The best ukulele bit of this song is impossible to hear on the album version, but Jimmy fills us on it in this video. So here’s the tab:

If you can’t handle the fancy stuff, you can play C and G in the chorus.

You can find this one on L’Appropriation Bourgoisie de la Bobby McGee’s (and you get a free sweetie when you buy it).

A fairly good representation of The Bobby McGee’s ukulele style with Jimmy dishing out some rapid strumming and Eleanor with the single note runs.

One interesting thing is that the two parts seem to be in conflict with each other. In the A chord Jimmy’s playing a major third (C#) and Eleanor is playing the minor third (C). When I asked Jimmy about it he said, “The major over a minor third was something I first heard in the work of Shostakovich…or was it Buddy Holly????” And he also notes that the A chord is played with a rock and roll hammer-on from A7 to A.

The Billy and Tracey of the title are Billy Childish & Tracey Emin.

Buy The Bobby McGee’s’s latest album on Cherryade Records.

This week sees the long await release of The Bobby McGee’s debut album L’Appropriation Bourgoisie de la Bobby McGee’s. And what better way to celebrate than with a week packed with McGee-goodness. Starting with a interview with Jimmy.

The Bobby McGee’s have been together for about 7 years. How come you’ve only just got round to releasing an album?

A few reasons, firstly, I was never going to pay to have an album recorded or put one out myself. I reckoned if someone else wouldn’t put out our music it was because it wasn’t good enough to be released. I also wanted to work with good people infact I would rather work with good people than make money from working with dodgy people (though some money would be nice!). Secondly we built our own studio, or rather Graeme our bass player did! Converted an old garage, built floors, walls & roofs, equipped it & set it all up…like all building projects it took longer than first thought!

What can we expect from the album?

Some beautiful songs, some wise words, some mad rants and the best use of a ukulele since George Formby invented the split stroke!

Go listen to the bassline in Go Tiger Go!

It seems like everyone loves the Bobby McGee’s. Are you the first twee band to receive plaudits from Kerrang?

I think so, that was ace…

“Pure Fucking Genius!” was the phrase they used.

I was standing in the middle of a video shoot when I heard about it, I was a biker extra in a porn remake of “From Dusk Till Dawn” (don’t ask…but Dawn was a lovely girl!) I had a naked dancer in front of me, a man with a snake in his arms on my left and a bottle of jack Daniels in my hand when I got a text from my friend Jon, “Congratulations on the Kerrang review!”…for 15min I was Axl Rose!

You and Eleanor have very different styles of uke playing. How do you get them to gel together?

L.O.V.E! Girls do seem to just play differently from boys…Boys are all GEORGE FORMBY, fast strums and flashy technique…Girls are more HAWAII, beautiful mellody & gentle picking…but to make something truly great you need a wee bit of both.

Our songs have always been a mixture of my songs, Eleanor’s songs and songs we write together. I like them all!

My technique, I struggle with a rhythm or technique for hours, storm off in a huff shouting “I can’t do this…it’s stupid!”..Eleanor works it out in 2min and teaches me….then Graeme shouts at me until I can play it in time.

You’ve been active on the ukulele scene for quite a while. What’s your view of the ukulele scene at the moment?

If I walked onstage at a comedy club and did a Billy Connolly routine I’d be laughed out the place…That sums it up perfectly I think!

You’re a big advocate of people writing their own music. What advice can you give those who, like me, have no songwriting ability whatsoever?

Book yourself a gig today…or find an open mic’and go play…some real good songs came to me on the way to gigs! Rip interesting sentences from books or newspapers, play G then C then D…add the words…bingo, a song! It’s a start. Writing and performing your own songs is a totally different skill from playing covers and I’m still not sure about the crossover…I had it described best by a man I know only as J Boy Shine he talked about Artists & Artisans and the importance of both…I have a video I made about my 21 tips for songwriting and performance.

What can we expect from the Bobby McGee’s in the future?

Well, I have 2 solo albums recorded: 68 Love Songs(& a poem about shagging) & LOVE SONG 101…(thats a total of 170 new songs! I gave a copy of the 1st album to Billy Childish…I said to him “69 songs Mr Childish, but if I’m honest, only 67 of them are brilliant.” He laughed, but he hasn’t gotten back yet!).

I have ideas for another dozen, some recorded with no lyrics and some drunkenly hummed into my phone. I want to hear dance remixes of my songs…I’d love that! I saw the Japanese band MELT BANANA about a month ago and was hugely inspired, I’ve been experimenting with effects pedals ever since! My playings getting technically better which actually makes it harder to write songs as I always want to throw in a triplet, a split stroke or a 13th Chord instead of just writing a song!

L’Appropriation Bourgoisie de la Bobby McGee’s is released today on Cherryade Records.

I’ve spent hours and hours examining John King’s arrangements (particularly his Classical Ukulele book) and working out he decided to play things a certain way. I’ll always regret not emailing him and asking him a for an interview (although I’ve recently discovered that emailing your heroes can be a bit disappointing).

I had lengthy discussions with Ken Middleton about the opening run of this tune. I couldn’t believe that John King would play two consective notes on the same string. The only other time he does it in this piece is on the lower reaches of the C string where he doesn’t have a choice. But it is very difficult to get the phrase fluent any other way (and it’s still tricky the way it’s played).

And it’s not the only tricky passage. One part I had big trouble with is bar 28/29. So I play it like this in my version of the tune:

Buy John King’s The Classical Ukulele (And you really should – it’s the best ukulele tab book around)

Every week as I’m putting this post together I’m amazed how much talent there is around. And it’s almost always better than the dreck that ends up on the TV and radio. Certainly they are more individual and heartfelt.

This week includes another song from Clare Costa. Last week she was singing in French, this week Italian. She’s obviously pitching for a mention on Ukulele & Languages. Katzenjammer’s ukulele song finally shows up (although the sound quality leaves a bit to be desired). And if Zoe doesn’t win Seeso’s Hip Hop doohicky I’m calling shenanigans. Read the rest of this entry »

Nice bit of floral soundhole work on this Divine ukulele. And the listing refers to both Eddie Vedder and Mike McCready of Pearl Jam playing Divine ukuleles. I wasn’t aware that McCready was a uker. If anyone knows of any video or photo of him ukeing – I’d love to know.

Spalted mango seems to be the crazy grain of choice for ukes at the moment with Lanikai’s SM range. Seems a bit hit and miss to me. Sometimes looks great, sometimes looks a complete mess.

Gorgeous taropatch, horrible listing. Pick a colour (I hear black has worked pretty well for the last few hundred years) and stick with it.

Also some layout and font issues on this listing. But it’s worth the effort because the story of the Duncan Sisters is fascinating (quick tip: after, “performers can only dream of” read the press cutting).

I’m not a fan of picks on ukes but picks this sexy could defintely change my mind.

Ukulele kitsch of the week: Orca whale, ukulele playing, ship’s captain.

Either I’m hopelessly naive or the person who listed this photo has an over-active imagination because I can’t work out why a girl playing a ukulele on her own would be of particular interest to lesbians.

Here’s a very interesting story from Indonesia (don’t miss the link to the audio). An Indonesian punk band, Marjinal, are giving ukuleles to street kids and teaching them how to make money busking. There’s a similar piece on them in TIME. (Thanks to Charlie)

And another very cool idea. James Hill and the Portland Ukulele Big Band flip the idea of a ukulele group (where everyone plays exactly the same thing) and has everyone playing an individual note which builds up the sound (like a big band). Sounds great.

Details of the first Irish Ukulele Festival. The official website is/will be here.

Donnie from UkeToob does an excellent video interview with Jake Shimabukuro.

Sit down a write five lines of verse,
Of a girl who seems slightly perverse.
Reposed on a lion,
Her instrument, Hawaiian,
And a bug sat on her lady purse.

Armelle will be the official Uke Hunt correspondent at this year’s Paris Uke Fest. So if you’re going, leave her a message.

Seems like wherever people congrate, it’s only a matter of time before they form themselves into a ukulele group. Here’s a bunch of ukulele playing photographers.

Keith Clarke (Editor of Classical Music Magazine) takes up the ukulele ready for the Proms.

His name is Ben Lerman, he plays the ukulele, and he has a very funny new song on ReverbNation. Don’t listen if there are sensitive ears around.

Taxpayer funded ukulele transportation – finally, democracy starts working.

What does the internet think of ukuleles? (Thanks to Hobbit)

The Daily Growl has an MP3 of The Conversationalist by Peggy Sue.

My favourite uke photo this week – and only partly because it’s called, “the remains of what we used to be were taken away with the lightest breeze”.

And thanks to Jim for pointing out that last week’s photo of the week was of the Varsity Trio.

The trend for photoshopping ukes onto presidents continues.

Elliott Brood’s Tin Type EP has to be one of my favourite EPs of all time. So it’s very gratifying to see them picking up ukuleles for this song. Not that using ukuleles has changed their style. It’s all footstomping, drones and field hollers.

First things first, they’re tuned down a semitone to F#BD#G#.

Although it’s mostly chords, I’ve chosen to tab it rather than write up the chord sheet. The chord changes come in fast in some parts and they have names like Fsus4add9. Making fitting it with the lyrics very tricky. But I have included chord diagrams with the tab, so you should be able to work it out if you’re not tab-literate.

I spent a very pleasurable Saturday at the London Uke Festival and I’m now a world record holder.

The centrepiece of the day was an attempt to break the world record for largest ukulele ensemble. And it was a success. More than doubling the previous record with a total of 851. If you don’t believe it, here’s a tweet from the editor of the Guinness Book of Records confirming it. And if you don’t believe I was there, look at this picture (both photos on here are by matthewpurves). There I am. Plain as day.

Rather than bore you with the who-snogged-who tittle-tattle, I thought I’d let you in on what I found out from the day.

1. Ukers are good people.

The definite highlight of the festival for me was meeting up with so many fellow ukulelists: YouTubers, emailers, commentors, readers. It was a joy to meet you all. And a big thanks to everyone who came up and said nice things to me. I never know what to say to stuff like that – I don’t get much practice – but I really appreciate it.

A special mention to Alexandre of COULE (seen here chatting with Ken Middleton) who was representing for France and is a top guy.

And do you know who’s really lovely? Kathy Clugston.

2. The Ukulele Orchestra of Great Britain are adored.

No surprises that the UOGB drew the biggest crowd of the day. And the reception they got was incredible.

They’ve obviously been a huge influence on the current revival of ukulele in the UK: big groups, covers, humour, inventiveness, eccentricity. There’s not much arguing with their star status (which will no doubt only increase with their performance at The Proms).

3. Being the soundman in a venue that wasn’t designed for it must be a nightmare task.

The only disappointment of the day* was the sound quality of the main stage. The festival took place in Devonshire Square – which is actually two connected courtyards. The first – which housed the main stage – is very enclosed with six-storey high buildings on all sides and a roof on top. It wasn’t built with ukulele gigs in mind. And the sound was terrible. Echos flying all over the place. Krabbers did a full reccy of the area looking for a spot where the sound was acceptable – he didn’t find it. You can get a good idea what the sound was like from this video.

Early acts like the Bobby McGee’s and The Re-Entrants were impossible to hear. A huge shame. It also made it impossible for most people to follow what was going on during the world record attempt.

The sound did improve later on, but it was still a long way from doing the performers justice.

The second performance area – used for the amatuer acts – was much more open, ukulele-friendly and had a nice, laidback vibe (and overpriced food – but you have to expect some gouging at these events).

This video does a very good job of summing up the feel of being at the event, the two areas and the feeling of seeing people you know but haven’t met yet (including me if you’re exceptionally eagle-eyed).

*Okay, there was one other disappointment: the non-presence of a few acts I would have had down as essential such as GUGUG and The Half Sisters.

4. The world needs to watch out for the Sugarsnap Sisters.

The Uke Festival was the great unveiling of the trio of Tricity Vogue, Cousin Alice and Honey Mink (who does a very funny mock-impressed face). And what an unveiling it was. They’re like the Andrews Sisters with lipstick and Suzi Quattro poses. Not to be missed.

My brother compelled me to tell you that they were his favourite act of the day. And I have to agree with him. Your next chance to catch them is at the Paris Uke Fest.

5. Ian Re-entrant does a bang-on impression of Jimmy McGee

I hope he’s going to be putting it up on YouTube soon.

The Re-Entrants had to dash off to play at a water polo tournament. I should make clear, they were playing ukes there.

6. Trying to chat normally to a Scotsman in full face paint isn’t as disconcerting as you would expect.

I finally got to meet Jimmy of the Bobby McGee’s at the Uke Fest. He wanted me to show him how to play Rockabilly Roustabout which was a bad move as I never bother memorizing my own tunes – seems a waste of brain space.

I got to try out his KoAloha. Very nicely put together piece of kit. But reminded me why I prefer tenors with slightly higher action.

7. The ukulele manufacturers missed a trick.

The only presence from uke sellers was Duke of Uke (which was only a short walk from the venue) and Pete Howlett. With most of England’s ukulele movers and shakers in attendance checking out each other’s ukes, it seems like a missed opportunity for them to have done a handy bit of influencing. Having said that…

8. Ohana did a smart thing hiring Ken Middleton

Although he wasn’t there is in official capacity, Ken was there. He knows his stuff and he’s rightfully respected in the ukulele community

9. It brings joy to my heart to walk around and hear ukes being strummed.

Not seasoned performers pulling out the tricks. Just people plunking away mindlessly. Lovely sound.

10. I love walking around London. I’d hate to live there.

We took a few breaks from the festival to wander round the city – including a trip to Duke of Uke – and it was great. The architecture in particular. Old, forceful, square-sholdered buildings next to towering glass – there’s no getting around it – phalluses. It’s a pretty obvious sign of the way London big-wigs see themselves having changed over time.

Trite as it may be, it’s always strange to turn a corner and go from wide boulavards and pristine buildings where fortunes are made and – mainly – lost to stinking streets full of run-down shops.

The most magnificent sight of the day was watching a huge pane of glass being accidently dropped to the floor in Shoreditch. Glorious.

But, being a sensitive flower, it’s all a bit much and I was happy to return to my lair and resume attempts to Keyser Soze myself.

Things I already knew:

– I can’t reliably play three chords in the right order. There’s a reason that all my videos are about 1 minute long; it’s because that’s my concentration span. After that my mind wanders onto thoughts of aeroplanes, hats and that cute girl in the sailor suit.

– If I attempt to carry a ukulele through a train station it will be bashed against door frames, pillars and the heads of small children.

I’m slightly concerned this one is going to anger the Indie Gods. Particularly since she’s played it with Jason Mraz a few times. But I’ve had a bunch of requests for it and I took a lot less convincing than I did with the song that won’t be named (henceforth to be known as ‘the Scottish song’).

The chords are pretty simple and ideal for beginners. She does use the less common variations of F and Am (with the A string at the third fret). But if you find that tricky, use the ones you’re familiar with.

Suggested Strumming

Here’s the strumming pattern she uses:

d – d u – u d u

Play it twice for each chord in the verses and once for each chord in the chorus. An exception is in the, “You and I/You and I” where you do d – d u once each for the F and G chords.