Guava Jelly (song)

American singer-songwriter Johnny Nash created a new version of "Guava Jelly" for his eleventh studio album, I Can See Clearly Now (1972).[18] It was first used as the B-side to his previous single, "There Are More Questions Than Answers", which was also released in 1972, and was produced by Nash.[19] Rita Marley, Bob's wife, was upset that JAD Records lent the track for Nash to cover, as the label "wanted to make a star out of Johnny Nash, not of Bob Marley".[20] Additionally, Steve Sullivan (author of Encyclopedia of Great Popular Song Recordings, Volume 1) incorrectly claimed that Marley was commissioned to write "Guava Jelly" solely for Nash. However, Sullivan also writes that the success of Nash's version allotted Marley enough money to start his own record label, which he had always wanted to do. The label was eventually created and became known as Tuff Gong.[21]

Nash's rendition of "Guava Jelly" was released exclusively in Jamaica by Federal Records on 23 February 1973. The 7" single features the aforementioned title as the A-side and "The Fish & the Alley of Destruction" as its B-side.[22] The following year, CBS Records International released it in South Africa, but instead with "Ooh Baby You've Been Good to Me" replacing the previously mentioned B-side.[23] Sullivan took a liking to Nash's release, finding him definitely influenced by Marley and writing that "Nash's inviting high tenor voice, and lyrics designed to banish negativity and unleash hope" are able to create "pure pleasure" whenever its played on the radio.[21][24] On the 2010 British miniseries This Is England '86, "Guava Jelly" was played on selected episodes and features on the accompanying soundtrack in 2010.[25]

Nash has since placed "Guava Jelly" on several of his future releases. The single was first included on 1974 compilation album, Greatest Hits.[26] Then "Guava Jelly" has inclusion on The Johnny Nash Collection (1977) and The Johnny Nash Album (1980), released by Sony Music and CBS Records International, respectively.[27][28] It was also featured as track ten on his 1981 collection of singles, titled Stir It Up; the record was released exclusively by Hallmark Recordings.[29] Other albums that feature his version of "Guava Jelly" include The Reggae Collection (1993),[30] The Best of Johnny Nash (1996),[31] Superhits (2004),[32] and Collections (2006).[33] The Trojan Records compiled This Is Reggae Music: The Golden Era 1960-1975 and released it on 26 October 2004; three songs by Nash were included: "Guava Jelly" on disc three, and "I Can See Clearly Now" and "Stir It Up" on disc four.[24]

American vocalist Barbra Streisand recorded "Guava Jelly" for ButterFly (1974), her sixteenth studio album. Marley licensed the track to Streisand in 1974, a year where he took a break from recording music, in hopes of exposing more fans to his music.[35][36] According to author Klive Walker, the singer created the cover in order to "decorat[e] her songs with a fresh 'tropical' beat".[37] Similarly, other publications felt she released it during the growing popularity of reggae music in the United States.[38][39] However, Streisand instead hoped for achieving a record featuring diverse and "eclectic" material,[40] straying away from her previous works of the pop and rock genres.[41]

A critic for Stereo Review determined that Streisand sounds like Aretha Franklin on "Guava Jelly", singing with a more sexual tone previously unheard of in her catalogue.[42] Streisand released the single in a 7" vinyl format on 16 December 1974 in three territories: the United States, the Netherlands, and Spain. The US version features B-side track "Love in the Afternoon",[43] the Netherlands release includes a cover of David Bowie's "Life on Mars",[44] and the Spain edition has the Spanish version of "Love in the Afternoon" (titled "Amor al Atardecer").[45] A promotional release in the United States has the mono and stereo versions of "Guava Jelly".[46]

Streisand's version of "Guava Jelly" divided music critics. A writer for Billboard was enthusiastic of the release, writing, "Barbra takes the great Bob Marley reggae cut and commercializes it somewhat, though the flavor is still there. Good soulful backup and reggae type organ help make this an almost certain bet for heavy top 40 play".[47] Author Derek Winnert referred to Streisand's version as a "success" in his 1996 book Barbra Streisand.[48] However, an editor for Boating disliked Streisand's version and urged the public to "ignore" it, joking that it "does not belong in [...] our stateroom".[49] A reviewer from Broadcasting disliked everything about her version, stating, "The Streisand voice and name alone might be enough to make a hit out of any of her single releases, but with the first single from her best-selling ButterFly album, the singer is taking no chances."[50]

Years after its initial release, Streisand took to Larry King Live in 1991 and announced her displeasure with ButterFly and the songs on it. Biographer Tom Santopietro wrote that "Guava Jelly" and album track "Grandma's Hands" were among the bad songs on the album. He also stated that "Broadway divas do not take naturally to singing 'Ooh baby, here I am. Come rub it on my belly like guava jelly'".[51] In agreement, writer Shaun Considine claimed that one unknown critic in particular panned the track, stating "Streisand was not born to sing reggae",[52] while another joked that he/she had "no comment" to make in response to the release.[53] Ben Gerson, writing for Rolling Stone, found the singer to be "unconvincingly animal" throughout her rendition. He continued, "Being beautiful, romantic and desirable have not come to her so effortlessly that she can easily throw them over for the sake a little authentic, malodorous sweat."[54]