Uke Tunes

Uke-ifying my favourite songs


1 Comment

Synthpop and New Romantics

Anybody who has had more than a cursory glance over the pages of this blog will realise that, though strictly speaking a child of the 1970s, my formative musical years were the early 80s. I’ve written elsewhere about how that was such a fertile time musically, about how there was just so much variety, and so much exciting new stuff both in the charts and in more obscure corners. And so it should come as no surprise that this songbook has finally found its way out there.

<songbook>

A couple of musical threads which overlapped during that period were the rise of electronic music, particularly the more commercial brand that came to be referred to as synthpop, and the New Romantic movement. The latter grew initially out of the legendary Blitz club in London and, whilst borrowing from the anybody-can-do-it mindset that punk had unleashed a few years earlier, was in many ways a reaction to the often dour and black-and-white world that it had created. New Romantics were characterised by flamboyant, extravagant costumes and make-up, adopted a far more hedonistic lifestyle, and their music was all colour and drama. Whilst a relatively short-lived phenomenon, it gave a platform for a series of colourful characters (Boy George, Steve Strange, Marilyn), provided an lightning rod and incubator for a number of subsequently hugely successful bands (Duran Duran, Spandau Ballet) and lent its sheen to a number of other artists who were on its periphery (not least of which was Adam Ant, who re-imagined himself in increasingly more glamorous and eccentric forms).

At the same time, the availability of cheaper electronic instruments created its own revolution, often inspired by true trailblazers such as Kraftwerk. The Human League were early out of the blocks, but initially had their thunder stolen by the upstart Gary Numan. But by 1980/81, you couldn’t move for electonic bands who were attempting to bring the left-field, subversive sounds that electronic music had originally rallied around into the charts. Bands like Depeche Mode, OMD, Soft Cell, Eurythmics, Yazoo, Tears for Fears, and many others rode on that wave. Often derided at the time, in a similar way to the way punk had been, for being talentless, one-finger keyboard operators, these artists often smuggled cutting edge contemporary themes into their songs and presentation.

On the surface, these songs and this genre are a thousand miles away from the world of ukulele. The sheer glamour of the New Romantics is not something that ukulele are renowned for. And the artificial, electronic sounds are not exactly what you associate ukulele with. But as has been proved in previous posts, and in a variety of ukulele groups around the country, these songs can actually translate quite well. Part of that comes down to the relatively straightforward nature of the songs, and the fact that – despite their origins – these are often classic, singalong songs. So I present you 30 songs that – to my mind, at least – are all classics of their kind, and translate really well to the humble ukulele. Give them a try, and enjoy!

Here is the songbook with all the songs in one place <songbook>

And here is the song list, with links to each of the individual song sheets:


Leave a comment

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.

<songsheet>

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!


1 Comment

Joan Of Arc – OMD

So here we are going full circle in the series of recent posts, back to some synthpop, back to the 80s, and back to OMD.

<songsheet>

OMD (or Orchestral Manoeuvres In The Dark, or Orchestral Manoeuvres as the sleeve for this song described them) had always straddled the line between experimentation and commerciality. Sometimes they went further in one direction than the other, but they are arguably at their best we they manage to hold those two tendancies in tension. As an album, 1981’s Architecture and Morality could be seen as a career highlight in achieving that, birthing three hit singles, hit still with enough elements of outright weirdness and oddity to make it interesting.

Two of those three singles focussed on the French heroine Joan of Arc (nicknamed Maid of Orleans, the title of the second such song). Having been in receipt of many religious visions in her early years, Joan was famed for her role in influencing the outcome of battles with the English in the 15th Century. She was ultimately handed over for trial and burnt at the stake at the age of 19, but it was not until the early 19th century that she was declared a national symbol, and not until the early 20th century that she was made a saint.

So it’s just a simple three-chord song, chorus-less but with a bridge-like interlude before the final verse. The original is unaccompanied (just a drum machine) at the beginning, but I’ve chorded it. Works both strummed or picked. Enjoy!


4 Comments

Night Café – OMD

1980s synthpop has been a rich vein on this site, and I make no apologies for that. Many of those songs seem to translate well to the ukulele.

<songsheet>

What has surprised me recently, though, is how many of the bands of that era are still around, and still creating new music. Not just mining the nostalgia-circuit (although there’s nothing wrong with that per se) but actively creating new and interesting music. Not least of those is Orchestral Manoeuvres in the Dark, forever shortened to OMD.

Born from the same late-1970s scene that also resulted in the likes of Echo and the Bunnymen and The Teardrop Explodes, OMD were always an interesting proposition, forever balancing their pop sensibilities with experimental, avant-garde elements. Notorious for following up their most successful and critically acclaimed album (Architecture and Morality – not exactly choc-full of hummable tunes itself) with the experimental cold-war themed Dazzle Ships (musique concrete, sound collages and short-wave radio exceprts), and reducing their sales by 90% into the bargain. OMD have ploughed their own path over the years. And in recent times that has resulted in something of a renaissance – their last album, English Electric, managing the trick of being a career highlight (after nearly 40 years), clearly an OMD record, yet also remarkably contemporary. They have a new album out later this year (The Punishment of Luxury) and if the early tracks are anything to go by that promises to be just as good.

Night Café was a single taken from English Electric, and is a gorgeous medium tempo, chorus-less (a synth riff takes that role) song that is far darker than it at first seems. Check out the video (below) to see how dark!

So here’s the songsheet. There’s only three chords, and they’re G, C and D, so it couldn’t be easier! I’ve also included tab for the synth riff that opens the song and runs between the verses, which again is nothing too tricky. Enjoy!