Uke Tunes

Uke-ifying my favourite songs


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Open Your Heart – The Human League

So here we are again, back to the 80s, and back to shiny, streamlined synthpop. And what better example of that than The Human League at their peak.

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1981’s Dare was the album that made The Human League, a commercial triumph that seemed all-but-impossible a year earlier. In the autumn of 1980 the band were seen as something of a cult success, having achieved critical plaudits and a degree of recognition with their first two albums Reproduction and Travelogue. But tensions within the band resulted in a split on the eve of a UK and European tour. At the time, the smart money would have been on Martyn Ware and Ian Craig Marsh, often seen as the musical talent within the band, to be the ones that made the commercial break when they formed Heaven 17. Phil Oakey was left holding band name and little else, and with the threat of being sued for not meeting contractual commitments, Oakey quickly pulled together a band made of two girls he found on a Sheffield dance floor (Susan Ann Sulley and Joanne Catherall – no previous singing or performing experience) and a professional musician (Ian Burden) to play keyboards. They survived the tour, but it was when Oakey and the band were put together with producer Martin Rushent that things really sparked, and it was that relationship that produced Dare, and which ultimately established the band, particularly via. the hit singles that it spawned – The Sound Of The Crowd, Love Action, Open Your Heart and Don’t You Want Me.

Open Your Heart was the third single from the album, a co-write between Oakey and new band member Jo Callis (ex-Rezillos), immediately preceded the album’s release, and was a huge hit in the autumn of 1981.

Chord-wise this isn’t a complex song, as you would expect. So there’s nothing much to explain there. I’ve included some tab, for the opening bass riff (C x 32!), for the synth riff in the chorus (playable up high or down low) and for the bridge. I think this is a great song to sing, so enjoy!

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Caravan Girl – Goldfrapp

I was a bit late to Goldfrapp, if truth be known. It wasn’t until the more acoustic sounds of their fourth album, Seventh Tree, caught my ears that I started to pay attention.

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From the cinematic soundscapes of the debut Felt Mountain, to the glam-meets-dance of Black Cherry and Supernature, the folk-meets-electronica sounds of Seventh Tree, the 80s-revisited vibe of Head First, and the lush orchestral mood of Tales Of Us, Goldfrapp have always taken a highly-stylised and deliberate approach to the twists and turns of their musical career. Seventh Tree took inspiration from paganism and surreal childrens books, and marked a more earthier sound that was a deliberate contrast to the glamour and synthetic feel of their previous releases. Despite the folk stylings this was still a pop record, with songs like A&E and Caravan Girl having a commercial appeal that saw them become hits. Caravan Girl is a great song, a lovely, bouncing late-summer song that can’t help bringing a smile to the face.

And so to the songsheet. Nothing too tricksy here. It definitely needs a good, driving rhythm to keep it moving. Chord wise, all relatively straightforward, with the possible exception of the F/C – I don’t think that’s the right name for it, but basically it’s an F with a C on the top string. An F (or C) by itself will do if you feel so inclined. Finally, I think this would definitely benefit from lots of oooh-ing, la-ing and lovely harmonies. Enjoy!


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Since Yesterday – Strawberry Switchblade

Remembered as a one-hit wonder, Strawberry Switchblade emerged from the Glasgow’s post-punk scene in the early 1980s and left us with this slice of glorious pop-goth.

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Taken under the wing of managers David Balfe and Bill Drummond, who both had Teardrop Explodes connections (Drummond later going on to huge success with The KLF), and releasing their first single on the label of Echo and the Bunnymen’s Will Sargent, Strawberry Switchblade (essentially a duo of Jill Bryson and Rose McDowall) took their time to become overnight successes, and when it came were almost as famous for their costumes (all ribbons and polka-dots) as their songs. To be honest they probably suffered from being neither Goth enough nor poppy enough, but their one album is a great mix of those extremes (the name Strawberry Switchblade was designed to reflect the juxtaposition of sweetness and darkness), although may be a bit too much on the catchy, sweet side for some. Since Yesterday was a huge, deserved hit, and one that takes you right back to the mid-80s.

There’s nothing too much to say about the song sheet. It’s a simple 4 chord song, basic structure, and lots of la la las, just something to strum and sing. Enjoy!


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The Way Old Friends Do – ABBA

It’s strange how songs crop up in the most unlikely of places.

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Yesterday I attended the Wickham Festival. It’s a local festival, just down the road, and I was attending because Southampton Ukulele Jam had been asked to perform, somewhat at the last minute. We had a blast (here’s a clip of us doing Blitzrieg Bop – that’s me at the back in the straw hat!), and got a great reaction from the audience. But it meant we had a free day ticket, so got to enjoy some great music, largely of the folk variety, from the likes of Eliza Carthy, Gaz Brookfield, Imar and Brighde Chaimbeul. Anyway, inbetween sets there was an interesting mix of music being played, often with something of a 70s soft rock flavour (blatantly appealing to the majority demographic in attendance). And then this song popped up. It somewhat surprised me that something from a hyper-polished Swedish pop group would crop up during an English folk festival. But on reflection, it actually fitted really well.

Pre-Abba, each of the band members, in particular Björn Ulvaeus and Agnetha Fältskog, had established themselves in various parts of the Swedish folk scene. And there has often been elements of folk music creeping in to their music over the years. The Way Old Friends Do is certainly one of those songs, initially just accompanied on the accordion, there is something pure and honest about this lovely song. Never recorded in the studio, the version that found its way onto 1980’s Super Trouper album was recorded live during the band’s tour in 1979, and the simple sounds of voices and accordion show that, for all the studio wizardry and perfectionism that went into ABBA’s music, cut to the core they were four great musicians.

There is *nothing* complicated in this songsheet. The song only has one verse, repeated. The chords are as straightforward as they could be. The only slightly tricky thing if you try to play along (the songsheet is in the same key) is that the recording is not in any kind of regular tempo. When played alone, it’s easy to give it that regular tempo, though. So enjoy!


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Life Is A Rollercoaster – Ronan Keating

I love this song! I don’t care what anybody says, or where that puts me in your credibility league table. But this song is a cracker!

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Now don’t get my wrong – I really can’t abide Boyzone, or indeed any boyband stuff. And I’m not very partial to any other Ronan Keating songs either (although, to be fair, I don’t think I’ve really sought any of it out). However, this song stood out to me when I first heard it, and hasn’t lost its charm as far as I’m concerned.

I suspect that might have something to do with the song originating not from Mr Keating, but from the can-do-no-wrong-in-my-book pen of Mr Gregg Alexander. Who he, you say? Well he is none other that the frontman, songwriter and main driving force behind the late-90s one-hit wonders New Radicals. Breaking up after a single album (but my, what an album), Rollercoaster was actually scheduled for their second album, but was never recorded by the Radicals.

(Note, another Gregg Alexander song appears elsewhere on here, in the form of Lost Stars from the movie Begin Again. And that is just as wonderful!)

So the song sheet is pretty straight forward. A standard song structure, pretty reasonable chords (you can go with a Dm instread of the Dm7 if that is a problem for you), and just a feel-good, sing-along. Enjoy!


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When Will You (Make My Telephone Ring) – Deacon Blue

Sorry, it’s been a bit quiet here lately, hasn’t it?! No excuses really, just life getting in the way. But here’s a couple of songs to make up for it.

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First up, a band that definitely have fallen on the wrong side of the “cool” divide, but who – for me – have consistently produced quality songs. Deacon Blue emerged in the mid-80s, taking their name from a Steely Dan song, adopting a sound that was a kind of pop / rock / soul hybrid that saw them bracketed with similar bands of the era such as Prefab Sprout and The Christians. Their debut album, Raintown, from which this song was taken, was steeped in the city of its birth (Glasgow), reflected in the albums title, its cover art, and many of the themes of the songs.

The song itself was a relatively minor hit, as were all the singles taken from the album – it wasn’t until the follow up, When The World Knows Your Name, that the band really broke through. Elements of 80s production creep through into the song (those snares!) but this is – in my books – a powerful and emotional example of Deacon Blue at their best.

So nothing particularly tricky here in the songsheet. It’s in the same key as the original, so you can play along(!). Note the C and D chords are best played as barre chords, both because they sounds better (to my ears), but also because it makes that nice little run in the chorus (C / Cm / Eb / D) nice and easy. Enjoy!


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Spacer – Sheila B. Devotion

It’s the late 1970s, and disco has taken over the world. Yes, I know that in the critics-written history of pop it was all about punk, post-punk and new wave. But in terms of commercial success and popularity it was disco all the way.

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Now I understand that disco had (and still has) its detractors, something that reached something of a crescendo with the infamous Disco Demolition Night where a crate of disco records was blown-up in the middle of a baseball game in the US to chants of “Disco Sucks”. And yes, I will accept that the tacking on of a disco beat to anything became something of a plague (although I definitely have a soft spot for The Rolling Stones’ Miss You). But alongside the dross and bandwagon jumpers there were some truly sublime moments.

Not a small number of those sublime moments came from the hands of Nile Rodgers and Bernard Edwards. Most famously known for being the power behind disco behemoths Chic, over a hugely productive period at the end of the 70s and early 80s the pair lent their not inconsiderable talents to the likes of Sister Sledge (Lost in Music, We are Family, etc.), Diana Ross (Upside Down, I’m Coming Out and more), Debbie Harry (KooKoo) and Carly Simon (Why). But one of the more overlooked collaborations was with a French former  Yé-yé artist originally just known as Sheila. Adopting a more contemporary disco style, she had a huge European hit with a disco version of Singing In The Rain in 1977. But it was Spacer, the first fruits of that collaboration with Rodgers and Edwards, for which she will always be known. Full of the trademark Chic funky guitar and bass, I defy anybody now to want to strut their stuff to this collision of two late 1970s phenomenons – disco and sci-fi.

Star Wars had woken Hollywood to the sudden realisation that sci-fi was a cash cow, and for five minutes there was a sudden spate of sci-fi / disco cross-overs. Spacer was by far the best of those (and check out the extended version for it at its best), but it was joined in the charts by the likes of I Lost My Heart To A Starship Trooper (Sarah Brightman, before Andrew Lloyd Webber credibilty), Automatic Lover (Dee D Jackson, who had worked with Giorgio Moroder), the awesome Space by Magic Fly, and even a disco version of the Star Wars theme.

Ukulele-disco I hear you say. Are you mad?! Well maybe, but as has possibly been proven previously it might just work. There’s nothing too tricky chord-wise here (the E7sus4 to Em7 change is reasonably straightforward once you’ve got used to it). But clearly getting a good, steady rhythm is key to making this one work. To that end I’ve had a go at recording this over the top of the original so you have some idea of how *I* think it could go (see below – you can obviously do your own thing) – I hope this helps.