Afroman’s Because I Got High is a very simple song. Three chords and just a verse with a bit of variation in the intro and a bit of getting jiggy with it in the outro.
The only tricksy thing going on (other than a bunch of percussive chnks) is the campanella picking on “Coz I got high…” which first shows up in bars 6-7. I think having the notes ring into each recreates the slurred, stumbling feel of the original.
It’s St. Patrick’s Day on Friday. Just enough time to ditch your dullest friend, threaten to cut off your fingers and dedicate yourself to achieving musical immortality.
To celebratre St Patrick’s Day on Friday, I thought I’d cover a song written by an American about a place in England. But it has become thouroughly Irish-ised through versions by The Dubliners and the Pogues version. For this arrangement, I worked from The Pogues version.
Intro: A quick couple of bars then into the thumb-and-strum pattern which carries on through the song i.e. the thumb alternates between picking the g- and C-strings with a couple of strums in between.
Verse: The first verse is the most straightforward. The second and third have a couple of extra bits of filigree.
Solo: I like The Pogues version, this arrangement modulates to C for the solo. It’s heavily based on the melody with a few extra twiddles. I particularly like the campanella run in bar 48. As always, feel free to add your own ideas and adapt it to your own style.
“Here at Kickstarter headquarters, we maintain a stable of fresh four-string talent, sort of a ‘Wrecking Crew’ of ukulele players,” said Taylor. “We put the campaign videos onscreen in the recording studio and just let these cats cook. Last week one of our players slipped into a uke trance—we knocked out twenty videos in one afternoon. It was like watching Miles Davis in his prime if he were promoting a water bottle that connects to Wi-Fi.
A massive thanks to all Uke Hunt’s Patreon backers for keeping the site up and running this month. And double thanks go to these legendary patrons of the arts:
– Arthur Foley
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Yeah Yeah Yeahs guitarist, Nick Zinner is one of my favourite guitar players. His playing is very minimal but he makes every note count. Never more so than on Maps. This arrangement is minimal too. With a few nods to the acoustic version which is a bit more fleshed out with the chords.
In keeping with the theme of the song, Culture Club’s Karma Chameleon is a mish-mash. Including some country harmonic, funky bass, cheesy 80s keyboards and a catchy pop chorus.
Intro: A bit of everything here: the guitar riff, muted strums for the drums and a bit of harmonica.
Verse and Pre-Chorus: A fair bit of sliding up and down here but nothing too challenging.
Chorus: This is where it gets tricky. The melody notes here are very fast. You’ll need to use alternate picking to get them up to speed.
Bridge: I forgot this section existed before I relistened to the song!
Solo: A brief solo that I cobbled together based mostly on the chords.
A New England was originally by Billy Bragg and made more famous by by Kirsty MacColl. This arrangement starts with a riff inspired by Johnny Marr’s intro on Kirsty MacColl’s version. After that, it’s closer to the Billy Bragg version.
I’ve reduced the tempo for my recording. There are a lot of fast notes in it. With the most challenging run being bars 59-60. If you can play that at the tempo of the MacColl version, you’re a way better player than me.
Tempo-wise, this version is most similar to the Lil Green version. But I took inspiration from all three versions.
There are a heap of places in the song for little licks, and I’ve included a solo as well. As always, I recommend using the tab as inspiration for your own ideas rather than slavishly following each lick.
When soloing, I mostly thought in terms of the D blues scale (D – F – G – Ab – A – C – D). In addition to that, I threw in a few notes that crop up in the chords: Db and Bb. And a couple of chromatic runs (in bars 31-32 and the blues turnaround in bars 35-36).
