01/01/2013 - 02/01/2013

31 Jan 2013

N'Ukes at the Cosey Club

The Nantwich N'Ukes are delighted to take their ukulele show to the Cosey Club, Haslington, Crewe on May 11.


Our events page is HERE and it would be great to see some new faces.

Nantwich N'Ukes gig poster

Should be a great night. And you can keep an eye on all things N'Ukes on our Facebook page at http://thenukes.co.uk or clicking the tab marked N'Ukes at the top of this website.

Cosey Club website is HERE
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29 Jan 2013

Ukulele Chords - One Man Guy - Loudon Wainwright III

A great song for those learning how to play the ukulele and one of my all time favourite singer songwriters, Loudon Wainwright III. In fact I named this blog after the opening line of one of his songs - the Ukulele Song (hmmm, must get those chords on here soon). 


Anyway, this is a song of his I really like. Nice played soft on the uke or gently fingerpicked. As usual, YT video at the end to help you play along. I've simplified it very very slightly too. There is a B chord in the transition to the end of each chorus, but, you know, this is a beginners blog.... ;-)


ONE MAN GUY

[G] People will know when they see this show, the [C] kind of a [D] guy I [G] am
They'll recognise just want I stand for and [C] what I just can't [D] stand
[C] They'll perceive what [D] I believe in and [C]what I know is [D] true
And they'll [G] recognise I'm a one man guy, always [C] was, through and [D] through

Cos I'm a [G] one man guy in the [C] morning
[G] same in the after [C] noon
[G] one man guy when the [C] sun goes down
I'll [G] whistle me a one man [C] tune
[G] One man guy a [C] one man guy
[G] Only kinda guy to [C] be
[Am] A one man guy, I'm a [C] one man guy, and a
[D] One maaaaaaan guy is [G] me [C]

I'm a one man [G] [C] guy [C]


[G] People meditate, hey that's just great, [C] trying to find the [D] inner [G] you
And people depend on family and friends, [C] and other folks to pull them [D] through
[C] I dont know why I'm a [D] one man guy and [C] why this is a one man [D] show
But these [G] three cubic feet of bone and blood and [C] meat are what I love and [D] know


Cos I'm a [G] one man guy in the [C] morning
[G] same in the after [C] noon
[G] one man guy when the [C] sun goes down
I'll [G] whistle me a one man [C] tune
[G] One man guy a [C] one man guy
[G] Only kinda guy to [C] be
[Am] A one man guy, I'm a [C] one man guy, and a
[D] One maaaaaaan guy is [G] me [C]

I'm a one man [G] [C] guy [C]

I'm [G] Gonna bathe and shave and dress myself and eat [C] solo [D] every [G] night
Unplug the phone and sleep alone, [C] stay way out of [D] sight
[C] Sure it's kind of [D] lonely, [C] yeah it's sort of [D] sick
Being [G] your own one and only is a [C] selfish dirty [D] trick


Cos I'm a [G] one man guy in the [C] morning
[G] same in the after [C] noon
[G] one man guy when the [C] sun goes down
I'll [G] whistle me a one man [C] tune
[G] One man guy a [C] one man guy
[G] Only kinda guy to [C] be
[Am] A one man guy, I'm a [C] one man guy, and a
[D] One maaaaaaan guy is [G] me [C]

I'm a one man [G] [C] guy [C]

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28 Jan 2013

Ukulele at NAMM 2013

About time I posted a couple of highlights of mine from the NAMM show in California that is going on right now. There really so much to share, and great to see such a massive ukulele presence at the show, so I will start off with a couple from Ukulele Underground. Aldrine really does get the great interviews.



First up, friend of Got A Ukulele and a chap I have been lucky enough to jam with on several occasions, Ken Middleton from Ohana ukes talking about some of their new models and the future for the uke. Really looking forward to that new resonator Ken,  and the sopranino looks very sweet.




And then on to Joe Souza, MD of one of my favourite ukulele companies, Kanile'a from Hawaii. Few things I am drooling over here. Firstly, those full on Kanile'a brand slotted headstocks, secondly the Islander arm rests, and thirdly that new bass uke!





And on both videos, really interesting to hear their views on where they see the ukulele heading at the moment.


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27 Jan 2013

Ukulele News - January 27th 2013

Time for a round up of the worlds ukulele news in the last week.


ukulele news


Say hello to the Hartlepool Ukulele Group

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And to the Steel City Ukuleles

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Yeah, cos I've always wished by ukulele had a USB Port....

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WIUO on the bill for re-opening of the Queenstown Memorial Centre.

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Perfectly formed bundle of joy

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More news next week!

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26 Jan 2013

How small do you want your ukulele?

Had to share this - Ian Emmerson and Phil Doleman having ukulele fun in the snow. Will probably boggle your mind if you are just learning how to play the ukulele.


Mind boggling how he plays that Tiny Tangi ukulele, not least because my fingers would have stopped working in the cold!



( Direct link http://www.youtube.com/watch?v=QWlvXfjla10 )

Awesome.
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24 Jan 2013

Dancing In The Dark - Ukulele Chords

A song I like playing on the ukulele, albeit not in the rocking style of the original by Bruce Springsteen. Dancing In  The Dark.


I think it suits the ukulele played in a slower swing style, though of course it can be played in any style you like. There is a sound clip at the end of me playing it rather badly to give you an idea! The basic pattern is a shift between G and Em, then into Am to C.



G Em G Em

[G] I get up in the [Em] evening, and I [G] aint got [Em] nothing to [G] say
I come home in the [Em] morning, [G] I go to bed [Em] feeling the same [C] way
I ain't nothing but [Am] tired, [C] Man I'm just [Am] tired and bored with my [G] self
Hey there [Em] baby,  [G] I could [Em] use just a little [D] help

[D] You can't start a fire, you can't start a fire without a [C] spark
This gun's for [Am] hire, [C] even if we're just [Am] dancing in the [G] dark [Em]

G, Em,

[G] Messages keep getting [Em] clearer, [G] radio's on and I'm [Em] moving around the [G] place
I check my look in the [Em] mirror, [G] wanna change my [Em] clothes my hair my [C] face
Man I ain't getting [Am] nowhere, [C] I'm just [Am] living in a dump like [G] this
There's something happening [Em] somewhere, [G] baby [Em] I just know that there [D] is


[D] You can't start a fire, you can't start a fire without a [C] spark
This gun's for [Am] hire, [C] even if we're just [Am] dancing in the [G] dark [Em]

G, Em,

[Em] You sit around getting [G] older
[C] There's a joke here [D] somewhere and it's on [Em] me
I'll shake the world off my [G] shoulders
[C] Come on baby the [D] laughs on me

[G]Stay on the streets of [Em] this town, [G] and they'll be [Em] carving you up al [G] right
They say you gotta stay [Em] hungry, [G] Hey baby, I'm [Em] just about starving to [C] night
I'm dying for [Am] action, [C] sick of sitting round [Am] here trying to write this [G] book
I  need a love re [Em]action, [G] Come on [Em] baby give me just one [D] look


[D] You can't start a fire, sitting round crying on a broken [C] heart
This gun's for [Am] hire, [C] even if we're just [Am] dancing in the [G] dark


[D] You can't start a fire, worrying about your little world falling a [C] part
This gun's for [Am] hire, [C] even if we're just [Am] dancing in the [G] dark [Em]

[G] Even if we're just [Em] dancing in the [G] dark [Em]
[G] Even if we're just [Em] dancing in the [G] dark [Em]
[G] Even if we're just [Em] dancing in the [G] dark [Em]
[G] Even if we're just [Em] dancing in the [G] dark [Em]


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22 Jan 2013

Chonkinfeckle - INTERVIEW with Tim Cooke and Les Hilton

Time for another Got A Ukulele interview, and the first of 2013. I am delighted to have hooked up again with the good guys from Chonkinfeckle – Tim Cooke and Les Hilton.


Chonkinfeckle ukulele band
Chonkinfeckle - Tim Cooke and Les Hilton (credit: Dylan Chubb)


I met the guys earlier in the year and had the pleasure of both hearing them play and played with them myself. They are a ukulele duo based in Wigan in the UK who, in their own words, play songs that “tell stories of everyday life, work, wives, kids and local characters, and often include a little bit of the local northern dialect”. On meeting them I also learned that they are very nice blokes with a great sense of humour!

Got A Ukulele reviewed their last CD “I'm From Wigan Me and loved their easy style with songs that provide both a mix of the amusing to the contemplative and moving.

So thanks to Tim and Les for talking to Got A Ukulele. I very much enjoyed doing this!

Give me a bit of background – how did you guys get into making music and how did you first meet up?

Tim: I come from a musical family, and as the youngest of three, I was never going to escape listening to music in the home from any genres, be it classical, straight through to 70’s pop! 

Dad was a church organist; Mum was in the local choral society, big brother Steve a club organist and sister Andrea a jobbing singer / guitarist. I had always wanted to be a drummer from an early age but Mum and Dad didn’t see that as an option! I eventually got a drum kit at 17, but it was too late. I loved playing but was limited as to what I could achieve. I played in a few bands including a Brass Band, but eventually got fed up at always being the first there to set up, and always the last one to leave by packing all my clobber away. 

I thought there must be an easier way to enjoy making music! So, for my 40th birthday whilst on holiday in Cornwall, the wife bought me a Mahalo Telecaster type ukulele and a chord book. I went back to the caravan and found I couldn’t put the thing down! But I struggled with a few chords, so when I got back home I went to the newly formed Wigan Ukulele Club, and that is where I met Les.

Les: My first introduction to music came by way of my granddad, when we would visit as young kids he would entertain us by playing the harmonica… through his nose! 

One day he gave me the harmonica as a gift. I reluctantly accepted. Now, this harmonica was a double sided one, and fortunately for me, the side with the least glazing on was in the same key as my favourite song of the day, Lindisfarnes ‘Meet Me On The Corner’, which in turn led me to seek out other recordings featuring the harmonica. So while all my school mates were busy platting their legs to the Bay City Rollers at the afternoon Penny Dance, I was telling them about Sonny Boy Williamson, “and there’s two of um you know”… now, it turns out, this is not a good chat up line for a 14 year old!

Tim: Les was performing with another lad at the time we met, but after a few months he asked me if I wanted to do something together. 

Apparently he heard me sing ‘Uncle Joe’s Mint Balls’, and that was my secret audition. Les writes these wonderful stories with added music, with a ‘Lancashire / Wigan’ slant, and wanted someone with a local accent to perform these songs. I’d never seen myself as a vocalist, as not being blessed with the family musical gene, but we got together at Les’s house and tried various way’s of performing. Nearly three years later, here we are!

Les: I felt I’d seen his face somewhere before. He told me he had been the resident DJ on the Antony Cotton TV show. But I tend to think it was Bo Selecta myself….


And what about that name – explain to the readers where that came from and whose idea it was?

Tim: The name is made up of two words really. ‘Chonki’, which means good or great. And ‘feckle’ (fettle) as in order. So if you were ‘Chonki Feckle’ you would be O’reet and in good health or spirits. 

Les: Yes, some years ago I used to work in a factory and as you walked into the canteen for your first brew of the day, one of the old timers Owd Jack would often greet you with the phrase “nah mon, what fettle?” ‘in fettle’ meaning to be in good order (he would pronounce it ‘feckle’). If you were at one with the world that day the standard reply would be “chonki i fettle, the best kind”. Now, if you happened to be in a bad mood for some reason, to much beer the night before or other symptoms often brought on by a nagging spouse, the answer would be “no fettle” i.e. Keep Away! 

So when it came to sorting out an email address one day I remembered that little phrase and put it together as one word spelling it the way I remembered it spoken (Chonkinfeckle)…. It looked better than ‘LesH569 if you know what I mean. 

Tim: I think it was me who started to use it right at the beginning, as I thought, there will be no other buggers going around with that name! Stick it into Google and just our ugly mugs pop up!

Chonkinfeckle in Wigan
Les and Tim in Wigan, alongside a statue of famous Wigan user - George Formby


So how did your first performances go – tell us the good and the bad!

Tim: Well, we sort of hit the ground running, the first gigs we did we both playing ukulele and had the backing tracks on a minidisc player.

Les: I think our first performance was in Wigan town centre. We’d posted a YouTube video of the song ‘I’m From Wigan Me’, which had been spotted by the town centre manager – there was a festival going on in town and he called us up at very short notice asking if we would perform the song in the gap between bands changing over. One song was never going to be long enough to fill the gap, so they asked us to do ten minute slots! Luckily we took a few backing tracks with us. At this time we had only done a few songs together, and so after fumbling our way through we promised ourselves we would start rehearsing…. A promise we often find hard to keep.

Tim: Our next gig was a fair size smaller which was for a local art exhibition to which we had contributed some recordings of Lancashire dialect, and they asked us if we would like to perform at the end of the exhibition. It was in an old mill, very small audience of about 20, and you could see the whites of their eyes, but it was a great gig! And that experience really opened up all the other possibilities of playing our stuff live.

Les: Chonkinfeckle usually only perform when asked, which is not a bad thing as people generally know in advance what they’re letting themselves in for, and we usually have a lot of fun. But for me some of the low points of performing come when we turn up to events (often for no fee) that are poorly attended. Recently we have been involved in a couple of Local Heritage days that have included amongst other things, clog dancing, dialect story telling, steam engines, vintage cars, fairground rides etc. Lots of effort put in by lots of people only to see a handful of people turn up on the day. It’s very sad.

One thing I find refreshing about you, is that you are songwriters, not a covers band. Tell me about the writing process that works for you.

Tim: Well, Les writes all the music and lyrics, so this section is all his!

Les: We have only ever played original songs or instrumentals. There are plenty of other acts doing a much better job at cover songs than we could offer. 

All our songs are usually conceived and written in my Taxi, often picking up on stuff I overhear or conversations I have with passengers about life in general and the things that matter the most…. Partners, or marriage, nostalgia (when I was a lad), kids, work, beer…..beer! This often reminds me of my own experiences, sometimes I write a song as my way of getting my own back on someone, like a mean boss or a cowboy builder, so be warned! 

I keep a cheap ukulele and note pad under the drivers seat in the taxi and during quiet periods (and there are many) I’ll take an idea and slap it around a bit to see if there’s a song in there. To be honest I’ve had no training as a writer of songs, but most stories have a beginning, middle and end, and a reason to exist. The hard part can be finding a chorus that ties it all together.


So do you bounce ideas of Tim or find yourself writing for his distinctive vocal delivery?

Les: I usually record a bunch of songs first then let Tim have a listen. He then decides if a song would suit him. Some work only as recordings, it’s during the recording stage that we will alter some of the words or phrases to suit Tim’s style. As for live performances, Tim needs to consider what accompaniment he is going to use, and more often than not a song will come out different from the original recorded idea.

Tim: Les is very generous with his songs. He constantly asks me for any input or ideas I may have. The trouble is, I ain’t too hot on the song writing front. I may come up with a line or so, or a certain rhythm for a song, but generally it’s all Les’s work. 

I did write one song though about how I met Fred Dibnah as a kid. I showed it to Les, who basically scribbled most of it out, and re-structured it properly. At the time though, he was preparing a meal in the kitchen, so as well as chopping & cooking, he was rewriting my song! Who said blokes can’t multi task! (Bloody smart arse!)


What do you make of the current ukulele ‘boom’ we seem to be in at the moment?


Les: The first time I picked up a uke was in 2005, and I’m pleased to see its still a very popular musical tool. I get the feeling that the boom has levelled out though. I think the days of it being considered as a novelty may be over and it seems to me more widely accepted for what it is. It’s the norm these days for music shops to stock a fairly decent range of ukes, when once your only choice was either Spongebob or Flying V. 

I think it gains more credibility when it gets used by some young and new acts as well as old ones. Did I see a Robert Plant pictured with one somewhere? (Yes you did it's HERE!)


Tim: The ukulele boom has been around for quite some time now. I don’t really know if the ukulele ever really fell out of popularity, but I think the introduction of the instrument into schools has helped enormously. For a child to pick up the uke and be strumming a tune in a short scale of time is fantastic. Plus it’s a natural progression to the guitar. The thing about the uke is, it’s light, it’s easy to play, but most importantly it’s fun to play.


I saw that you played the Ukulele Festival of Great Britain at Cheltenham. How was that for you and what other highlights have there been?

Tim: Well, what can you say about that experience!! We were a little bit gobsmacked at first, as this is the premier ukulele festival in the UK. And with the calibre of artists we were on the bill with, I must admit, it was a bit of a ‘bum twitcher’! 

The worst part about it was having to hang around backstage, waiting to go on. It’s a large, very impressive room, so that is the thing that makes you nervous. I wasn’t nervous really about playing, as we had put a lot of time and effort into the set, but it’s not your usual audience. What we primarily do is to tell stories over the music; we just hoped that came across. We had some great feedback afterwards, and once we’d done our bit we could enjoy the rest of the day!

Les: Cheltenham was a great experience for us, though as Tim says, a nervous one. My concern was how would our local stories and sayings go down in an international setting? The Jury’s still out on that one. 

Tim and I had attended the two previous events as members of the audience, so you can imagine what a shock it was when we found ourselves on the stage! We had a couple of technical problems – the drum-kit decided to dismantle itself before and during the set, and EQ’ing the washtub bass for the sound engineer was not the easiest task. We learned a lot from it though, and I’m thankful for being given the opportunity. As an added bonus I got to busk a bit of harmonica with Manitoba Hal, not bad considering we would have been there anyway. 

I think playing at the festival has given us more confidence as performers, plus we don’t have to worry about the drummer anymore… he sacked us! 

Tim: 2012 really was the busiest we’ve been. Apart from the festival of GB we supported The Lancashire Hotpots at a big festival in town. We played the Fred Dibnah Heritage Centre in Bolton – we are huge Fred fans, so this was a dream job! Getting to mooch around his home and workshops and chat to some of his old mates as well. 

We also got on the bill at a very popular folk festival in Coppull where one of the other acts was Joseph Boe, brother of the famous singer Alfie! Joe Boe runs the Fleetwood Folk Club. 

Les: Other highlights for me were performing at the St Helens Rugby stadium to a crown of more than 16,000, and having the chance to do some live radio. I think we made six appearances as well as a Christmas Special by BBC Lancashire. 

Tim: Yes, we got picked up by the late show presenter John Barnes. From that experience we got to play for the BBC at the Great Eccleston Agricultural Show, and from that go to perform on the Sally Naden show on BBC Radio Lancashire. 2013 has a lot to live up to! 

Les: Recently we received a request from Mike Harding for all six albums to be sent to his studio. Short on coasters no doubt! 

Chonkinfeckle at Cheltenham
Chonkinfeckle take to the stage at the Ukulele Festival of Great Britain 2012 (credit Peter Johnson)


Six albums is impressive. What’s next on the horizon? 

Les: Yes, six albums are available at the moment from our website, and album number seven which is titled ‘Francis Powells Foot’ is already recorded and will be out last October…! Or, as soon as Tim gets the chance to come and do the vocal tracks, which ever is the sooner. 

There may also be an album of instrumentals after that. I’ve been experimenting lately with some exotic drum loops, but with any luck this phase with pass and I can get back to writing daft songs. I get lots of ideas….. They’re not all good ones. 

Tim: Les finds it hard not to write stuff down. He has quite a bit of time on his hands, so his creative ‘juices’ tend to be flowing nonstop! I literally can’t keep up with him. It seems that every time I go round to his house he presents me with new stuff. Trouble is, I’ve not learned the last batch of songs yet! 


Francis Powells Foot – now there is an album title. What’s the story? 

Tim: Sir Francis Sharp Powell, 1st Baronet (29 June 1827 – 24 December 1911) was an English Conservative politician. He was first elected as MP for Wigan at a by-election in January 1881.

Now, there is a statue of Sir Francis Powell which stands in Mesnes Park, Wigan. It was erected in 1910; the statue is made from bronze and is green in colour. The statue shows Powell sat in his office chair, deep in thought. It also shows his right leg crossing in front of his left, which makes his right shoe protrude out further than the statue's base. 

It has long been a long standing superstition that the rubbing of Powell's protruding shoe will bring a person good luck. Local belief in this tale is so strong that the shoe of the statue is never allowed to turn green due to the constant rubbing by locals and tourists. And believe it or not, they have just had to do extensive repairs on his foot, as it was, basically worn out! So as kids, we would go to the park, and give the foot a good rub, but I’m still waiting for my 6 numbers to come! 

Les: I tend to think there’s one in every town! Anyway I was talking to someone the other day about the statue and he said, “who is he anyway?”. And if you ask any of the locals, nobody seems to know. Then he said, “the only famous Powell I know is Baden!” 

A few of the songs on the new album deal with luck (the lack of or need of)… but not all of them. The first one is about by Uncle Bill, but that’s another story as they say. 


Tim, we have to talk about your tea chest bass. It’s become something of a talking point at your gigs hasn’t it? 

Tim: Well, this came about way before the big Cheltenham gig. What Les and I had a problem with was, playing 'live' to backing tracks. They were great to start off with, but you become 'slaves' to it after a bit. You have not got the freedom to experiment, and to go off at a tangent. So without the backing tracks, just us two on ukuleles, the sound was a bit 'thin'. It worked on the instrumental tracks, but not on the others. So, I was in a charity shop in Wigan, and they had this old tea chest, on sale for £3.00! So, I parted with my hard earned cash, took it home and attached the washing line & a broom handle. And to be honest, I was well impressed with the sound. A deep, warm, resounding noise it made. Even more so when I stuck a pick up underneath! Plug that baby into a sound system, and we have got some serious bottom end to play with! 

And that was that, it breathed new life into us, and playing live was a completely new experience again.  

Then Les had an old water butt, which he cut in half, so the same thing happened again. So, I have two basses to play with. But the only trouble is, now I've gone onto percussion! I got an old Zimmer frame, attached a washboard to it, a couple of old pans and tins, and voila!! A homemade drum kit. So my dreams of becoming a drummer finally came a reality....only 40 years too late!! 

Chonkinfeckle on BBC Radio Lancashire
Performing on BBC Radio Lancashire



So what ukuleles do you play?

Les: I only have three ukes. The one that lives under the seat of my cab is a Stagg Soprano given to me by a friend to replace my black Bruko Soprano that was stolen by a passenger (Bastard!!). I have a Risa Ukelectric tenor that I use on most recordings and gigs. I have it tuned F, B flat, D, G with a low F). 

I also have a six string (no name) tenor ukulele which is my favourite one at the moment. I’ve changed the order of the strings to suit fingerpicking and also prefer it tuned down to low F. For anyone who is interested in the reason for the low tuning, it’s my attempt at trying to fatten up what can be, to my ear, a thin sounding instrument for our current setup of washboard and harmonica. 

Tim: I still have my original Mahalo and I have a Risa soprano. 


And finally, the question I ask all the people I interview – what are your best tips for new ukulele players? 

Les: Don’t keep your instrument in its case… Once you polish it up and put it away nice and safe in its case you’ll be amazed how much effort it can take sometimes to get it out again, especially if there’s a good film coming on telly… Always have it to hand, that’s what I say. 

Tim: I would say, join a club. Even if you can’t play a note, you will find someone there either in a similar situation or there will be someone to show you what to do. Plus it’s great fun playing with other people. And the main thing is to enjoy it and have fun. That’s why I do it any how! 

Les: I would also recommend getting yourself to a club or similar. After all, that’s where I met Tim and we’ve had some cracking ukulele adventures so far. 




I couldn’t agree more fellas. Thanks so much to Tim and Les, and be sure to check them out on http://chonkinfeckle.co.uk and on their YouTube channel.

Their impressive range of CD's can be bought HERE together with their Chonkin' T-Shirt which I regularly sport at our jam sessions!

CHONKINFECKLE GIG DATES

February 22nd -- Unity Club, Standish. All profits to Coppull Folk Club weekend of 'Free Music' 14-16 June

March 3rd - Mesnes Park, Wigan - FREE EVENT - 12.00noon - 3.00pm

March 9th - Wigan Town Centre - FREE EVENT supporting Lancashire Hotpots from 1.30pm

March 17th - Haigh Hall, Haigh, Wigan - FREE EVENT 12.00pm - 3.00pm
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21 Jan 2013

N'Ukes play some ukulele on the radio!

Well we had a lot of fun yesterday evening appearing on local radio to talk all things ukulele.



N'Ukes on the radio



This was part of an Education programme on RedShift Radio with Victoria Ikoku, so the chat had a slant on learning and teaching the uke, but we were thrilled that we got to play a few songs too!

Couple of links below for you to listen on (depending on what you prefer - Mixcloud or Soundcloud!)








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20 Jan 2013

Ukulele News - 20 January 2013

It's Sunday, so time for another round up of ukulele news from around the world.


ukulele news


Our band, The Nantwich N'Ukes are appearing on local radio today to talk all things ukulele. From 6pm, and you can listen online all over the world! RedShift Radio

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No, it's not THAT Chris Evans

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Say hello to the Carlisle Ukulele Group

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York Ukulele Festival

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Win a Tiny Tim Wig (and no, I have no idea either...)

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Compulsory  Shimabukuro story of the week...

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They are using that 'Cheap' word again. Why do some like to do the ukulele down in that way? Is cheap good?

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More next week!


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19 Jan 2013

Nantwich N'Ukes at the Nantwich Music Festival 2013

Save the date! I am delighted to announce that our ukulele band, The Nantwich N'Ukes are booked to play at the 2013 Nantwich Jazz Blues and Music Festival!


Nantwich N'Ukes ukulele band play the Nantwich Music Festival 2013

The Nantwich Festival has really become hugely popular over the years (this one being the 17th) and thousands will be in town to see acts in many venues. For us, as a band from Nantwich to be playing in our home festival is a real treat. Better still we are at the Crown Ballroom - the HQ for the festival with a full stage show!

You can learn more about the festival here http://www.nantwichjazz.com/ and keep up to date with the gig on our Event page here https://www.facebook.com/events/201186966689104/


Hope to see you there!
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18 Jan 2013

A light touch - tip for new ukulele players!

Something this week that I regularly see on ukulele discussion boards - new players complaining of cramping fingers, aches and pains when learning the ukulele.



ukulele hand pain


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16 Jan 2013

Love Me Do - Beatles - Ukulele Chords

I read recently that the first Beatles single ever has now gone out of copyright and in to the public domain. In recognition, why not have a crack at it on the ukulele?



LOVE ME DO - THE BEATLES


Intro G  C repeated

[G] Love love me [C] do
You [G] know I love [C] you
I'll [G] always be [C] true
So [C] pleeee[C] ease... [NC] Love me [G] do [C]
Wo oh [G] Love me do [C]


[G] Love love me [C] do
You [G] know I love [C] you
I'll [G] always be [C] true
So [C] pleeee[C] ease... [NC] Love me [G] do
Wo oh [G] Love me do [C]

(bridge)

[D] Someone to love, [C]Some [F] body [G] new
[D] Someone to love, [C]Some [F] one like [G] you

[G] Love love me [C] do
You [G] know I love [C] you
I'll [G] always be [C] true
So [C] pleeee[C] ease... [NC] Love me [G] do
Wo oh [G] Love me do [C]

Repeat chords of bridge then end with G C G


[G] Love love me [C] do
You [G] know I love [C] you
I'll [G] always be [C] true
So [C] pleeee[C] ease... [NC] Love me [G] do

[C] Woah [G] Love me do [C]
Yeah love me [G] do [C]

G   C
G  C


Repeat to fade






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15 Jan 2013

Great Aswego Performer FatBoy Kazoo - REVIEW

A little while ago I came across someone who appeared to be a little bit special in the world of folk instruments, and he arranged to have a Kazoo to be shipped to me. I must admit that at the time I did wonder how I could get more than only a few words down about a kazoo on Got A Ukulele. I mean, it's just a kazoo isn't it? Pretty simple stuff? 

How wrong I was - say hello to the 'Great AsWeGo Performer FatBoy Kazoo'.

Great AsWeGo FatBoy Kazoo


The Great AsWeGo Kazoo Factory was founded in 2010 by a guy who goes by the name of 'Doc Kazoo'. Doc, it also turns out, happens to be a really nice guy, and someone who seems to have re-defined the term 'customer service'.

Doc was born and raised in the western North Carolina foothills - an area rich in old musical tradition. After many years in the US Navy, Doc retired and after a spot of travelling decided to devote his time to handmaking traditional folk instruments. As a child he had been taught by his Dad to make handmade wooden kazoos in the Carolina style, and in 2010 he set up the Great AsWeGo factory at his homestead in Lake Senica, Florida, USA. Whilst majoring on kazoos, Doc also turns his hand to making a range of folk instruments including cajons, guiros, diddly bows, and jawbones.

Doc Kazoo
Doc Kazoo in his workshop (picture credit - Doc Kazoo)

I had heard a bit of a buzz about Doc growing online so we hooked up and he agreed to make me a kazoo to take a look at. And, you see, when you order a kazoo from Doc, this is rather unlike ordering any other instrument... as you will see.

But why a kazoo? This is a ukulele website? Well, I am sure many of you will agree that lots of uke players and groups do like to dabble with the kazoo as accompaniment. For me the kazoo not only suits the ukulele voice (and, like the uke, makes you smile!) but it also shares the same humble beginnings. For me it fits perfectly on Got A Ukulele and am sure there are many readers who will find this of interest.

Doc makes a large range of wooden kazoos in all sort of shapes and sizes to suit the player, and his range is growing. Want a tiny kazoo that can be played hands free? You got it. Want a jumbo kazoo? You got it. Want a kazoo with double resonators held like a harmonica? You got it! (Seriously!) At his store Doc often has a range of ready made kazoos he can ship to you immediately, but as you will see from reading further, why would you want to miss out on the fun of ordering one to order?

What do I mean by that? Well this is where that 'S word' comes in again - Service. I generally find shopping online for anything these days to be a fairly sad affair. It is all pretty faceless and sterile, you click a few buttons, your product arrives, and that is it really. Doc has rekindled a level of connection with a customer which I honestly thought was lost these days. He has totally taken me aback. You see, from the moment you order a Great AsWeGo kazoo, Doc is in touch with you right away, letting you know what is happening with the order. And by that I don't just mean, "it's done, it's in the post" (though he does tell you that too... ) Oh no, quite the opposite.

As part of your order, Doc ensures that you are treated to a complete and personal behind the scenes look at your kazoo being made. His messages are friendly and interesting, letting you know what he thinks of the grain and the tone, advising on the finish of the instrument (he offers both a basic butchers block sealant or the popular beeswax finish - I went for the latter). In short, his great enthusiasm makes the order more than just a mere 'purchase' and more of an 'event'. I can't remember waiting for something in the post with quite so much anticipation!

But there is more. Customers also receive personalised videos to accompany their kazoo build, and Doc posts them on his YouTube channel, his Facebook page and let's you know by email too. The first video shows the basic roughed out kazoo before the final shaping and sanding together with a personal message from Doc and a kazoo soundtest Here is mine! ( I just sat grinning watching this video when it first went live!)




Video number two shows your kazoo taking shape with the sanding and finishing, and video three is a final sign off in which Doc shows you the finished product, gives it a final sound test and wishes you well. These are NOT generic videos and the personal angle is just brilliant. Doc records these for every customer who orders a kazoo to be built from scratch. Why don't more manufacturers do this?

Doc then ships his instruments all over the world. I particularly like the note on his website that he tries to be totally green in his production, with all his packaging being re-used cardboard. In fact he says if he could find a way of creating recycled packing tape he would! The whole process takes about a week or so to make depending on how busy he is (and it is first come first served). Doc also sends his kazoos with free lifetime repair and maintenance. So long as you haven't abused the kazoo, you can ship it back to Doc at any time for the finish to be re-applied, resonator cap replaced, or have a new membrane fitted. Seems he thinks of everything!

So what about my particular Kazoo? This model is called the FatBoy and it certainly is quite a beast, designed to have a fuller and louder voice than some of the smaller models in his range. It is a performers kazoo, and designed to be clamped when played, in particular in a harmonica neck brace. Of course it can also be held and played in the hand too. It's a meaty solid affair, and a far cry from the toy tin kazoos that you would receive in a Christmas cracker. It feels built to last and just cries out to be held.

Doc uses a range of woods for his instruments, and this one is made of a rather beautiful piece of red cedar with a cherry wood resonator cap (on a Kazoo, the buzzing sound is created by the players humming vibrating a small disk of thin paper or plastic held over a hole on the top of the instrument. And yes, in keeping with the green ethos, Doc hand makes these too out of old shopping bags. The package also arrives with some spares as they do wear out eventually. That cherry cap keeps the membrane held in place and is firmly fitted with two brass screws meaning that replacing the membrane is a pretty easy affair.  Through the centre of the kazoo is a drilled hole that allows the air to pass through - fatter on the 'mouth' end of the instrument. Then when finished and shaped the whole thing is sanded smooth and finished. It is nicely shaped all over, and the mouthpiece in particular has a nice feel to it. Absolutely no sharp edges.

Great AsWeGo FatBoy Kazoo package
The full package - spare membranes, wax, kazoo!


As I said above, I opted for the beeswax finish which gives the kazoo a beautiful feel (and smell!). The wax protects and seals the wood as it is going to get wet from the moisture in your breath and on your lips so is a necessary addition if the instrument is to last.  As the  beeswax will eventually wear down, Doc also thoughtfully provides a tin of wax for re-applying in the parcel. The finish on this FatBoy really is great, and not just the beeswax finish itself. As I say above, the sanding of the instrument is really nicely done - an important thing for something you are going to put in your mouth! It is all silky smooth and tactile. On the FatBoy model, Doc carves a notch into the top and bottom of the kazoo to ensure it is held steady in a neck brace without slipping. All in all, not only a kazoo that is striking to look at but also a pleasure to hold. There is just something about handmade items that make you want to hold them I find.

A quick word on the look of his kazoos. These are not made to a blueprint by a machine and Doc explains that whilst his various designs follow a general pattern, and as they are sanded in by eye and hand, no two kazoos made by him are alike. As such this kazoo I now have is completely unique to me and I really like that aspect.

Great AsWeGo FatBoy Kazoo rear


OK, so it looks the part. Did I mention the smell? Not just the beeswax, but man.... the smell of this cedar is something else! When I play this I can smell the wood - just fantastic. It's like I'm in a workshop - kind of a mix of a cigar humidor and the shavings off a freshly sharpened pencil! (And, as if that was not enough, Doc also sent me some photographs of the exact mill where the timber for mine was cut to size! - In fact, on some of Doc's kazoos he explains exactly where on the homestead he found the wood in question!)

Great AsWeGo FatBoy Kazoo underside
underside showing groove for neckbrace support


But what is it like to play? Well, I won't try to get all over the top and try to suggest that kazoo has a range equivalent to a vintage violin, it is, after all, a kazoo, and I am sure Doc won't mind me saying that. By its very nature it is a simple instrument. But, it does sound great! I already had a couple of the more common mass market kazoos in my gig bag (the traditional tin kazoo, and one made of plastic). Compared to both of those, not only is the FatBoy far louder, but it has a much broader tone - certainly NOT tinny or thin sounding. It's warm and woody, and takes very little effort to get a sound from it. It also is far easier to get both low and high sounds out of it, something my tin kazoo can lose the plot on, and (it may be in my head) if feels like you can control and shape the sound much more. It's certainly a joy to play with a great rich sound.  Of course, it is also distinctive looking too, with a shape that will lead any audience to say 'what is THAT?' - and that, for me, is also a good thing.

Great AsWeGo FatBoy Kazoo cherry resonator cap
Cherry resonator cap

And one question that may be crossing the minds of some people (it had crossed mine early on). How can Doc offer this level of service - I mean if a ukulele company treated their customers like this then their prices would treble? Well Doc explains that he isn't doing this to make a heap of profit. It is his passion. He is a folk artist, and he enjoys spreading the word. Boy, does that come across in his work and I applaud him for it.

So finally - a sound sample comparing the FatBoy to a generic tin kazoo. It's pretty hard to record a kazoo accurately, but I think the difference is clear!


I think I found a little bit of gold dust here when I came across Doc. That may sound like I am being over the top, but when a product is made with this sort of devotion and service, and with a service level as high as this for a handmade, beautifully finished instrument, how can I really give this anything less than top marks? Highly recommended!

(Oh - did I tell you he is also learning to play ukulele? It just gets better and better!)

Visit Doc at the Great AsWeGo Kazoo Factory website or on his Facebook Page, but most of all get one ordered at the STORE

Cheers Doc! Expect I may be ordering another one to go with this!

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14 Jan 2013

Ukulele Nursery Rhymes pt 4

A while ago on Got A Ukulele, I put up some chords and lyrics for Nursery Rhymes. What really surprised me was that they went on to be some of the most popular posts on the site.


You can see them by clicking these links  

Nursery Rhymes pt3

Or perhaps that shouldn't be so surprising. Playing music with young children is a great way to bond, but nursery rhymes are also excellent songs for beginners to learn with. Think about it - most people already know the tune and the words very well, so that leaves the brain free to concentrate on the ukulele. In the main too they are very easy chord progressions.

Anyway, I thought it about time that I added some more! Enjoy!


If You're Happy And You Know It

If you’re [D]happy and you know it clap your [A]hands (clap clap)
If you’re [A]happy and you know it clap your [D]hands (clap clap)
If you’re [G]happy and you know it and you [D]really want to show it
If you’re [A]happy and you [A7]know it clap your hands (clap clap)


Then repeat with
If you’re happy and you know it stomp your feet (stomp stomp)
If you’re happy and you know it nod your head (nod nod)
If you’re happy and you know it shout hooray, (Hooray!)



Hey Diddle Diddle

[G] Hey diddle diddle the [D7] Cat and the fiddle
The [G] cow jumped over the [D7] moon
The [C] little dog laughed to [G] see such fun
And the [D7] dish ran away with the [G] spoon



Incy Wincy Spider

[D]Incy wincy spider climbed [A] up the water [D] spout
[D]Down came the rain and [A] washed the spider [D] out
[G]Out came the [D] sunshine and [A]dried up all the [D] rain
So [D] Incy Wincy spider climbed [A] up the spout [D] again.


Three Blind Mice

[C] Three [G] blind [C] mice
[C] three [G] blind [C] mice
[C] See [G] how they [C] run
[C] See [G] how they [C] run

They [F] all ran [G] after the [C] farmers wife
Who [F] cut off their [G] tails with a [C] carving knife
Did you [F] ever [G] see such a [C] thing in your life
As [C] three [G] blind [C] mice


I'm A Little Teapot

[C] I'm a little teapot [F] short and [C] stout
[F] Here's my [C] handle [G]here's my [C] spout
[C] When the kettles boiling [F] here me [C] shout
[F] Tip me [C] up and [G] pour me [C] out.



Grand Old Duke Of York

[D] Oh the grand old Duke of York
He [A] had ten thousand men
He [D] marched them up to the [G] top of the hill
And he [D] marched them [A] down [D] again

And [D] when they were up they were up
And [A] when they were down they were down
And [D] when they were only [G] half way up
They were [D] neither [A]up nor [D] down



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8 Jan 2013

Centerfold - J. Geils Band - Ukulele Chords

Another one that is pretty easy to play on a ukulele even if the content is probably somewhat questionable by todays standards!

Centerfold by J. Geils band. Video at the end of the chords!

Only bit to watch in this is that final change from F to C which is kind of a quick change on the half beat - the other chords are pretty bang on the rhythm of the song.


Intro 
G, F, C, F - C x2
Come On!
G, F, C, F - C x2


[G]Does she walk? [F]Does she talk? [C]Does she come comp [F]lete? [C]
[G]My homeroom homeroom [F]angel always [C]pulled me from my [F]seat [C]
[G]She was pure like [F]snowflakes no [C]one could ever [F]stain [C]
[G]The memory of my [F]angel could [C]never cause me [F]pain [C]

[Em]Years go by I'm looking through a [Am]girly magazine
And [G]there's my homeroom angel on the [D]pages in-between

CHORUS:
My [G]blood runs [F]cold my [C]memory has [F]just been [C]sold
My [G]angel is the [F]centerfold [C]angel is the [F]centerfold [C]

My [G]blood runs [F]cold my [C]memory has [F]ust been [C]sold
      [G]                   [F]              [C]angel is the [F]centerfold [C]


[G]Slipped me notes [F]under the desk while [C]I was thinkin' [F]about her [C]dress
[G]I was shy I [F]turned away [C]before she caught my [F]eye [C]
[G]I was shakin' [F]in my shoes when [C] ever she flashed those [F] baby-[C] blues
[G]Something had a [F]hold on me when [C]angel passed close [F] by [C]

[Em]Those soft and fuzzy sweaters Too [Am]magical to touch
Too [G] see her in that negligee is [D] really just too much

CHORUS
My [G]blood runs [F]cold my [C]memory has [F]ust been [C]sold
My [G]angel is the [F]centerfold [C]angel is the [F]centerfold [C]

My [G]blood runs [F]cold my [C]memory has [F]ust been [C]sold
       [G]                 [F]              [C]angel is the [F]centerfold [C]


Na na naaa over G, F, C, F, C x 2

[G]It's okay I [F]understand this [C]ain't no never-[F]never land [C]
[G]I hope that when this [F]issue's gone I'll [C]see you when your [F]clothes are [C]on
[G]Take your car, [F]Yes we will we'll [C]take your car and [F]drive it  [C]
[G]We'll take it to a [F]motel room and [C]take 'em off in [F]private [C]

[Em]A part of me has just been ripped the [Am]pages from my mind are stripped
Oh [G]no, I can't deny it oh yeah, [D]I guess I gotta buy it!

CHORUS
My [G]blood runs [F]cold my [C]memory has [F]ust been [C]sold
My [G]angel is the [F]centerfold [C]angel is the [F]centerfold [C]

My [G]blood runs [F]cold my [C]memory has [F]ust been [C]sold
       [G]                 [F]              [C]my angel is the [F]centerfold [C]


Na na naaaa over G, F, C, F C once with slow end on the F and C

1, 2, 3, 4

Then repeat chorus lyrics with backing singers providing Na na na na na naaas!





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7 Jan 2013

Steampunk Ukulele Bass

Yet another of those Etsy ukuleles in crazy shapes seemed to pop up in my Google searching yesterday.


There are dozens of them, though this one  caught my eye - a steampunk ukulele bass!

steampunk ukulele

Quite an eyewatering price though. You can read more about it Here

Have any of my readers actually bought one of these Etsy models? I assume somebody must be buying them?
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6 Jan 2013

Ukulele News - 6 January 2013

Hi folks - and it's the first ukulele news round up of 2013. Wonder what other news stories this year will bring?



Just like clockwork - the mandatory Jake Shimabukuro article of the week.....

---------------------------------------

Say hello to the Happy Little Ukulele Club (great name!)

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No reason to fret

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And I thought the Happy Little Ukulele Club had a good name.....

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Blimey - it's a week for great names - how about the Tunbridge Wells Ukulele Night Thing?

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They mentioned the 'small guitar' words...

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More next week!
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5 Jan 2013

Coming In To Los Angeles - Arlo Guthrie - Ukulele Chords

Love this song, and easy on ukulele - just get the rocking feel going.
COMING IN TO LOS ANGELES - ARLO GUTHRIE


(video at the end to help)

Am, D, F - C - E7

[Am] Coming in to London from [D] over the pole
[F] Flying in a [C] big air [E7] liner
[Am] Chicken flying everywhere [D] around the plane
[F] No we couldn't [C] feel much [E7] finer

[Am] Coming in to  Los Ange [D] les
[Am] Bringing in a couple of [D] ki's
[Am] Don't touch my bags if you [D]please mister [F] customs [C] man [E7]

[Am] There's a guy with a ticket to [D] Mexico
[F] No he couldn't [C] look much [E7] stranger
[Am] Walking in the hall with his [D] things and all
[F] Smiling said he [C] was the Lone [E7] ranger


[Am] Coming in to  Los Ange [D] les
[Am] Bringing in a couple of [D] ki's
[Am] Don't touch my bags if you [D]please mister [F] customs [C] man [E7]

(REFRAIN - play chords from the verse and chorus)

[Am] Hip woman walking on the [D] moving floor
[F] Tripping on the [C] escal [E7] ator
[Am] There's a man in the line and she's [D] blowing his mind
[F] Thinking that he's [C] already [E7] made her


[Am] Coming in to  Los Ange [D] les
[Am] Bringing in a couple of [D] ki's
[Am] Don't touch my bags if you [D]please mister [F] customs [C] man [E7]



[Am] Coming in to London from [D] over the pole
[F] Flying in a [C] big air [E7] liner
[Am] Chicken flying everywhere [D] around the plane
[F] No we couldn't [C] feel much [E7] finer

[Am] Coming in to  Los Ange [D] les
[Am] Bringing in a couple of [D] ki's
[Am] Don't touch my bags if you [D]please mister [F] customs [C] man [E7]

Repeat chords to fade

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Famous Ukulele Players - Pt33 - Gary Oldman

Many thanks to Got A Ukulele reader Danny Dignan for spotting this one. I knew that Gary Oldman was a uke player as he had explained so in an interview last year, but had not yet seen a photo.


Well, I say ukulele, it's a uke case, but you get the picture!

Gary Oldman with ukulele

( Via http://fyeahgaryoldman.tumblr.com )

For the other Famous Ukulele players in my series (and that is to say people who are famous who you might not necessarily associate with the uke - just click here.
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2 Jan 2013

Kala KA-ASAC-TE/C Electro Tenor Ukulele - REVIEW

Time to kick off 2013 on Got A Ukulele, so what better way than with a new instrument review!


So, with a move for the group I play in to venues that demand us amplifying our instruments, I realised that apart from a solid body uke, I didn't own a true electro acoustic with an active pickup. Say hello to the Kala KA-ASAC-TE/C electro acoustic tenor ukulele! (Commonly called the 'All Solid Acacia')

Kala ASAC-TE/C All solid acacia tenor ukulele
Click on images to enlarge - all images copyright Barry Maz 2013

This Kala is, at £339, pretty much their top of the line model if you exclude their basses so expectations are perhaps high. Price wise it kind of sits halfway between the cheaper intermediate factory made instruments and Hawaiian or Luthier built models - perhaps alongside the likes of Pono and Mele. This model comes with a cutaway which is (I believe) exclusive to the Southern Ukulele Store from where it came. Some of the features that put it at the top end of the range will become clear as you read on. Their standard model is called the ASAC-TE without the 'C' which just means it has no cutaway. This model can also be bought without the pickup too so there are a range of options with it.

It's a tenor scale uke, with traditional dimensions and shape, with a top back and sides all made of solid Acacia wood - a relative of the Koa tree with a similar stripe in the grain. Overall the body of the uke is flawlessly finished in a satin outer coating. Dare I say it, but the finish is almost a little too perfect? On non-gloss ukuleles I like to be able to see (and feel) some of the pores of the wood grain, but on this uke the finish is so flat that it almost looks like the wood isn't real. That sounds like an odd criticism, but there you go.

The grain though is delightful with some lovely dark stripes on the bookmatched top and back. There is no real curl in the wood grain, or flame, but that isn't expected at this price point. The sides are in two pieces, joined at the butt with some rosewood binding that also edges the joints between the top and back with the sides. On the top that binding is enhanced by some herringbone purfling which I think looks extremely classy - not too 'in your face', but nice all the same. The same herringbone inlay surrounds the sound-hole too.

Kala All Solid Acacia Tenor ukulele top


The bridge mounting is delicate looking and made of rosewood with a small bit of white trim adorning the tie bar behind the saddle. I have seen some of these ukes delivered with eight holes for knot allowing for a 'double hole tie down' method of attaching the strings, though this has only four, therefore requiring the standard looped knot. The saddle itself is made of ebony which is a nice touch. It is uncompensated, and as I regularly say, I am not convinced that on an instrument with the scale length of a ukulele that this is a requirement in any case. Let us put it this way, this instrument tunes and intonates perfectly all over the neck, so it is doing its job!

Kala All Solid Acacia Tenor ukulele body


The back of the uke is slightly arched to help with sound protection, and a quick look inside the body shows a nice and tidy build with no glue spots or wood shavings. The inner kerfling holding the back and top to the sides is notched and nicely fitted. All looking good so far on the build.

Squarely on the butt of the body is the jack socket for plugging the instrument in, which also has an integral strap button. Much nicer to see this rather than a separate jack and me having to fit a separate strap button.

Kala All Solid Acacia Tenor ukulele jack socket


On the top side of the ukulele are the controls for the active pickup. It's a shadow undersaddle active pickup, with a nice small control panel, that houses nothing more than two dials (volume and tone) and a small slot for inserting the cell battery that powers the thing. This means low weight and minimal intrusion into the body cavity or on the side of the instrument.

Kala All Solid Acacia Tenor ukulele shadow pickup controls


On to the neck, this is made of mahogany, and is put together from four (count them, four!!) pieces of wood. The heel is stacked from three pieces, and the headstock is also jointed. I would say that is quite excessive for their top of the line model and as we run over the ukulele this is the first sign of a cost cutting element to the instrument. Oh well, does nothing to affect tone or playability, but those joints are visible. The heel of the nut is capped in rosewood to match the tail trim and edge binding.

The fingerboard is made of rosewood, and is edgebound with rosewood also, hiding the fret edges. We have 19 nickel frets with 14 to the body (though that cutaway makes high fret access much easier) and all are set and finished very nicely with no rough edges.  The fret markers are one of the standout elements of this ukulele, made of inlaid mother of pearl in a vine or branch type design that differs depending on the fret. I don't much go in for bling but I think these are really nice and give the uke an identity of it's own. Also very pleasing to see side fret markers too, and the markers are in place at the third, fifth, seventh, tenth, twelfth and fifteenth frets. Perhaps a few too many for my liking, but they don't do any harm. Intriguingly, there is no side marker at the third!

Kala All Solid Acacia Tenor ukulele fingerboard


Moving past the ebony nut  (set and cut nicely) we move on to the next standout design feature of the uke - the slotted headstock. It really is extremely pretty and very nicely finished. The face of the headstock is capped with three or four contrasting layers which means that when the slots were then routed out of the headstock it creates an attractive elongated striped pattern within the slots which I just adore.  The Kala logo appears to be very lightly embossed with a dark stain into the face of the headstock which I think looks classy and clean and serves to keep the attention on the rest of the uke. Slots aside, the shape of the headstock follows the ubiquitous three pointed crown seen on so many ukuleles. An important note: the slotted headstock feature only appears on the tenor version of this ukulele, with other all solid acacia models coming with a more standard flat headstock with side mounted tuners.

Kala All Solid Acacia Tenor ukulele slotted headstock


Tuning is provided by high quality Grover open geared backwards facing tuners with old fashioned shaped buttons which I particularly like.  They not only work a treat, but look the part on a headstock like this. But oh, Kala, Kala, Kala.... you had to let me down. One of the tuners is fitted out of line from the others. That makes no difference to how the ukulele works, but it's an attention to detail issue that sets ukes like Kala apart from higher end makers. If a tuner was fitted like this by Kanile'a, it would either not have left the factory, or would have been sold as a B-Stock model. Sure, this is not priced at Kanile'a money, but £339 is no small amount of money for a ukulele.

Kala All Solid Acacia Tenor ukulele Grover tuners


And that is the package for you - a rather nice looking and, on the whole, finished ukulele. Oh and yes, it comes with Aquila brand strings, but then you probably could have guessed that for yourself......

To hold, the ukulele is nicely balanced and easy to control with or without a strap. It is also relatively light, helped by that minimalist pickup system, so is a joy to play. The feel of that satin finish is certainly nicer on the hand than it is on the eye, and the whole thing feels well made and of premium quality. There are no rough spots, or finish defects anywhere. The neck is a little narrower in width than I normally like, but certainly perfectly normal, and has a quite chunky profile which I think helps offset that for me. It is certainly comfortable to navigate quickly.

Unplugged the uke has a really sweet tone, with good volume balance across the strings. The uke sings, and there are small signs of the sort of harmonic chimes that you see on ukes costing many times more. A very pleasing and clean sound that I am impressed with. It is no K-Brand in tone - played side by side with my Kanile'a K1 it lacks some of the complexity in the harmonics and sounds a little thinner, but that is perhaps an unfair comparison due to the price difference. Compared to the majority of ukes I have played it sounds just great and certainly better than any other Kala I have played. Sustain also is impressive and it delivers that comforting back vibration against the chest long after a strum.  The Acacia is certainly doing its job methinks.

One thing the uke doesn't have in spades when unplugged is volume. I would not say the Kala is quiet, but it doesn't throw out a massive punch unless strummed very hard. Let us say the sound is more delicate than brash. That may be improved though with a string change. I swapped out the Aquilas for Living Waters, but may try something like Worth Clear Dense which did a great job of increasing the volume on the Big Island uke I reviewed. That is not a huge criticism though for a couple of reasons. For me tone is more important than out and out volume, and at the end of the day, I bought this to plug it in.

Plugged in and things are, thankfully, extremely sweet. The Shadow pickup, whilst by no means a top of the line system, is extremely clean and natural sounding and I am equally impressed with the amplified sound. The lack of a full 9v battery means it relies solely on a small 1.5v cell battery, and as such the pickup is far from hot. This means you will need to add the gain / volume on the amp or mixer a bit more than you would for a uke with a bigger battery pack, but that is no biggie, and I think that actually helps in keeping the sound clean. There is no imbalance in the strings caused by the pickup, and unlike many electric systems in ukuleles far cheaper, this one actually keeps the uke sounding like a uke through an amp (and not like an electric guitar). For me that is a big plus point often overlooked by those fitting the cheapest pickups they can find.

So all in all, I am impressed. I think it certainly does enough to warrant its top of the line status in the Kala range, although there are those minor issues, like the tuner fitment that show its true heritage. But those aside, it has to come with a recommendation, and this will now likely become my workhorse for live work.

Kala All Solid Acacia Tenor ukulele cutaway


PROS

The look of the wood
Nice subtle but distinctive bling
Great clean pickup system
Sublime looking headstock

CONS

Body finish looks artificial
Tuner fitting not square
A little quiet unplugged


SCORES

Looks - 9.5
Fit and Finish - 8
Sound - 9
Value for money - 9

OVERALL - 8.9
To understand my review scoring and see this result in context - visit my review page at

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