The album itself marked one of King's final releases on , reflecting his transitional phase before signing with ABC-Paramount in 1962, where he achieved greater commercial success.

Live Performances

B.B. King's first prominent live rendition of "How Blue Can You Get" was captured during a performance at the Regal Theater in Chicago on November 21, 1964, and featured on his album Live at the Regal, released in 1965 by . This version, retitled from its original "Down Hearted," showcased King's ability to infuse the song with raw emotional depth through his vocal delivery and guitar work on his signature instrument, Lucille. The track was also issued as a single, peaking at number 97 on the chart in 1964. The song became a recurring highlight in King's concerts, appearing on several key live albums that highlighted its improvisational potential. On Live in Cook County Jail (1971), the performance extends to approximately 5 minutes with extended guitar solos, while Live in Japan (also 1971) stretches it to approximately 5 minutes, emphasizing King's interplay with his band. A 1996 compilation, How Blue Can You Get? Classic Live Performances 1964-1994, collects various iterations, some reaching up to 12 minutes, underscoring the song's evolution through King's signature style of emotive storytelling, call-and-response with audiences, and dynamic exchanges with Lucille. From its debut in 1964, it remained a staple until King's death in 2015, allowing him to adapt the blues narrative nightly with spontaneous phrasing and bends that conveyed profound heartache. Notable live appearances further cemented its place in King's legacy. At 1985 in , King performed the song and famously broke a guitar string mid-solo on Lucille but seamlessly replaced it without interrupting the flow, demonstrating his professionalism and command of the stage. In 1998, for the Blues Brothers 2000 soundtrack, King contributed to a medley as part of the fictional Louisiana Gator Boys supergroup, blending the tune with ensemble energy alongside artists like and . These live interpretations exemplify King's mastery of blues expression, transforming the song into a vehicle for personal and communal . The 1964 Live at the Regal version, in particular, is often ranked among the greatest live recordings, praised for its ecstatic intensity and influence on the genre.

Later Covers and Sampling

Notable Cover Versions

One of the earliest notable covers following B.B. King's influential interpretations came from during their Peter Green-led blues era, captured in a live recording from April 27, 1968, at the Queen Mary College in . This version infuses the slow structure with raw blues-rock energy, highlighted by Green's emotive work that echoes King's phrasing while adding a British rock edge, as heard on releases like London Live '68. The performance retains the song's melancholic lament but extends it with improvisational flair typical of the band's early live sets. In 2008, the Band delivered a modern -rock rendition on the posthumously released Mess of Blues, clocking in at over eight minutes with Healey's signature flat-lap guitar technique driving intense, vocal-like solos. Healey's take emphasizes raw emotional depth, blending King's template with rock-infused dynamics and a fuller band sound, showcasing his distinctive musician style that prioritizes tactile expression. This cover, recorded shortly before Healey's death, stands out for its extended instrumental passages that amplify the song's core without straying into pop territory. Cyndi Lauper, featuring on guitar, offered a pop- in 2010 on her album , where her powerhouse vocals take center stage in a 5:23 that softens the grit with soulful phrasing and Lang's fiery leads. The arrangement introduces subtle R&B flourishes, diverging from King's stark to highlight Lauper's interpretive range while honoring the ' heartache. This version exemplifies a crossover appeal, bridging authenticity with mainstream accessibility. The supergroup known as the Louisiana Gator Boys, featuring , , , and other blues luminaries, performed the song in the 1998 film and on its soundtrack album, released that year by . This ensemble rendition combines King's original vocal style with ensemble horns and improvisations, adding a festive New Orleans flavor while preserving the song's emotional core, contributing to its exposure in popular media. Susan Tedeschi's soulful, guitar-driven live performance with on December 1, 2021, at Boston's Orpheum Theatre, captures a dynamic 12-piece ensemble rendition that builds on King's influence through Tedeschi's expressive vocals and Trucks' masterful . Clocking around seven minutes in fan recordings, it incorporates jam-band extensions with horns and percussion, adding a contemporary soul-blues layer while preserving the slow, shuffling tempo. Other artists have adapted the tune with varied stylistic twists: the Jay Willie Blues Band's 2017 album Jay Walkin' features a gritty, harmonica-accented take that nods to King's raw emotion but quickens the pace slightly for a vibe; Nicole Zuraitis and Brandon Coleman's 2018 live recording on Live at the Two-Headed Calf infuses with Zuraitis's scat-like vocals over piano-driven swings; Joey Gilmore's 2008 Bluesman version delivers a shuffle with gritty guitar tones reminiscent of ; and Gary Moore's posthumous 2021 cover on the album How Blue Can You Get (released by Mascot Music Productions) presents a -rock interpretation with extended guitar solos lasting over seven minutes. These covers generally maintain the song's slow form and thematic despair but incorporate , , or elements, reflecting B.B. King's enduring template without achieving major commercial chart success.

Primitive Radio Gods Sampling

In 1996, the alternative rock band Primitive Radio Gods incorporated a sample of B.B. King's live rendition of "How Blue Can You Get?" into their debut single "Standing Outside a Broken Phone Booth with Money in My Hand." The sample features King's vocal and guitar performance from his 1971 album Live in Cook County Jail, specifically the line "I've been downhearted baby, ever since the day we met," which is looped throughout the track's chorus and layered with electronic beats, piano, and original lyrics written and performed by frontman Chris O'Connor. O'Connor, who handled production, vocals, and instrumentation for the song, blended the blues elements with downtempo alternative rock and hip-hop influences to create a haunting, introspective atmosphere. The single was first released on the soundtrack to the film before appearing on ' debut album , issued by on June 18, 1996. It achieved significant radio success, topping the Modern Rock Tracks chart for six weeks and reaching number 10 on the Hot 100 Airplay chart, though it was ineligible for the Hot 100 due to limited physical single availability in the U.S. The accompanying , which prominently showcased the sample in its chorus, received heavy rotation on , contributing to the track's crossover appeal amid the mid-1990s boom. This sampling marked a notable crossover of into and scenes, exposing and alt-rock audiences to King's emotive style and underscoring his lasting influence beyond traditional genres into hip-hop-adjacent production techniques. The track's innovative use of the sample helped bridge generational gaps, introducing younger listeners to classic blues phrasing while highlighting how King's work continued to inspire genre fusions in .

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