Uke Tunes

Uke-ifying my favourite songs


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Simon and Garfunkel – America / I Am A Rock

A little while back I posted a songbook for Simon and Garfunkel’s Bridge Over Troubled Water. A couple of week’s ago we (Southampton Ukulele Jam) did that as one of our album nights. To my (and, I think, quite a few of the people who came along) surprise, the night went really well. It’s one of those records that people kind of take for granted, and so often overlook, but it is a cracker of an album with a great selection of songs.

<I Am A Rock>  <America>

But it’s not the longest of albums, and I was a little worried we might finish a bit early. So I decided to add a couple of additional Simon and Garfunkel songs to the evening. But which to do? Well, I put it out to a public vote, and the winners were… …these two songs.

And what great songs they are. And how well they worked. I Am A Rock was a single taken from 1966’s Sounds of Silence, the album that marked the duo’s commercial breakthrough. And America was from 1968’s Bookends, the album that preceded Bridge Over Troubled Water – an album track, but one which has become a well-loved classic.

So two song sheets today. Both are reasonably straightforward, although for both I’ve added in beats-and-bars to help with the timings. I’ve added some little riffs for I Am A Rock, and there are some optional chords in America that you can add or omit as you choose. These are great songs, so sing out loud.

<I Am A Rock>  <America>


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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!


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Bridge Over Troubled Water – Simon and Garfunkel (Full Album)

Whilst I’ve published a number of songbooks over the last few months, it’s been a while since I’ve done a whole album. That’s partly because the “album” nights that we’ve been doing with Southampton Ukulele Jam have morphed into a series of themed nights (Abba, Elvis, 1979, Glam), and also – and not coincidentally – because I’ve struggled a little to think of albums that would work. There are a ton of albums that I personally would love to do, but finding something where 75%+ is relatively well known, and that works on the ukulele for a broad audience, has proven a little tricky. But today’s post does – I think – tick all those boxes.

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Bridge Over Troubled Water was the final studio album recorded by the duo of Paul Simon and Art Garfunkel. The American folk-rock duo had climbed a steady road to popularity since first getting together in the late 1950s as Tom and Jerry, and during the late 1960s achieved an unparalleled level of success. Despite a sound that remained remarkably consistent over their five albums, their recordings showed a gradual evolution and increased maturity and sophistication, something which reached a peak (and ultimately conclusion) on Bridge Over Troubled Water. Whilst still clearly rooted in the folk stylings of their early records (and the live recording of the Everly Brothers classic Bye Bye Love was a clear harking back to those early years), the album demonstrated a branching out. El Condor Pasa, based on an original Peruvian song, anticipated Paul Simon’s later excursions into world music, the title track owed a strong and clear debt to the Gospel sounds that Simon was listening to at the time, and Keep The Customer Satisfied adds a full-on brass section.

Whilst the release of the album met a mixed critical response (typically it was felt to be smooth and over-produced), the public response was anything but mixed. Despite their break-up, the album topped the charts in 10 countries, was the best selling album in the world in 1970, 1971 AND 1972, and remained CBS’s best-selling record until ultimately over-taken by Michael Jackson’s Thriller in the 1980s. In the UK the album was number one for 35 weeks, and remained on the charts for 285 weeks – no self-respecting household was without a copy. 25 million copies of the album have been sold world-wide. Clearly this was a record that struck a chord with its audience, and which has continued to do so ever since.

These are songs that have become part of the musical DNA of western culture, known and loved by people across the world, many of whom are far younger than these recordings (it will be 50 years old next year), and who will have very little context of where these songs came from. In that context these songs have truly become modern folk songs – owned and loved by the people as much as they are by those who created them. Songs like The Boxer, Cecilia, Song For The Asking, El Condor Pasa and the title track are the kind of songs that feel like they have always been there, and it feels hard to conceive of a time when these songs didn’t exist.

So here is the Bridge Over Troubled Water songbook. I’ll be upfront – despite their apparent simplicity, some of these songs aren’t necessarily as straightforward as they sound. The relatively less well-known So Long, Frank Lloyd Wright is the most obvious example of that, but others have their moments. That said, with a bunch of songs as wonderful and well-known as these, it’s hard to go too far wrong. Most of the songs I’ve ended up transposing from their original keys to ensure they are an easier set of chords. I’m not claiming that these are 100% correct, so any feedback on corrections, improvements, etc. appreciated. But most of all, 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.

<songbook>

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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Grass – XTC

XTC have always been one of those bands that I kind of thought I should get, but never really did. Yes, I loved those late 70s / early 80s hits like Sgt Rock, Senses Working Overtime, and Making Plans For Nigel (more of which later). But I never really got beyond that.

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So I decided to put that right recently. But where to start? After  bit of dithering I ended up plumping for a copy of 1986’s Skylarking, prompted in part by having recently heard one of the albums track, That’s Really Super, Supergirl, on the radio. An album that was strongly rated, critically acclaimed, but of which I knew almost nothing.

So how did it go, I hear you ask? Well, if I’m honest, first listen I was little unsure, a little non-plussed. A few songs sounded good first time, but much of it felt indistinct and uncertain. But I got the sense that this might be one of those albums you need to work at a little to really extract its riches. And so it proved to be. A few weeks later and the subtle riches of the album are beginning to worm their way into my head and heart.

For those who don’t know it, Skylarking has a more pastoral, quintessentially English sound than you might have expected if all you’ve heard is the new wave / post-punk sounds of those early hits. Produced by Todd Rundgren, it is loosely themed around various cycles in life and nature, and as a result really hangs together as a whole piece.

Grass, a song written and sung by Colin Moulding, was the lead single from the album (the flip-side, Dear God, was later to become the most well-known song from this set, a minor hit in the US), and exemplifies the mood and feel of the whole album. A song that looks back in almost bucolic terms to romantic fumbles in the summer grass, with more than a hint to doing so under the influence of that other grass (marijuana), the song captures a time and space so perfectly that for three minutes you feel yourself right there.

So here’s the song sheet. The song is actually quite a simple one, both in terms of structure and chords, and feels like it demands to be sung under a late summer evening sky, basking in the the great outdoors. I’ve included two versions, one in D and one if F, both a little easier to play than the original in E (play the first version with capo 2 if you want to play/sing along to the original. Enjoy!