Today, Bat For Lashes' Natasha Khan tells us what 'Jealous Guy' means to her...
The January issue of UNCUT is on sale now, featuring an all-star panel of musicians selecting their favourite song by the late [b]Beatle[/b] [b]John Lennon[/b].
Which Lennon song “flipped out” [b]Brian Wilson[/b] when he first heard it?
Which one reminds [b]Arctic Monkey[/b] [b]Alex Turner[/b] of his mum and dad?
And when we asked [b]The Who[/b]’s [b]Roger Daltrey[/b] for his favourite, what on earth led him to conclude: “I can see why people go completely mad in this business.”?
And there’s many, many brilliant contributions from the likes of [b]Yoko Ono[/b], [b]John Cale[/b], [b]John Lydon[/b], [b]Jarvis Cocker[/b] and [b]Liam Gallagher[/b].
Meanwhile, Uncut.co.uk will be running online exclusives throughout the month, today is The Gossip’s [b]Beth Ditto[/b]’s pick.
Coming up: [b]Richmond Fontaine[/b]’s Willy Vlautin, [b]Josh Ritter[/b], [b]Roy Wood[/b] and more will be picking out their favourite tracks.
From The John Lennon album, Imagine (November 1971))[/b]
[b]Natasha Khan, Bat For Lashes:[/b]
As a youngster the Beatles were so passe. They were just part of the furniture, like an old, beautiful grandfather clock in the corner that you didn’t notice anymore.
But as time went on, I discovered more about Lennon as a leader and thinker. I think he had a huge amount of power that he used in a very positive way to bring underground ideas to the fore. That’s what all great artists do, isn’t it? Subvert the mainstream from the inside. Push the mainstream’s expectations of what art or music or politics is.
An old boyfriend used to play me “Jealous Guy”. I remember how it sounded about such a grown-up type of love that I hadn’t yet experienced in my teenage relationships. It was definitely the sound of a love that transcended just infatuation or lust.
There’s something straightforward and universal about it.
Lyrically, it’s really simple, but provides a real insight into the flawed side of man who has surrendered to his baser and angrier instincts. And the fact the song is an apology after the fact makes it all the more poignant, that it’s written in remorseful hindsight.
I always had the impression that he was really feisty and mouthy and obnoxious in the early days, but through his relationship with Yoko, a whole body of work came out that was so focused on a desire to do right by his woman and the ability to show his vulnerable side. But it’s still very masculine, even with the admission of his flaws, which I think is the sign of a strong man and artist.
Plus! What do you think Lennon’s greatest song is? You can vote for your choice, and tell us why, by clicking here for the special poll. We’ll be publishing your choices in a future issue of Uncut, along with a reader Top 10. VOTE HERE!