The greatest cover ever, according to Blondshell
Sabrina Teitelbaum, otherwise known as Blondshell, says, “The whole thing about covers is that it makes you hear a song in a way that you wouldn’t have heard it before.” Agreed. Hence, not all covers of songs are necessary, especially when they come across as inauthentic, empty, and vague retellings of someone else’s story. Put succinctly, some covers feel like the artist trying to capitalise on another person’s talents, without paying their sincere respects to the original.
In fact, it’s not too often that a cover holds up against the original or even surpasses it in excellence. Jeff Buckley’s ‘Hallelujah’ and Fiona Apple’s ‘Heart of Gold’ are two that immediately come to mind as being distinctly memorable and decidedly remarkable. That said, Teitelbaum’s choice is a welcome addition that shouldn’t be overlooked.
Donny Hathaway, with his full-bodied voice and irresistible swagger, brings a swing and brightness to every song he tackles. Whether it be his own or someone else’s, he delivers with a hearty charisma that breathes relatability and liveliness into music, giving it a soul and the space to be respected as it should be. As Teitelbaum suggests, his cover of John Lennon’s ‘Jealous Guy’ is no exception, making it her favourite cover song. Citing the power in his voice and the strength of the piano, Teitelbaum indicates that there’s an undaunted, bold sincerity to his rendition that allows for a greater amount of emotion to come through.
Hathaway brings heart and grit to the track, traits admittedly lacking in Lennon’s version. Where the latter’s version is wistfully apologetic as he delicately confesses feeling resentment and lingering pangs of possession at the end of a relationship, Hathaway’s is assertive. He verges on groovy territory as he implements blues and gospel-centred elements to dictate and portray the song’s sentiments.
As it is, both versions of the song are great. Though Lennon’s could be categorised more as vulnerable, as compared to the raw power of Hathaway’s cover, they both convey the message of the song with ease and poignancy. It is a credit to Lennon’s songwriting genius and capabilities, and the expertise of both artists in the art of artistic articulation which allow them to bring their own vibe to the table.
Lennon is, without question, a terrific musician, but there is something to be said about how Hathaway attacks the song. He makes it his own on all fronts, particularly with how he chooses to give the song a sauntering feel as far as the tempo is concerned. His arrangement emulates a saloon-esque setting, which ultimately increases the song’s ability to connect to the gut. In other words, it sounds as though Hathaway is lamenting about a failing relationship in a dimly lit bar, half drunk on some whiskey.
Additionally, the tender twang that’s permitted to take control through the piano’s barrelhouse style delivery adds an angst to the song, while Hathaway’s full-bodied vocals contribute a much-needed sense of longing and desperation to the narrative. All in all, it rounds out a lushly emotive and moving storyline that sits appropriately with the original, if not a level or two above it.
