Uke Tunes

Uke-ifying my favourite songs


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Keep On Loving You – REO Speedwagon

A quick one today, and one that completes a little trilogy of early 80s soft rock-ish classics (alongside recent posts from Lindsey Buckingham and Phil Collins).

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This one came through the unlikely route of a love songs compilation! For some reason, Sunday morning I was in the mood for a bunch of nostalgic 70s and 80s soft love songs (see, I do have a heart!). So I was trawling a bunch of Spotify playlists for songs that tickled that particular itch, and one of those that fell out of that process was this sing-along classic of the genre.

To be honest, I know next-to-nothing about REO Speedwagon, and don’t really have a strong desire to rectify that position. For me they represent a wholly anonymous brand of US rock bands from the era who were largely ignored here in the UK, save for the occasional signature song that somehow broke through. Bands like Foreigner, Styx and Journey – in my head – are part of this rather bland mush, but a mush from which the odd classic emerges. The term “Guilty Secrets” was coined for music like this, although I don’t like the term at all – there’s nothing to be guilty about in liking the music you like. I fully accept that my position in this regard is one of totally uninformed prejudice, so apologies if you disagree with my view. But time is too short, and there is too much other good music out there, for me to go exploring down this avenue.

But this song I love, and would happily belt out on a regular basis. The band actually had three top 20 hits here in the UK (the others being Take It On The Run, and Can’t Fight This Feeling), but this is the one they are remembered for, and rightly so. A fine example of it’s genre, I challenge anybody of a certain age hearing this not to sing-along, even if it’s just in your head. (N.B. The official video – below – has a slightly odd, and a little weird/disconcerting intro).

Here’s the songsheet. It’s a simple song, 4 chords, all easy ones. The only tip I’d give when playing is to make sure some of those chord changes are coming *just before* the beat / lyrics – that definitely gives it the feel of the original. Enjoy!


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Queen – Songbook

One thing that constantly surprises me is how different young people’s attitude to music is now, compared to how it was when I was younger (we’re talking late 70s/early 80s here). In my day (!) it was all about the latest thing – what was new, what was “in”, was what mattered. And music that was even 3 or 4 years old was considered ancient, passe, past it. Anything that was more than 10 years old we wouldn’t have given the time of day.

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I contrast that attitude with what I see from young people now, and whilst new music is still important, it’s mixed into a melting pot of music from across the generations. That is, I’m sure, something driven by an internet and streaming environment where (almost) every music ever made is available in a few clicks. Overall I think that’s a good thing, although it can make it challenging for new bands and artists to break through, and for them to have the long-lasting presence and careers that artists of old might have had.

I mentioned all this in the context of this post because the subject of this post – Queen – is one band that I’m particularly conscious has been embraced in this way. That is in no small part due to the success of the film Bohemian Rhapsody, a movie that seems to have become something of a phenomenon, despite – or maybe because of – a decidedly mixed critical reception. But the rehabilitation of Queen goes back much further than that, probably to the Live Aid appearance that plays such a pivotal role in the film. Not to mention *that* scene in Wayne’s World – something that even got a sly reference in Bohemian Rhapsody. Whatever you think of their music, it has become timeless, a part of our culture, and something that feels like it’s going to be around for a long time to come.

A Queen evening has been something that has been both discussed and requested for a while for our run of ukulele album/themed nights. And to be honest it’s something I’ve put off. Not because I don’t like the songs (although I wouldn’t really call myself a fan, and my awareness really starts and ends with the singles). But because I wasn’t sure that we could do the songs justice. A few passing glances at the songs led me to think that we would really struggle to find enough songs that were half-way playable. But recently I thought I’d have another look, and give it a bit more effort, and … here  we are.

It is fair to say that the selection of songs here was – to a certain extent – pre-determined. There are a whole bunch of other songs that I’d include if playability weren’t such an issue (Now I’m Here and Somebody To Love being a couple of examples). But what has fallen out has been what I think is a good cross-section of songs that – totally coincidentally (I certainly didn’t plan it!) – cover the full range of the band’s career, touch every album apart from their first and last. Now I’m not going to pretend that all of these are straightforward – Queen songs have a habit of going off in odd keys (that make transposing into “easier” keys pointless), and having various timing issues. So some of these do take a bit of attention and working at. But I do think they work, something that I’m going to be putting to the test when we will be listening to and playing most of these at a Queen evening in December (click on the poster below for more details)!

Anyway, here is the Queen songbook, which includes the following songs:

  • Another One Bites The Dust
  • Bohemian Rhapsody
  • Crazy Little Thing Called Love
  • Don’t Stop Me Now
  • Flash
  • Good Old Fashioned Lover Boy
  • I Want It All
  • I Want To Break Free
  • Killer Queen
  • A Kind Of Magic
  • Radio Ga Ga
  • Seven Seas Of Rhye
  • These Are The Days Of Our Lives
  • Under Pressure
  • We Are The Champions
  • We Will Rock You
  • You’re My Best Friend

I’ve tried to strike a balance between being faithful to the originals, and keeping them relatively playable. So there are some simplifications, and I’ve also included some “optional” chords which can be skipped with minimal impact. I *had* to include Bohemian Rhapsody, and that (particularly the middle section) I’m still not sure about – but hey, even Queen didn’t play that bit live, so don’t feel too bad about struggling with that. And Flash was a bit of fun – I really don’t know if that would work at all! But all in all, I think this is a playable selection of well-loved songs that will be a bit challenging but will add something different to your ukulele repertoire. Enjoy!

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Trouble – Lindsey Buckingham

Number two in a brief series of posts where a member of a major 1970s rock band struck out on their own in 1981, with the post inspired by a recently released cover version of the song.

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This time around it’s the first solo single from Lindsey Buckingham, lead guitarist, vocalist and songwriter with Fleetwood Mac during the period when they were absolutely huge. Following the release of the band’s sprawling double album, Tusk (an album that sold four million copies but was perceived as something of a failure, only because it followed the globe-swallowing success of it’s predecessor, Rumours), and the subsequent world tour, a number of members of the band took time off to pursue solo projects.

Buckingham’s efforts in this regard emerged in 1981 as the album Law and Order. The lead single from that was this song, Trouble, a song that passed by with relatively little attention here in the UK (it peaked at number 32 in the single charts) but which did garner real success in the US and Canada, and in Australia, New Zealand and South Africa.

As with the previous post, this one was inspired by a recently head cover version. In this instance it was what is a fairly faithful acoustic version by American singer-songwriter Josh Rouse (whose Under Cold Blue Stars and 1972 albums are sublime classics in my book).

And here we have the ukulele song sheet. Unlike the previous post, this is a more obvious translation to ukulele. At heart it’s a simple song, only four chords, simple verses and one-line chorus, that doesn’t set the world alight but makes it a better place. I’ve included tab for the little riff that appears in the chorus, and which sprinkles a little more magic over the song. Enjoy!


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In The Air Tonight – Phil Collins

Two songs coming up in quick succession here, with a common theme that binds them both – lead single from a member of a major 1970s rock band who strikes out on their own in 1981, inspired by a recently released cover version of said song.

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First up is this air-drumming classic, maybe best remembered in some quarters for that Cadbury’s gorilla advert, but one that has survived that relationship relatively untainted. The song is quite a dark and bleak one, inspired as it was (and as much of Collin’s debut solo album Face Value also was) by the divorce from his first wife, Andrea Bertorelli, in 1980. Musically it’s familiarity masks the fact that this was quite an unusual, experimental, almost avant garde song to be such a huge hit (number one around the world, kept off the top in the UK only by John Lennon’s Woman) – droning synths, processed guitars, vocoded vocals, and *those* drums, that crash and explode about two-thirds of the way through.

And so to the inspiration for this post. It was prompted by hearing – only yesterday! – a great cover version of the song by the American indie singer/songwriter Lucy Dacus. I first came across Lucy last year via. here album Historian, and the release earlier this year of another classic cover, her take on La Vie En Rose, a signature song of Edith Piaf (she’s also done a great version of Bruce Springsteen’s Dancing In The Dark). Her version of In The Air Tonight is not a million miles away from the original in approach, but still brings something fresh to the song.

So In The Air Tonight for ukulele? Well why not! And here’s the song sheet. At heart it’s a great song, and in this case a relatively simple one. A simple set of recurring chords, a gentle pace, and maybe even the strumming aping that drum break in the middle. I think it works well, give it a try.


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Nobody’s Hero – Stiff Little Fingers

Sometimes you just went a gentle strum, a lullaby that lulls you into believing that everything is alright. And other times you just want some full-on punk rock aggression that lets you shout and holler. Yes, even on a ukulele. This one definitely falls in the latter category.

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Stiff Little Fingers are from Belfast, and whilst initially a fairly standard rock covers band, their discovery of punk, plus prompting from journalist Gordon Ogilvie, prompted a change of direction that saw them fully embracing the energy and spirit of punk, married to a lyrical outlook that was very centred on their own experiences of Northern Ireland at the time – one where The (somewhat euphemistically titled) Troubles were at it’s height. A series of classic punk singles followed, spearheaded by their first two releases (Suspect Device and Alternative Ulster) and a classic debut album in the form of Inflammable Material.

SLF were always a band who were not afraid – in fact, actively sought – to embrace the political in both their songs and their actions (the inspiration for this post came from their inclusion in Daniel Rachel’s excellent oral history of the music and politics of Rock Against Racism, 2 Tone and Red Wedge, “Walls Come Tumbling Down” – n.b. I have a feeling there might be a few other posts inspired by said book!). But as the band matured that political viewpoint was often balanced with more personal songs as well, although very often even those would be short through with a political perspective.

Nobody’s Hero is one such song. Essentially a song sung back to the fans by lead singer Jake Burns, urging them not to put him on a pedestal, and pushing back on the expectations that such obsessive fans had of him,  encouraging those fans to “get up, get out, be what you are” – to do their own thing and make something of themselves. In that way it was truly in the spirit of punk, and what emerged after it – that whole anybody can do it, do it yourself mindset. Jake barks the lyrics with a passion that the band were renowned from, and whilst slightly slower than those early songs, the spirit, energy and aggression of punk is still there.

And so to the song sheet. As with most SLF songs, there’s quite a lot of words. But fortunately the chords are relatively straightforward (just the odd F# thrown in). The only challenge might be the speed, and particularly the speed of the chord changes during the chorus. But with a little practice (start slowly, and then speed up) all should be fine. Enjoy!


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The Cure – Songbook

I’ve been searching around for something a bit different for our album nights. Whilst we’ve done had some great evenings and covered some great records, we somehow seem to have got ourselves stuck in the 1970s. I guess that’s in part to do with the demographic of our group, and where that era was such a formative time musically for many of us. It’s also something to do with the undeniable fact that there were some really classic records that came out during that time, records that have survived and thrived over the years.

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But I felt that I was maybe playing it a little bit safe, and so felt that it would be good to branch out a little bit. One of the things that Southampton Ukulele Jam prides itself on is singing songs that no other ukulele group would try. I think some of the songs we’ve done at the album evenings definitely fall into that category, and I wanted to honour that objective. So this is a result of that. Admittedly it’s not Crass, Cocteau Twins or Kraftwerk (to name a few), and the bulk of these songs are relatively well-known and well-loved. Songs like In Between Days and Friday I’m In Love have fairly regular outings at Southampton Ukulele Jam, and are relatively uke friendly. Others here such as Just Like Heaven I’ve published previously, and Boys Don’t Cry was wheeled out for one of our 1979 nights. And I’ve definitely gone for the more accessible end of Robert Smith’s oeuvre. But songs like A Forest (from the band’s earlier, dark and gloom phase), the whispered, under-the-breath vocals of Lullaby (which, lyrically at least, is definitely not designed to lull you to sleep), the electronic-based attempt to break away from the captive Goth fans and find a pop audience that is Let’s Go To Bed, and the manic intensity of Why Can’t I Be You are songs that certainly aren’t your average ukulele fare. Add to that a selection of hypnotic, introspective, mid-tempo classics from the high-water mark that is Disintegration (Lovesong and Pictures of You) and I think this little collection hits the mark that I was aiming for. That said, the proof of the pudding is in the eating – we will do this as an evening, and I’ll report back on how they work.

I don’t think I need to say much more about The Cure. They’ve now been going for over forty years, in various guises, and have built up an impressive body of work that has established themselves as the elder statesman of alternative rock (whatever that means). Variously gothic and gloomy, poppy and perky, but at all times original and not willing to plough the same tried and tested furrow, the band’s recent closing headline set at Glastonbury re-affirmed the credentials of a band that shouldn’t really have lasted this far.

Here’s the list of songs included in the songbook:

  • A Forest
  • Boy’s Don’t Cry
  • Close To Me
  • Friday I’m In Love
  • In Between Days
  • Just Like Heaven
  • Let’s Go To Bed
  • The Lovecats
  • Lovesong
  • Lullaby
  • Pictures Of You
  • Why Can’t I Be You?

The songs are mostly true to the originals. I’ve transposed one or two, and where there is a choice they adhere to the single versions. I’ve also included a selection of tab for the various riffs that crop up in some of the songs – many of which are such an integral part of the songs that it felt only right to add them. Enjoy!

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I Won’t Back Down – Tom Petty

A number of the songs I’ve posted on this blog have been gig-inspired, and here’s another, although as with some of those previous songs this one clearly wasn’t as a result of seeing the original.

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Last weekend I had the privilege of attending the Larmer Tree Festival in deepest Wiltshire, in what has now become a somewhat regular event playing with Southampton Ukulele Jam. A great weekend was had by all (here’s a clip of us performing). Part of the line-up for the festival included a set from KT Tunstall, to be honest not somebody I’m mad about, but somebody who I had enough interest in to give her a try. To be honest I left with the same opinion I arrived with with, BUT she did do a cover of this song, and I thought “that would make a good uke song”. And so here it is.

I Won’t Back Down was in fact Tom Petty’s first solo release, being as it was the lead single from his first solo album Full Moon Fever. Obviously Tom had recording and putting out records with his band The Heartbreakers since 1976, but following a spell with The Travelling Wilburys (alongside Bob Dylan, George Harrison, Jeff Lynne and Roy Orbison) he decided to temporarily put The Heartbreakers aside and record what was to become the most successful album of his career. Produced by Lynne, and with contributions from Harrison and Orbison (before his death), Full Moon Fever is chock full of great songs, including Free Fallin’, Runnin’ Down A Dream, and this.

A co-write with Jeff Lynne, I Won’t Back Down has become something of a classic. It’s universal and ambiguous message of defiance in the face of adversity has led to it being picked up and used in many public situations, not all of which Petty was happy with (its use by George Bush in his 2000 presidential campaign led to a cease and desist letter from Petty’s publisher). A later cover by Johnny Cash for his “American III: Solitary Man” album (on which Petty sang and played guitar) lent the song even more gravitas and helped cement it’s status.

So here we have the song sheet. It’s only four chords, and nothing tricksy in there at all (C, D, Em, G). The only slightly challenging parts are the passing chords in the chorus, and getting the timing for those. You’ll need to listen to the original to get a feel for how they work (maybe I’ll get around to recording what I think they sound like at some point), but if in doubt you can just skip the G chords in the chorus, and everything will be fine. Enjoy!