Jadyn Rylee and Sina’s “The Sound of Silence” is presented as a cover connected with both Simon & Garfunkel and Disturbed. Those names do different work. Paul Simon is the credited songwriter; a later band’s interpretation can be a reference for the treatment; Rylee and her collaborators provide the performance heard here.
Rylee’s own account of her recording work names Sina, Mike, and Rick Benbow as collaborators on this cover. Sina’s official collaboration archive also identifies Benbow’s arrangements for Rylee, including “Sound of Silence.” The finished video therefore belongs to a team process rather than a solitary singer with anonymous support.
An arrangement is not the underlying composition
A composition can circulate through different instrumental settings and performing styles. An arrangement determines how one version uses its resources: accompaniment, vocal placement, introductions, transitions, and the proportions of the ending.
Watch on YouTube ↗
The originating duo’s official biography offers an unusually concrete example of that distinction. It describes the early acoustic “Sound of Silence” recording and producer Tom Wilson’s later addition of electric guitar and rhythm-section parts. Even within the song’s early recording history, a change of texture did not mean a newly written composition.
The cover’s credit contains several relationships
| Relationship | What to identify |
|---|---|
| Composition | Paul Simon’s song. |
| Interpretive reference | The later version named in the cover’s title and description. |
| Arrangement and production team | The collaborators credited with shaping this treatment. |
| Featured performers | The singer and players realizing the recorded version. |
Keeping those levels separate prevents an influential cover from replacing the writer in the credit. It also allows the new performers to receive recognition without claiming that they originated the song.
The drums are part of the larger shape
In a vocal-centered arrangement, drums can do more than keep a constant background beat. They can articulate an entrance, support a transition, or change the scale of a section. Those functions are best heard across a phrase rather than judged from an isolated strike.
Follow the connection between the end of a sung idea and the beginning of the next section. Notice what the surrounding accompaniment contributes during that interval. This makes the ensemble’s continuity more apparent without assigning undocumented details to a studio session.
Sina’s upload supplies a participant perspective
The second video is published by Sina and identifies Rylee as the featured collaborator. It gives another participant-published access point to the cover. A changed credit order reflects the publishing frame; it does not automatically establish a new recording.
Watch on YouTube ↗
Compare corresponding passages if the image selection differs. The visible focus can shift between singer and instrumentalist while the collaboration remains the same identified project.
The live-labeled companion is another document
The final upload is labeled a live Rylee “Sound of Silence” performance. Its publisher’s label does not establish that the same players or complete studio arrangement participate. Keep its personnel unspecified where the source does not name them.
Watch on YouTube ↗
The set becomes clearer when the song’s writing, its interpretive history, and this cover’s collaborators are all visible. A recognizable composition can support new recorded work, and that work can remain collaborative even when one singer occupies the camera’s foreground.
