Uke Tunes

Uke-ifying my favourite songs


5 Comments

New original songs! From me!

<Warning – shameless self-promotion below>

So the main reason that these pages have been a little (OK, very!) quiet over the last few months is that I’ve been somewhat distracted.

As you may know, I’ve been a member of Southampton Ukulele Jam for nearly four years. I’d previously been a (very poor) guitar player, but hadn’t played for quite a while. But the slightly anarchic and communal spirit of SUJ reignited a hunger in me to play music, however rough and ready it might be.

Fast-forward a few years, and in October 2016 SUJ had just decided it was going to get a documentary made about the group, funded as a Kickstarter, and using the talents of the lovely Amy Lupin. After one of our fortnightly Jams, Colin McAllister (founder and leader of SUJ) took me aside and asked if I fancied creating some original music to be included in the documentary. Something to do with copyright issues with using the cover material that the group usually does. Well, I hadn’t been expecting that, BUT it had been in the back of my mind for a while that I fancied having a go at creating some music of my own. So undaunted by having absolutely zero experience in these things, the opportunity seemed too good to pass on, and so I said yes.

Little did I know at the time where it would end up. What has now come to constitute something vaguely resembling a full-length album is this little collection of original music. I fully accept that it’s a bit rough and ready (some more than others, some deliberately so – honest!), and I really don’t know whether anybody other than myself will be interested. At the point of writing (February 2017) the documentary is still in the editing stage, so I haven’t a clue how much of this will make the cut (although early versions did turn up in the Kickstarter promo film and the trailer). [NOTE : The documentary is due for release February/March 2017 – more news on that when I have details] But that doesn’t really matter. The point is I’ve really enjoyed the process, learned a lot along the way, and may have got a bit of a bug.

So it felt like it was time to share these and make them public. There’s 14 tracks here in various forms, you can have a listen below. And if you’re *really* interested you can download the whole lot for a small fee – all profits going to charities supported by Southampton Ukulele Jam.

Enjoy!

 


1 Comment

It’s Too Late / You’ve Got A Friend – Carole King

tapestryRecords don’t come much more iconic that Carole King’s 1971 sophomore solo album, Tapestry.

<It’s Too Late>  <You’ve Got A Friend>

It’s a recording for which the records and superlatives are almost never ending. The winner of 4 Grammy awards in 1972 (including, album, record and song of the year), seller of 25 million copies, second only to Dark Side Of The Moon for number of weeks on the Billboard album chart (313 weeks), ranked the 36th best album ever by Rolling Stone in 2003, all of these statistics and critical acclaim are surprising when you consider that Tapestry is really such a humble and relatively unassuming record.

During the 1960s King had established herself – alongside then-husband Gerry Goffin – as one of the leading songwriters in the Brill building in New York, penning hits for others such as The Loco-motion, It Might As Well Rain Until September, and Up On The Roof. But it wasn’t until the late 1960s, following a divorce from Goffin and a move to Laurel Canyon in Los Angeles, that King focused more on recording her own songs, in the process becoming the archetypal singer-songwriter.

Tapestry is chock full of bone fide classics. Even if you’ve never heard it before it will be immediately familiar, the songs having become part of the DNA of popular music. It’s Too Late was the lead single (coupled with I Feel The Earth Move) and was number one on the US singles charts for 5 weeks, and won that Grammy for best record. You’ve Got A Friend won the best song Grammy, and was a US number one for 4 weeks when covered by James Taylor.

I thought there would be plenty of songsheets for these songs, but none of them worked for me. So here’s my versions. There’s nothing particularly to say about these, other than they have quite a lot of chords (You’ve Got A Friend in particular). But those chords are the things that add the colour, so stick with them (You’ve Got A Friend has a few “optional” chords – in subscript – that can be easily omitted if you want). A bit of feel in the strumming is in order as well, adopting the standard ukulele strumming patterns kind-of kills these songs, so listen well to the originals to get that feel. You’ve Got A Friend (G) is a semi-tone down from the original (Ab) so you’ll need a capo on fret one if you want to play along (but it does make it a whole lot easier to play). It’s Too Late is in the same key as the original.

Enjoy!

<It’s Too Late>  <You’ve Got A Friend>


Leave a comment

Southampton Ukulele Jam – Documentary Kickstarter

I don’t often post non-song sheet stuff on here. But I wanted to share this.

Southampton Ukulele Jam, which is my “home” ukulele group, and which is where I first got started with the four-string wonder, has commissioned a documentary about the group. We’re all really excited about it, and have launched a kickstarter campaign to help fund it (principally for the filmmakers involved).

The video below gives more details. If you want to get involved and be part of this wonderful project, please feel free to give something (anything) through the kickstarter page at https://www.kickstarter.com/projects/sujdoc/southampton-ukulele-jam-the-documentary/

Thank you!

 

 

 

 


4 Comments

Make You Feel My Love – Bob Dylan / Adele

bob_dylan_-_time_out_of_mindadele_-_make_you_feel_my_loveI remember the first few times of listening to Bob Dylan’s 1997 album Time Out Of Mind and being particularly struck by this song. I guess that, as a stark, piano led ballad it had a clear, distinctive sound amongst the swampy, Daniel-Lanois-produced songs.

<songsheet>

And yet I didn’t realise at the time how massive the song would become. Originally surfacing as a Billy Joel recording, and then the following year by Garth Brooks, the song has become something of a modern classic, covered by a myriad of artists from many genres. But I don’t think it was until Adele covered the song on here debut album 19 in 2008 that it really seemed to take off. In doing so she really made the song her own, with a simple, piano-led stripped back performance that gets to the emotional heart of the song. Personally I love them both – the Dylan original, with its slightly cracked vocal, has a world-weary feel, whilst the Adele version with just the vocal and piano works equally well. Both proving what a great song this is.

The song sheet is transposed from the originals, not just to make it easier to play but mainly so I could sing it! There’s nothing tricky chord wise here, just some lovely sounding changes. Clearly this isn’t designed for the ubiquitous ukulele strumming pattern, and so requires a bit more sensitivity. But this one is definitely a case of less is more. [Note : See the video in the comments for a suggestion for a simple accompanying picking pattern for this]

Enjoy!

pdf-icon

 


Leave a comment

You Are The Sunshine Of My Life – Stevie Wonder

stevie_wonder-you_are_the_sunshine_of_my_life_s_1Songs don’t come a whole lot more classic than this one. Yet I struggled to find a decent uke-friendly chord sheet for it, and so hopefully here is one.

<songsheet>

You Are The Sunshine Of My Life comes from Wonder’s purple patch during the 1970s. Having grown up as Motown’s boy wonder during the 1960s, the 1970s saw him reach an extended creative peak with albums such as Talking Book, Innervisions and Songs In The Key Of Life, spawning solid-gold classic songs such as Superstition, Living For The City, Isn’t She Lovely, Sir Duke, and this. In terms of creativity and breaking new ground Wonder was arguably up there with the likes of David Bowie in the way he extended the possibilities of what was possible, becoming a critical success whilst still establishing a commercially successful career.

You Are The Sunshine Of My life won a Grammy in 1973, topped the charts in the US, and was nominated for both record and song of the year.

So here’s the songsheet. For such an apparently simple song there’s quite a lot of chords, but there’s nothing too tricky and they’re worth persevering with because its those that give the song its distinctive loveliness (the lovely Em7 to Gdim change is a particular favourite of mine). I did have a go at transcribing the intro from the original but it didn’t really work out too well, so I just stuck with the first two lines of the verse. Strumming pattern needs to have a bit of a swing / edge to it, but get that feel from the original.

Enjoy!

pdf-icon


2 Comments

Never Can Say Goodbye – The Communards / Gloria Gaynor

communardsSorry, it’s been a while hasn’t it? Things going on I’m afraid (nothing significant, just general life stuff) which meant I haven’t got round to putting much up on here. But I do have a batch of stuff that I will post over the next few weeks, and here is the first.

<songsheet>

Depending on your generation, this is either a disco classic from the 1970s (Gloria Gaynor) or a classic hi-nrg cover from the 1980s (The Communards). Or possibly even a Jacksons classic from the early 1970s (I didn’t know anything about that one until I started looking into this). For me it’s the 1980s version that is the most evocative, although I do like the Gloria Gaynor one for it’s subtlety (The Communards version is *not* a subtle record!).

The Communards had already had a huge hit with a cover of a disco classic (Don’t Leave Me This Way) in 1986, and followed it the following year with this. Some might call it a cynical attempt to re-capture the success of the following year, and there is probably some justification for that (subsequent original songs had not really set the charts alight). But I don’t think you can fail to respond to the enthusiasm and clear love of the song that Jimmy Somerville and Richard Coles (now the Rev. Richard Coles) brought to this recording. I particularly love the totally camp enthusiasm that Cole shows in the video (see 1:12) and Sommerville is obviously immensely enjoying himself (see 3:25).

And so to the songsheet. There’s a few unusual chords in there (although you could probably skip the Db if you struggle with it) but they do add something to the song. The rhythm is relatively straightforward and consistent throughout, although I have add a couple of counts where the timing might get a little tricky. Sing and play with enthusiasm an you can’t go far wrong.

pdf-icon


Leave a comment

The Town I Loved So Well – The Dubliners

DublinersI was listening to the new Dexys album yesterday. “Let the Record Show: Dexys Do Irish and Country Soul” is a covers album with a loose Irish theme (loose in that it includes Rod Stewart and Joni Mitchell songs!). But it also includes a wonderful version of this gem, a song I loved but had almost forgotten about.

<songsheet>

The Town I Loved So Well comes from an unlikely source. Songwriter Phil Coulter was a professional musician, songwriter and arranger, responsible (amongst other things) for two Eurovision smashes (Puppet On A String, and Congratulations) as well as the England 1970 football squad’s Back Home, and the Bay City Rollers Shang-A-Lang. But away from the commercial focus of thos 60s and 70s pop hits, Coulter also indulged his love of Irish folk music, working with the likes of Planxty and The Dubliners. It was for the latter that he wrote this beautiful song.

Based on Coulter’s upbringing in Derry, Northern Ireland, the first three verses reflect on childhood memories of the two that he grew up in. But it is the juxtaposition of those verses with the final two which really gives the song it’s power. For in those verses he reflects on how all of that has been destroyed by the unrest and violence that gripped Northern Ireland during the last 60s and early 70s. Derry was the scene of the Bloody Sunday massacres, and much more deadly sectarian violence beside. And so the song is a lament for a lost innocence, and a forlorn reflection on what that violence has done to the place he loved.

And so the songsheet. Nothing tricky here, just four chords, for the most part straightforward timing. You can thrown a few Gsus4 chords in at the end of some of the lines, but it’s best kept simple. Sounds lovely when picked as well. Enjoy!
pdf-icon