Uke Tunes

Uke-ifying my favourite songs


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See You – Depeche Mode

Another 80s throwback, And another gig-inspired post. Although to be fair, it wasn’t as a result of seeing Basildon’s finest – I’m not expecting them anywhere near Southampton any time soon.

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No, last weekend I went to see Heaven 17 (second time in 6 months). It was a great gig, and maybe one day the Sheffield band that resulted from the fallout of the original The Human League may have their own post here. But the gig was preceded by a couple of DJs playing a great selection of early synthpop. And one of those was this often overlooked early single from Depeche Mode.

See You was actually quite a significant song for the band, marking as it did their first single since the departure of previous main songwriter Vince Clarke (who has had generous coverage on this site already). Clarke was the author of the bands first three singles (Dreaming of Me, New Life, Just Can’t Get Enough) but left the band towards the end of 1981, citing his unhappiness with the bands direction, with playing live and the toll that being a pop star was taking. Clarke went on to form the short-lived but highly influential Yazoo, before finding a long-term home with Andy Bell as Erasure,

So with Clarke gone, the band suddenly found itself needing to find both a new band member, and a new songwriter. Alan Wilder was found to do the former, and the songwriting duties were picked up by keyboard player and backing singer Martin Gore, who had been responsible for the couple of non-Vince Clarke songs on the band’s debut record, Speak and Spell. Any trepidation the band may have been feeling was soon set aside when See You peaked at a higher position in the charts (number 6) than any of the band’s previous songs.

So here we are with another synthpop song translated for the uke. It’s all relatively straightforward, and not a great deal to say on that front. I’ve also transcribed some of the various synth riffs, including the instrumental solo, should you want to embellish the song with those. Enjoy!

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A Gallimaufry of Songs

I’ve been pulling together my annual update to the UkeTunes songbook. And in the process I’ve come across a number of songsheets that I’d put together over the last twelve months for various reasons, and which haven’t made it on to this site. So I thought I’d collect them all together into a single post, in an attempt to clear the decks. Here they are – click on the song titles for the song sheets:

 

  • Andante Andante – Abba
    Another movie-inspired song, this slightly obscure Abba album track (from 1980’s Super Trouper) found its way into the Mamma Mia sequel, and as a result has had a new lease of life breathed into it.

 

 

  • I Wish – Stevie Wonder
    Another great song from a classic album, this time Stevie Wonder’s Songs In The Key Of Life. Funky.

 

 

 

 

 

  • The Lucky One – Alison Krauss
    A beautiful, sublime ballad from the rather lovely Alison Krauss. This was one of the first tracks that got me into country music.

 

 


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Time After Time – Cyndi Lauper

It’s fair to say that a few of the songs that I’ve posted lately haven’t exactly been the most well-known of songs. Today’s post should rectify that, as this is one of those timeless, universal songs.

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This was actually prompted by going to a gig last night. The gig was the absolutely wonderful Australian singer-songwriter Stella Donnelly, playing at The Joiners in Southampton. It was a superb gig – it was practically sold out, Stella was brilliant (you’d never have guessed she was suffering with a cold), and her band did a first-class job. Finishing her main set with Tricks, the crowd was begging for more, and Stella obliged. With a wonderful, solo version of this song.

An interestingly main-stream choice for an artist who, whilst certainly not deliberately seeking out obscurity, is definitely on the alternative side of things. Time after Time – of course – is a classic from Cyndi Lauper, co-written with Rob Hyman (of The Hooters). The follow-up to her break-out hit Girls Just Want To Have Fun, Time After Time showed a more reflective side to the kooky persona that Lauper often portrayed, and was nominated for a Grammy for Song of the Year in 1985, eventually losing out to Tina Turner’s What’s Love Got To Do With It. Much covered (the Eva Cassidy version is a favourite of mine) over time this has come to be something of a standard.

Here’s the Cyndi Lauper version (and it’s a great video)…

…and here’s Stella Donnelly’s version (recorded for an Australian New Year’s Eve TV show)…

And so the song sheet. It’s a relatively straightforward song, with basic chords. There’s not really much more to say. Give it a go. And enjoy!


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Pete Shelley

In memory of Pete Shelley. Founder member, lead singer, key songwriter and singer with the Buzzcocks. Subsequent solo artist and electronic music pioneer.

Here are two songs reflecting those two periods of Shelley’s creativity. From Buzzcocks comes the 1979 single, You Say You Don’t Love Me – a classic Buzzcocks 3 minute song of unrequited love. And from his solo career, the debut solo single Homosapien, banned by the BBC but a classic combination of acoustics and electronics.

<You Say You Don’t Love Me>      <Homosapien>


       


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War Baby – Tom Robinson

There’s been a few songs on here recently that have been inspired by gigs that I’ve either been to are going to. And you know what? Here comes another.

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In popular consciousness, when people think of Tom Robinson (if they think of him at all) there’s one, maybe two, songs that comes straight to the front of the queue. But they’re wrong! That’s not to say that 2-4-6-8 Motorway is a bad song – it’s a head-down pile-driver of a fist-pumping sing-along song that deserves to be up there in the pantheon of punk-inspired greats. Neither is Glad To Be Gay – a somewhat controversial (at the time) song that probably wasn’t the best career move Robinson ever made.

But if you’re looking for a sublime classic that represents quality songwriting, a timeless, emotionally brutal stream-of-consciousness evocation of nostalgia and regret, then look no further. This – for me – is peak Tom Robinson. This is such a gorgeous wonder of a song, very different to the rawness, aggression and political bite of his earlier sounds, but retaining the ferocious honesty that has been a hallmark of his whole career.

So last night there I was at the 1865 in Southampton (incidentally, the new home of Southampton Ukulele Jam) watching Tom Robinson perform, in full, his powerful debut album Power In The Darkness. It was a great show, with a great band, and a 68-year old Robinson in great form as singer, bass-player, band leader and host. The album played, the encore was made of the contemporaneous classics Martin, Glad to be Gay and a stretched-out rousing 2-4-6-8 Motorway. So job done, and what a good evening that would have been. But the best, the peak was yet to come. Responding to an audience who clearly wanted more, the unexpected gift to close out the evening was a wondrous version of this here classic. This boy couldn’t have been happier.

So how does it work for the ukulele? Well quite well, I think. There’s some lovely chords in here, and some lovely progressions. I’ve tried to simplify down from the original to something playable, but still retain the essence of the original song. So there are one or two slightly unusual chords in here, but persevere because it is those that make it.  Fitting the words in can be a little tricky (this is quite a verbose song) but if – like me – you know the song like the back of your hand, it will flow. Just enjoy!


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Olivia Newton-John – Physical / Xanadu

Two for the price of one today. And a double-dose of the Australian songstress Olivia Newton-John, somebody who I wouldn’t be going too if I was trying to establish any critical credibility for this blog. But who I would go to it I was after some cracking pop tunes.

<Physical> <Xanadu>

Actually, truth be told the roots of this post didn’t actually start with ONJ herself, but with the alternative artist Juliana Hatfield. Earlier this week I cam across an album she released earlier this year which is all Newton-John covers. Hatfield was – and remains – a big fan, and had decided to record her version of 13 of her favourite songs. Running the gamut of the obvious (these two included) to more obscure album tracks, these aren’t radical re-interpretations, but clearly demonstrate a love and a respect for the original material, albeit roughing them up a little and giving them a slightly grungy makeover.

Newton-John herself was a huge star, particularly in the US and her native Australia. Originally breaking through with a country pop sound, her role in the hugely successful movie Grease, which saw her character Sandy move from a goody-goody character to spandex-clad vixen, prompted her to undertake a similar transformation of her own image, moving towards a (relatively speaking) raunchier appearance, taking her music into more of a pop/rock direction. In 1980 that led her to star in the film Xanadu which, whilst a critical and commercial flop, did spawn a successful soundtrack which she featured prominently in, including the huge international hit which was the Jeff Lynne-penned title track, performed with Electric Light Orchestra.

The immediate follow-up album to the Xanadu soundtrack was the biggest of Newton-John’s career, spawning a series of hit singles, of which the title track was the biggest. Ten weeks at number one in the US (the longest run for any song during the 1980s), achieving a similar feat in many other countries, the song was doubtless helped by it’s tongue-in-cheek video and the very recent launch of MTV, which gave song and video massive exposure. Yes, its a little corny, and maybe somewhat of its time, but it’s still a great song, as Juliana Hatfield’s cover faithfully demonstrates.

So two song sheets for the price of one. Physical is quite a straightforward song – simple chords, simple structure – nothing really much to say for this one. Xanadu, as befits an ELO song, has a bit more going on in it, both in terms of chords and in terms of the structure / timing. But listen and play along to the originals (both are in the same key as those originals) and you’ll get the picture (although good luck on those last notes on Xanadu!).

Enjoy!

<Physical> <Xanadu>

 


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Souvenir – OMD

This blog has had its fair share of OMD songs, its true. But personally I’m a sucker for their music – as I’ve blogged earlier I love the way that these little synthpop riffs translate to the uke.

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And if a song were ever to be defined by its riff, this has to be one of those. Coming from their left-field, avant-garde electronic roots (beyond the singles, there is lots of weirdness across their back-catalogue, at least until the career jolt that was Dazzle Ships), Souvenir could be perceived as something of a sell-out – a lush, romantic ballad, voiced by the softer tones of Paul Humphries, a sure-fire attempt to make a huge hit. And in many ways it is those things – certainly it became one of their biggest selling singles, and most recognised recordings. Yet this is a far-from-standard hit-single – just two verses, no chorus to speak of (the riff performs that function, an approach that their previous hit, the class Enola Gay, had also done), an opening 10-seconds of just sampled choral sounds (there’s an interesting piece here on how that was achieved).

But for all that, it is a beautiful piece of music that revealed a softer side of these machine loving pioneers (previous songs having paid homage to telephone boxes, nuclear bombs and electricity), and which will immediately make those of a certain age go all wistful, transported back to another time and another place.

So here is the songsheet. The song itself is simple and straightforward – two verses, three chords, and then it’s gone. I’ve tabbed all of the riffs as best I can – they’re all variations on a similar theme, with some subtle variances throughout the song – and tried to indicate where the various sections fall. I’ve also transposed the song down a semi-tone (from F# to F) just to simplify the playing – capo 1 to play along with the original. Enjoy!