Uke Tunes

Uke-ifying my favourite songs


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Heaven – Talking Heads

I had – very briefly – contemplated doing Talking Heads’ classic live album, Speaking In Tongues, as one of our album nights. Then I looked at it and tried it and realised that translating a number of those great, funky, single-chord songs into a mass ukulele sing-a-long was going to be pushing it somewhat. But that did get me back into that album, and ultimately led to this.

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It’s fair to say that Heaven, a song that first appeared on their 1979 milestone, Fear of Music, doesn’t display a number of those classic Talking Heads tropes. There’s no funky poly-rhythms going on here. There’s no itchy guitar restlessness. This is quite a straight song, in Talking Heads terms. But look beyond that, and you’ll find at it’s heart a song that does touch in some recurring David Byrne themes. There’s plenty of existential angst going on here – this, after all, is a song that effectively ponders the dullness and banality of a perfect world, that – by implication – yearns for the messiness of real-life, and makes a strong argument that imperfection and mistakes are what makes humanity, and – this being a band with strong art-y leanings, makes great art. All of this delivered in a Byrne vocal – particularly in the live Stop Making Sense version – that increasingly reflects his desperation at the finding himself in a situation of stupefying mundanity.

There’s a great piece on the song here that expands on this.

And so here’s the song sheet. By Talking Heads standards this is a very conventional song, and has been described elsewhere as country rock. So no tricky rhythms to work through, no tricky chords, the only slightly awkward thing can be the timing of the lyrics – I’ve tried to provide some pointers to that in the song sheet. There are a few subtle transitions thrown in on some of the chord changes – I haven’t transcribed these, but if you listen to the original (either the studio or live version) you can fairly easy pick those out. Enjoy!

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UPDATED SONG BOOKS

Once a year or so I update the song books that collect all of the song sheets that I’ve published on this site together into a single volume. I’ve just updated these with all the songs that I’ve put up over the last 12 months, as well as a selection of the more popular songs from the album songbooks. By my reckoning this now adds up to about 200-ish songs in total.

As before, I’ve compiled these into three songbooks:

    

 

 

 

 

 

 

 

 

For reference, here’s the list of all the (43) new songs that are included in the books:


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All Of My Heart – ABC

So there was me just ready to publish an update to the Uketunes songbook. And then last night I put ABC’s The Lexicon of Love on (it was warm and sunny, and in my book Lexicon is a summer album – summer 1982, to be precise). And what should happen but this absolute corker of song comes up and gets my uke ears thinking, “Well that would work, wouldn’t it”. And I think it does. So here it is.

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Obviously playing this song on the humble ukulele was clearly far from the mind of Martin Fry, ABC and (particularly) producer Trevor Horn when The Lexicon of Love was conceived and recorded. After all, this is an album that was the epitome of the “New Pop” sound of the early 1980s, aspirational, lush, glistening music that sought to marry the ethos of post-punk and new wave with pure pop sounds and chart appeal. And so Sheffield band ABC emerged from the ruins of a previous electronic incarnation (Vice Versa), and moved towards a more disco/soul sound. Trevor Horn (formery of Buggles, later of ZTT, Frankie Goes To Hollywood, etc.) came on board after the minor chart success of debut single Tears Are Not Enough, and turned the bands aspirations and a collection of literate, heart-on-the-sleeve songs into an epic recording that set the bar so high for the band that arguably the rest of their career has been lived in the shadow of this record.

All Of My Heart was the last of four singles from the album, and if anything represents the “epic ballad” of the album. It’s actually quite up beat for a ballad, but here was a song swathed in the string arrangements of Anne Dudley, arguably the most wide-screen of songs on the album. Echoing themes from across the album, All Of My Heart is a tale of love lost, in turn reflective and bitter, this is most definitely *not* a song for walking down the aisle to!

So how does this bold and fearless classic translate to the uke? Well, quite well, I think. When it boils down to it, it’s only a four chord song, one that has a killer tune and leaves plenty of room for emoting. There’s one or two slightly tricky timing issues, primarily after the “All of my heart” lines at the end of the chorus, when an extra beat/pause is thrown in (which probably makes that a 5/4 bar). And the [D]/[G] sequence immediately after the second chorus “All of my heart” is 3 beats of D and 5 of G. But listen to the song (its in the same key as the songsheet) and you’ll get the hang of it. Enjoy!


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Rio – Duran Duran (Full Album)

Never let it be said that you don’t get variety here! From the acoustic loveliness and down-home earthiness of the last post, here we are with what could be seen as the archetypal surface-and-sheen of vacuous 80s pop – all style, glamour and no substance.

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And whilst there is some truth in those accusations, the reality – as ever – is more complex. Emerging out of the nascent new romantic scene in (decidedly unromantic) Birmingham, Duran Duran (the name taken from a character in the cult classic 1968 sci-fi film, Barbarella) were effectively the house band for the city’s Rum Runner nightclub. From the outset, the notion of the band was to combine the sounds and ethos of disco and punk, equal parts Sex Pistols, Blondie, Gary Numan and Chic, and to be huge. There was no hiding that ambition, and for a group of lads growing up in late 70s urban Britain, the idea of becoming the biggest pop band on the planet, of being able to travel the world and partake in the glamorous jet-set lifestyle made perfect sense.

So whilst Duran Duran struck gold with their first album (spawning the hits Planet Earth and Girls On Film), it was 1982’s Rio that launched them into the stratosphere. With three huge singles accompanied by the infamous exotic videos (Hungry Like The Wolf, Rio and Save A Prayer), the band were perfectly positioned to capitalise on the musical revolution that was ushered in by MTV.

But this was pop with a twist. Not only were the band self-made – growing organically from the local music scene – and writers of their own material, the band managed create a unique amalgam of styles that took somewhat underground influences and art-rock influences (Japan, Roxy Music and David Bowie) and fashioned them into a mainstream phenomena that had teenage girls in paroxysms. In times when pop bands are just expected to be focus-grouped conceptions of marketing departments, performing material from the same bunch of face-less songwriting teams that is aimed at the same narrow commercial radio playlists, it is easy to forget that this wasn’t always the way things were. And for all their faults, Duran Duran were more intelligent than that, spikier than that, and certainly more capable and original as musicians than that.

It may be the big singles that Rio is remembered for. And rightly so. But dig beyond that and there are gems a plenty. Whether it be the post-punk funk of New Religion, the Voltaire-citing Last Chance On The Stairway, or the stately, cryptic, arpeggiated closer that is The Chauffeur (I’m not seeing any boy band getting away with a video like this today) this is a band at arguably both their commercial and artistic peak.

And so here we are with the songbook. The full album, all nine tracks, when you strip the production away these are for the most part great songs. All of these are in the same key as the originals, so playing along is possible (and to be encouraged). Shoulder pads and yachts are optional. Enjoy!

<Full Album Songbook>


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After The Gold Rush – Neil Young (Full Album)

I’ve been looking around recently for albums that I think would work as part of our recent series of ukulele album nights. That’s proved harder than I thought – a whole album of good songs that can be reduced to the ukulele and that a bunch of people (of a certain age!) will know well enough to stop it being a solo rendition by yours truly.

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And that search led me to this. Originally I was looking at Harvest, the archetypal Neil Young acoustic album, the “if you only own one Neil Young album this should be it” (my personal favourite would be On The Beach” fyi). But on listening to it I wasn’t convinced that it would really work. And then I thought about this, the immediate predecessor to Harvest, and listening to it afresh (I hadn’t played it for a good few years) I fell back in love with it. And have been playing it on repeat for the last few weeks.

At the risk of gross simplification, Young’s outputs has tended to operate at the loud, ragged rocking end of the spectrum (often with his band Crazy Horse), or at the more songwriter-y acoustic folk/country end. And throughout his career lurches one way or the other have often been a reaction to his previous lurch. And so the folk/country rock stylings of his 1969 eponymous debut album (Young had previously found a reasonable amount of success with Buffalo Springfield) were followed by the world’s introduction to Crazy Horse on the same years’ Everybody Knows This Is Nowhere, all crunchy rockers and 10 minute epics. In that light, After The Gold Rush can be seen as another reaction, a move that combines the more simple, stripped down singer-songwriter fare with Crazy Horse rockers (and all this was also just a few months after Young enhanced Crosby, Stills and Nash with the Déjà Vu album).

From the opening Tell Me Why, a gentle country-ish guitar-strummed-and-picked tune, overlaid with some gorgeous harmonies (the CSN&Y influence in full evidence) the scene is set. Followed by the classic enigmatic eco-themed title track, and the gentle waltz-timed Only Love Can Break Your Heart (the St Etienne version was my introduction to this song!) the album offers a master class in concise, quality song-writing. Full of space, those aforementioned harmonies, and mostly restrained acoustic musicianship (songs like Southern Man and When You Dance, I Can Really Love intermittently turn up the electrics), After The Gold Rush is a thematically and musically consistent masterpiece that packs a lot into its 35 minute running time, but still leaves you wanting more. To these ears it always sounds fresh, a record that I never tire of.

The songbook contains all 11 songs from the album. The simplicity of these songs translates well – there’s nothing too tricksy in any of these, although the odd unusual chord is thrown in every now and then. With one exception these are all in the same key as the originals, so you can play along quite easily. Songs for singing around the campfire, for sure! Enjoy!

<Full Album Songbook>

 


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Lovers In A Dangerous Time – Bruce Cockburn

I’ve written previously about how much I love the music of Bruce Cockburn, and what it has meant to me. Prompted by the announcement of some UK dates in the autumn, I’ve been going back to his music, and enjoying it afresh. One of the songs that stood out was this one.

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The version that particularly caught my ear was from his live solo album, Slice O’ Life. The original version of the song appeared on the 1984 album, Stealing Fire, recorded at a time where Cockburn was turning from the acoustic, folk-y sounds of his earlier, 1970s recordings towards a more contemporary, rock-inspired source, something that coincided for him with a move in his lyrical outlook from an inward, spiritual focus towards a more outward looking perspective that – whilst infused with the spiritual – was more focussed on the world he saw, and the many injustices that he encountered as he started to travel more widely.

Outside of his native Canada, where Cockburn is something of an institution and widely reward, for most of his career Cockburn has been something of a cult figure. However “Lovers…” was a song that, alongside the much darker “If I Had A Rocket Launcher”, became radio hits in the US. And to this day it remains one of his more well-known songs (well-known being something of a relative term when applied to Cockburn), even being referenced by U2 in their song “God Part II” (“heard a singer on the radio late last night says he’s gonna kick the darkness till it bleeds daylight”). The song itself has been interpreted in multiple ways – as a response to the HIV/AIDS crisis, and as a commentary on the Central American experience that inspired “Rocket Launcher”, but whilst Cockburn is on record as saying that both of those interpretations are valid ones, his has said of the song:

“I was thinking of kids in a schoolyard. I was thinking of my daughter. Sitting there wanting to hold hands with some little boy and looking at a future, looking at the world around them. How different that was when I was a kid when, even though we had air-raid drills, nobody took that seriously that the world would end. You could have hope when I was a kid. And now I think that’s very difficult. I think a lot of that is evident from the actions and the ethos of a lot of kids. It was kind of an attempt to offer a hopeful message to them. You still have to live and you have to give it your best shot.”

The acoustic version of the song strips it back to its essence. A showcase for Bruce’s exemplary guitar technique (never flashy, but always rich and deep), it is further proof that the mark of a good song is if it works when reduced to one-person-and-their-instrument. And boys does this version work – arguably getting to the heart of the song in a way that the more produced original version *may* have clouded a little.

And so to the songsheet. This is based on the acoustic version, and definitely – to my ears – sounds better as a picked version. It is true that I could have made this a bit simpler, could have put it in an easier key. But (a) this version allows you to play along with the Cockburn version above, and (b) it just sounds much better this way. If you’re OK with barre chords then this shouldn’t be problematic. Playing the A chords in the chorus as barred chords on the 4th fret (see here) adds an additional texture to the song as well. Enjoy!


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ABBA – Greatest Hits

 

ABBA SinglesABBA were my first band.

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I was relatively late to pop music, it wasn’t a big thing for my parents – they were all radio 2, Sing Something Simple and military bands. So it wasn’t until January 1977 when I first sat down and watched Top Of The Pops. And the only reason for that was because David Soul was topping the charts with Don’t Give Up On Us, and my sister, with something of a crush on the Starsky and Hutch star, wanted to watch it. A somewhat fateful and life-changing event that led on to a whole lifetime of musical obsession for me.

Anyway, TOTP became something of a habit, and a few week’s later this bunch of Scandinavian pop stars turned up on the show with that iconic video for Knowing Me, Knowing You. And I was hooked. I can’t say at this remove in time what it was about that song that really clicked for me, but it’s interesting in many ways to me how a song that is shot through with a such a strong dose of melancholia caught the imagination of an 11-year old school boy. That has probably been a consistent thread in my musical tastes ever since.

Obviously ABBA are a global phenomenon. And one that has gone through various levels of acceptability over the years. It’s fair to say that they were never “cool”, and there was always a slight sense of awkwardness with how the band fitted into the British music scene. But that was never their intention. Abba were always about great songs, coupled with superb production and arrangements. If the visual image was sometimes a bit corny, the constant up-front (save for a few exceptions) presence of Agnetha and Anna-Frid more than made up for that. Personally I was always an Anna-Frid guy, but clearly the presence of the two girls was a significant factor in making the band attractive to a certain part of their audience.

But it is the songs, the songs, that are what ABBA are all about for me. And those are just great. For all those accusations of corny, feel-good, inanity that can get thrown at them, their songs are actually quite musically sophisticated and subtle, and whilst lyrically they’re not always Bob Dylan (Bang-A-Boomerang, anybody?!), there is a depth and emotional resonance to their songs, particularly in the later years, that lends a lie to those views. Listen to The Winner Takes It All, Slipping Through My Fingers, or One Of Us, and those songs strike right to the heart.

Don’t just take my word for it, though. Artists as diverse as Brian Eno, Neil Tennant, Jarvis Cocker, Elvis Costello, Noel Gallagher, Pete Townsend, Dave Grohl and Kurt Cobain have all extolled the virtues of these songs. The fact that ABBA Gold is one of the top 50 selling albums ever, and the continued success of the Mamma Mia film and stage show, illustrate that there is depth and quality in the ABBA cannon.

 

 

And so to the songbook. I’ve collected 26 of the most popular and well-know ABBA songs into one collection. There are a few “deep cuts” thrown in for good measure, but even those are – I think – relatively well known. I’ve tried to strike a balance between making these totally musically accurate and making them playable. The songs are actually quite complex and subtle in places, so I’ve tried to retain a balance between that richness and playability. The other slightly tricky aspect to these songs can be the timing – they’re not averse to throwing in the odd different-timed bar here and there, and that can throw you if you’re not careful. I think the saving grace is that – for a certain audience – these songs are so embedded in our consciousness that you just *know* how they go! Follow that feeling, and you won’t go wrong. But most of all, enjoy!

<Full Album Songbook>