Fool if you think it's over 'Cause you said goodbye Fool if you think it's over I'll tell you why New born eyes always cry with pain At the first loo… - Chris Rea

There's rain on my window
But I'm thinking of you
Tears on my pillow
But I will come through
Josephine
I'll send you all my love
And every single step, I'll take
I'll take for you

On Charley Patton's voice and music style: I heard this fella, and his voice sounded like my voice. I’d always thought, ‘Well, I could never be a singer with this horrible voice’. I hated it. Absolutely hated it. Still do. But he sounded like the same kind of thing. I didn’t know black American terms: a boll weevil or turnpike blues. But there was an emotion that clicked with me. I became fascinated with gospel blues. I still play more gospel than Chicago. I very rarely go anywhere near that speed, aggression, Clapton thing. Someone once reviewed me, saying the testosterone was missing from my blues solos, because I don’t do Chicago. It’s just alien to me.

On modern blues: Me and the modern blues scene, we have difficulty getting on. I sometimes get the feeling that it’s all sixth-form college: ‘Oh, you shouldn’t do that.’ A lot of modern blues is academic. It’s what someone else did. But the blues is one of the biggest examples of evolution. It’s in constant change. You can’t document it and say ‘stop’. It should be free. [...] And has become some kind of technical thing. I’m fed up now of seeing, ‘Oh, this guitarist is faster than that guitarist’ – that’s got nothing to do with the fucking blues. Then you get guys who come along like Allman’s nephew (Derek Trucks): now that’s good. Fuck me. That’s what blues should be: something you haven’t heard before. The other stuff can get a bit like... you know when you fart in the bath? These scales get so fucking fast. Musically, emotionally, it ceases to do anything.