"It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]". First recorded in 1940 by American blues musician Tampa Red, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many blues and other artists.

"It Hurts Me Too" is based on "Things 'Bout Comin' My Way", recorded by Tampa Red in 1931. The melody lines are nearly identical and instrumentally they are similar, although the latter has an extra bar in the turnaround, giving it nine bars. "Sam Hill from Louisville", one of several pseudonyms of Walter Vinson (or Vincson), recorded "Things 'Bout Coming My Way" in 1931 shortly before Tampa Red. Vinson's version is based on his 1930 recording with the Mississippi Sheiks, "Sitting on Top of the World". Both songs share several elements with "You Got to Reap What You Sow", recorded by Tampa Red in 1929 and by Leroy Carr and Scrapper Blackwell in 1928. The melody lines, played on slide guitar by Tampa Red and sung by Carr, are similar to those in the later songs. Carr and Blackwell's song has elements of their own earlier 1928 song "How Long, How Long Blues". "How Long, How Long Blues" has been described as one of the first blues standards and the inspiration for many blues songs of the era.

In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You". It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard's Rhythm & Blues Records chart in 1949. (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics.

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