Musicals are a strange beast. Some people can’t stand them, and certainly in some circles your musical credibility takes a nose-dive if you express even a smidgen of interest in them. Others love them, particularly the escapist, fantasy world they can create, and there’s a whole world of them out there that you can lose yourself in if you wish. Me, I sit somewhere in the middle of those extremes (what do you know!).
For me, the best musicals take you on an emotional journey where music, lyric, story and staging combine to create a credible other world that does something none of those elements can do on their own. So shows like Les Miserables, West Side Story and Blood Brothers, neither of which could be classified as escapist fun, are ones I would see over and again. Of the little I’ve come across (A Little Night Music and Into The Woods) I’ve really enjoyed Stephen Sondheim’s work as well, even though they’re not big on blockbuster tunes (the classic Send In The Clowns excepted). More recently Matilda was one I particularly enjoyed.
But I also have time for the more traditional musicals, particularly those from the golden age of such in the mid 20th-century. I think that may be partly my parents fault(!) but shows like Seven Brides For Seven Brothers, Calamity Jane, Annie Get Your Gun and 42nd Street are just feel good bonanza’s.
But for sheer fun and feel-good vibes, you’d have to go a long way to beat Bugsy Malone. Featuring an all-child cast (including Jodie Foster and Scott Baia) the show is set in 1920s America during prohibition, and focusses on the exploits of a bunch of gangsters, although with the real-life bullets and machine guns being replaced with custard-shooting splurge guns. Directed by Alan Parker, whose film career has included other musicals such as Fame, The Commitments and Evita, the music was written by Paul Williams, notable for pop successes such as We’ve Only Just Begun for The Carpenters, and Evergreen, sung by Barbara Streisand from the film A Star Is Born. But for Bugsy, he composed a set of songs that reflect both the time the film is set, but also give it a more (1970s) contemporary feel. You Give A Little Love is the rousing, sing-along closing song from the film, noticably sung after the mother of all splurge gun fights, with the whole cast covered in custard!
So here’s the song sheet. I thought this might work largely because the instrumentation on the original (is that a banjo in there) seemed to lend itself to a strummed ukulele. I can’t find a lot of evidence that this does work out there, but having played with this a bit I’m sure it will. The chords are reasonably straightforward, although you can embelish it with – in particular – a nice G / F# / F / E7 run at the end of the third line in each verse (it is a bit quick, though). And playing the A chord in the second line as a slide up two frets from the G in the first line works well too. I’ve also transcribed the introduction – a nice clashing chord followed by a little riff. Listen to the original and you’ll work it out. Oh, and keep going at the end for as long as you want. Enjoy!