I Guess That's Why They Call It The Blues

"I Guess That's Why They Call It The Blues" is a heartfelt exploration of love, distance, and longing. The song's narrative is essentially a letter from someone who is away from their lover, expressing the sorrow of their separation while offering reassurance and hope. The core message is that the pain of being apart is a natural and expected part of profound love—a feeling universally understood as 'the blues.'

Lyrically, the song encourages the listener's partner not to despair over the time apart but to use it for introspection and growth ('Dust out the demons inside'). It contrasts the current loneliness with the joyful, intimate moments they share when together ('Laughing like children, living like lovers / Rollin' like thunder under the covers'), which sharpens the sting of absence. The title phrase acts as a refrain of resignation and understanding; the sadness is a testament to the depth of their connection. Ultimately, the song is a powerful declaration of enduring love and commitment, famously culminating in the line, 'But more than ever I simply love you / More than I love life itself.' Lyricist Bernie Taupin intended it as a love letter, advising that time is precious and shouldn't be wasted by wallowing in sadness.

A message of reassurance is sent to a loved one from afar. The narrator begins by urging their partner not to despair over their temporary separation, advising against viewing it as a permanent state. There's an optimistic promise that the future holds better times for them. While physically apart, the narrator encourages their partner to confront and overcome their inner turmoil and personal demons. The anticipation of their reunion is a beacon of hope—a return to a shared, intimate sanctuary in their hearts.

The central feeling of sadness and longing that accompanies this separation is acknowledged as 'the blues.' This melancholy is heightened by the contemplation of wasted time that could have been filled with shared joy. The narrator dreams of the simple, profound moments they are missing: laughing with the carefree innocence of children, sharing the deep intimacy of lovers, and experiencing powerful, unbridled passion together. This poignant contrast between the present loneliness and the memory of shared happiness is the very essence of why this feeling is called the blues.

The narrator offers further advice for coping with the distance: to simply be present in the moment, to visualize his face as a comfort, and to live each second to the fullest. It's a plea for his partner to hold on and remember the commitment he has to her. He asks for patience, acknowledging the pain she feels and permitting her to cry if it provides relief. This compassionate understanding culminates in the song's most powerful declaration: an affirmation of a love so profound that it surpasses the narrator's love for life itself. This ultimate expression of devotion underscores the depth of his feelings and the pain of their current separation.

"I Guess That's Why They Call It The Blues" was released in April 1983 in the UK and November 1983 in the US as the lead single from Elton John's seventeenth studio album, Too Low for Zero. This album marked a significant reunion of John with his classic-era band lineup: Davey Johnstone on guitar, Dee Murray on bass, and Nigel Olsson on drums, for the first time since 1975. It was also the first album since 1976 to feature lyrics exclusively by his longtime collaborator, Bernie Taupin.

The lyrics were written by Bernie Taupin in Montserrat as a love letter to his then-wife, Toni Russo. The music was composed collaboratively by Elton John and guitarist Davey Johnstone. Johnstone recalled that the song came together very quickly, in about 20 minutes, after John showed him Taupin's beautiful lyrics. A defining feature of the song is the soulful harmonica solo, which was performed by the legendary Stevie Wonder. Producer Chris Thomas suggested the harmonica, and despite John's initial skepticism, Wonder's first-take performance proved to be a brilliant addition, elevating the song's emotional weight.

The song's lyrical structure follows a relatively conventional verse-chorus form. The rhyme scheme in the verses is roughly ABCB, as seen in lines like "Don't wish it away / Don't look at it like it's forever / Between you and me I could honestly say / That things can only get better." This simple, effective scheme gives the lyrics a natural, conversational flow. The chorus employs a more paired rhyming structure with AABB ("...spent with you" / "...call it the blues"; "...like lovers" / "...under the covers"), which makes it highly memorable and anthemic. The song has a moderate tempo and a gentle, shuffling rhythm that contributes to its melancholic yet hopeful mood. The interplay between the lyrical rhythm and the piano-driven musical rhythm is smooth and seamless, allowing Elton John's vocal phrasing to glide effortlessly over the chord progressions. This creates a comfortable, classic ballad feel that has allowed the song to endure.

Musically, the song employs a blend of soft rock and a '50s-like R&B shuffle, creating a feeling of timeless nostalgia. Elton John's jazzy and melodic piano playing forms the core of the song's structure, providing both the rhythmic drive and the harmonic foundation. His vocal delivery is heartfelt and emotive, conveying a sense of genuine longing and sincerity. The arrangement is notable for its classic band feel, marking the reunion of John's most famous lineup. The most iconic musical technique is the use of Stevie Wonder's chromatic harmonica solo. This solo functions like a second voice, expressing a wordless ache and soaring emotion that complements the lyrics perfectly. Lyrically, Bernie Taupin uses a direct, conversational address, making the song feel like an intimate letter. The use of vivid imagery, such as "laughing like children" and "rollin' like thunder," creates strong emotional pictures for the listener, enhancing the song's narrative.

"I Guess That's Why They Call It The Blues" was a significant commercial comeback for Elton John, marking a return to the charts after a period of lesser success. The song became one of his biggest hits of the 1980s, reaching #4 on the Billboard Hot 100 in the US and #5 in the UK. Its success was bolstered by a popular music video directed by Russell Mulcahy, which received heavy rotation on MTV. The song solidified the triumphant return of the classic Elton John-Bernie Taupin songwriting partnership and the reunion of John's original band. It has remained a fan favorite and a staple of his live performances for decades. The track has been covered by various artists, including Mary J. Blige and Alessia Cara, and was featured in the 1992 film Peter's Friends. Its timeless theme of love and longing has made it one of the most enduring and beloved ballads in Elton John's extensive catalog.

The song's central metaphor is the concept of "the blues." It's not presented in a strictly musical sense but as a universal emotional state representing the deep melancholy and longing that comes from being separated from a loved one. The title itself is a form of understatement, a shrug that acknowledges this profound sadness as an inevitable consequence of true love. The line "Dust out the demons inside" serves as a metaphor for introspection and self-improvement, suggesting that the period of separation can be a time for personal cleansing and growth. The imagery of running "to the place in our hearts where we hide" symbolizes the intimate, secret world that a couple shares, a sanctuary of shared memories and feelings that they can retreat to, even when physically apart. Finally, the simile "Rollin' like thunder under the covers" uses a powerful natural image to convey the intensity and passion of their physical intimacy, making its absence all the more palpable.

The most significant recurring phrase is the title itself, "I guess that's why they call it the blues," which appears at the end of each chorus. This line serves as the song's central thesis, a recurring moment of poignant realization. Its repetition reinforces the idea that the sadness being felt is a universal experience, a known consequence of love and distance. It's a phrase of resignation but also of understanding, connecting the narrator's personal feelings to a broader human condition. Another recurring motif is the contrast between the present state of loneliness and the imagined or remembered state of being together. The verses focus on coping with the present ('while I'm away'), while the chorus laments the missed opportunities for shared joy ('time on my hands could be time spent with you'), creating a consistent emotional tension throughout the song.