GOT A UKULELE - Ukulele reviews and beginners tips

12 Feb 2014

Heart Shaped Box - Nirvana - Ukulele Chords

OK, this one was a bit of a challenge as to how to present it. I wanted on final 'anti valentine' ukulele song to put up before Valentines Day this Friday, and this was the song that got stuck in my head. Heart Shaped Box by Nirvana.

Why an 'anti valentine'? Well, not everybody has something to celebrate on 14 February..

I believe the song was recorded in the key of A, but tuned half a step down. That is to say, a general pattern of A, F, D, but down half a step so G#, E and C#. A quick look at your chord charts will tell you they are HORRIBLE chords to play on a uke. Therefore, I present this in the standard A key, but you can either play it that way, or drop the tuning on your uke half a step on each string to match the record. Or you can work on the G#!!

Only other odd ones are in the chorus where the chord progression moves to A5, F5 and D5.  They are fingered as follows

A5 -  2400
F5 - 0013
D5 - 22x0

They are not totally necessary, but help give it the right feel. I've included a video at the end to help with the pattern, but remember that if you are playing in A you are playing in half a step sharp!

HEART SHAPED BOX - NIRVANA FOR UKULELE

Intro [A5] [F5] [D5] repeat


[A]She [F] eyes me [D]like a Pisces [A] when [F]I am [D]weak
[A]I've been [F]locked in [D] side your heart-shaped [A] box [F]for [D]weeks
[A] I've been [F] drawn in [D] to your magnet [A] tar [F] pit [D] trap
[A] I wish [F]I could [D] eat your cancer [A] when [F] you turn [D] black

[A5] Hey! [F5]Wait! [D5]I got a new complaint
[A5]For [F5] ever in [D5] debt to your priceless ad [A5]vice
[A5] Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [A5] vice
[A5]Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [F5] vice [D]
Your ad[F5] vice [D]

[A] Meat- [F] eating [D] orchids  forgive [A] no [F] one just [D] yet
[A] Cut my [F] self on [D] angel hair and [A] ba [F] by's [D] breath
[A] Broken [F] hymen [D] of 'Your Highness', [A] I'm [F] left [D] black
[A] Throw [F] down your [F] umbilical noose so [A] I can [F] climb right [D]back

[A5] Hey! [F5]Wait! [D5]I got a new complaint
[A5]For [F5] ever in [D5] debt to your priceless ad [A5]vice
[A5] Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [A5] vice
[A5]Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [F5] vice [D]
Your ad[F5] vice [D]

INSTRUMENTAL SOLO over A, F, D twice

[A]She [F] eyes me [D]like a Pisces [A] when [F]I am [D]weak
[A]I've been [F]locked in [D] side your heart-shaped [A] box [F]for [D]weeks
[A] I've been [F] drawn in [D] to your magnet [A] tar [F] pit [D] trap
[A] I wish [F]I could [D] eat your cancer [A] when [F] you turn [D] black

[A5] Hey! [F5]Wait! [D5]I got a new complaint
[A5]For [F5] ever in [D5] debt to your priceless ad [A5]vice
[A5] Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [A5] vice
[A5]Hey! [F5] Wait! [D5] I got a new complaint
[A5] For [F5] ever in [D5] debt to your priceless ad [F5] vice [D]
Your ad [F5] vice [D]
Your ad [F5] vice [D]
Your ad [F5] vice [D]



Read More »

11 Feb 2014

The Ukulele Is Not The Happiest Instrument In The World...Rant!

News for you (and about time for another rant):  the ukulele is NOT the happiest instrument in the world. Or rather, the ukulele world is really no different from any other instrument or interest group.... shock!..... horror!......




Why do I say that? "Hang on Baz - you live and breathe the ukulele dont you?"

Well, this is less of a sharp personal opinion, and more an observation on which I would be delighted if you told me your own views and experiences. I'm not here to tell you what should and should not be, just my opinion. What I observe may not be something you agree with and that is cool, but I think I have some arguments to put forward.. So what is this all about? Well, as you start to explore the world of the ukulele, online and off, you will almost certainly come across comments such as...

"the ukulele is such a happy instrument",

and,

"nobody is unfriendly in the uke world..."

Recognise those? Have you made those statements yourself? When I started playing I probably said them myself. Well time for a reality check. In my experience, both are plain and completely wrong. And further, I  fail to comprehend quite why people can become so obsessed with saying so, repeating it like a mantra. I'm not trying to put a downer on things here, I love the ukulele and many many of the people who live in this proclaimed 'uke world'. It's just not quite so black and white. Things never are.

Let us take a look at the first statement first. There are a couple of ways of looking at this, but let us  consider the physical side first of all. The ukulele is just a musical instrument. Yep, that's it. It isn't mystical or magic, it's a box with some strings on it with a neck for making the notes work. It is a tool for making music in the same way as a trombone is, as a piano is, or as a hurdy gurdy is. Nothing more and nothing less. The concept that an instrument can be inherently 'happy' or' sad' (or, whilst we are here, just plain 'meh') confuses me, as surely the impact the instrument has on our senses comes from the style of music that is being played on it. A piano can create the most haunting, sad music imaginable, but equally has been responsible for some of the happiest and jauntiest ever made. The same goes for most if not all instruments.  Why is the ukulele any different? Personally I like to play both sad and happy songs on the uke, and perhaps that is why I am a little different. Perhaps.... But I think there is more going on here.

To consider this further, we can go back to the uke origins in Hawaii, and that history that people seem to connect with so much. There is certainly a lot to be happy about with Hawaiian music (by its very nature), and also perhaps a lot to be happy about in living on a set of of paradise islands (although, beware the phrase 'the grass is always greener' - like anywhere, Hawaii has its problems too - you just don't see them in the ubiquitous tourism shots..). Personally, I live in the mostly wet  and grey north west of England, and it can sometimes be hard to summon that Aloha spirit on certain days and it doesn't necessarily help if I pick up a musical instrument. Any musical instrument. And while I am at it, I think that it is also hellishly stereotypical to assume that all music from Hawaii is 'happy' or 'jolly' as a dip into their musical history will show that they too cherish the sadder and more poignant songs, songs about anguish and mistreatment - like pretty much ALL musical heritages. You just don't see that side in the marketing spin.

So perhaps the 'happy instrument' tag is taken from a longing for that Aloha spirit from those in less sunny climes rather than the instrument itself? Or should I say, a longing for the Aloha spirit of our imaginations or memory? Over here in the UK, there is a common 'look' amongst  a lot of ukulele clubs and bands of Hawaiian shirts, straw summer hats and garlands of flowers. Festivals are not unknown to deck out their 'theme' with a Hawaiian look. Why is that? Are players longing to cling on to a look or feel that is alien to them? Is there an assumption that by doing so makes everything so god damn happy? Of course, if your club does this and it makes you happy then I am naturally pleased for you, but would you be unhappy if you took off the flowers? I doubt it. Some clubs have a uniform that is all black. Are they unhappy? Don't be so ridiculous.

I personally don't dig the Hawaiian thing myself. Before you complain, I am not saying that I don't like Hawaii, their people, their heritage, their shirts or THEIR Aloha Spirit, I just find it a little odd to be trying to create some artificial connection with that community just because I play a ukulele, and perhaps particularly because I am from England, not Waikiki. (Incidentally - one style of uke that has a very strong following is the George Formby Society, and I rarely see them wearing garlands of flowers, yet they seem to get along just fine and seem a happy bunch too!)

(I don't have anything against Hawaiian shirts either, think I might own one somewhere, but is it the shirt that is making the performance 'happy' or the uke? And as for those top class fine performers out there who like to flaunt them...  you are excused!)

Another angle on the physical is the very noise the uke makes. In the soprano form particularly, there is no doubting that a staccato strum can be lively, jaunty and uplifting, perhaps even 'happy'. It is also undoubtedly linked to the 'Island sound', but unless you are living on the Islands or it is part of your deep rooted family tradition, I put that down to the same endless advertising making the connection than anything else. You know the sort of thing - the very boxes that many ukes come in are adorned with tropical flowers. But having seen people perform on a soprano and play songs like 'Strange Fruit' or countless other sad, mournful tunes and totally nailed them, it is worth remembering that the ukulele is more versatile than just something to strum and grin with whilst pretending you have your toes in the sand. Heck, one of the most played songs at ukulele clubs up and down the UK is Folsom Prison Blues, hardly a barrel of laughs...Murder, prison, jealousy, regret...  So for me, sound wise, the ukulele CAN be made to sound happy, but I still firmly believe it can be made to sound sad too, and pretty much everything else in between. As such, I am not so sure that the theory holds that this is an inherently happy instrument at all. It's just a ukulele...

You may say that music is intended to make people happy. Sure, I would agree with that in part, but lots of music is written to make people sad too and in that process make them emotive in other ways. Music also makes people reflective, thoughtful, angry.. It makes people think, and to give people a whole range of other emotions, sometimes all at once. The point is, music is intended to MOVE you, to generate a reaction, a feeling or a response. 'Happy' is only one small part of what it can do.

Let's now move on to the social side of things and the way ukulele players interact - is THAT what is so happy? This is something I see commented on more and more - that the ukulele 'community' is a happy place, that ukulele players are the best people on the planet, that you will never hear a cross word from any of them, that the uke world is FAR more welcoming than (say) the guitar community, and so on and so on. Well, it's a very nice idea that this little instrument can create such a well being in the player that enables them to rise up to be the friendliest person on the block, but anyone who spends any time amongst social media will know that this is also dead wrong.

Please don't get me wrong, I am not choosing to single out the ukulele community here in particular, but any sort of community with human interaction follows this model, quite simply because when you get together with a bunch of like minded individuals, human nature shines through. And, as much as we don't like to admit it, human nature can stink at times. Sure, group gatherings will, on the whole be happy things - I see enough photos of club meetings to show just how enjoyable they are, and I think that is great. But that isn't the full story. What else goes on in uke-land?

Well, I personally know several ukulele players who have been so offended by others in the uke community that they have (at best) shut themselves away from interaction and (at worst) have turned their back on the instrument altogether.  Real happy huh?

I could go on... How about the people I hear from who have been bullied out of ukulele clubs by overbearing control freaks?

I've now heard of a couple of examples of professional performers who found that 'someone' with a grudge called a venue they was booked to play, impersonated them and tried to cancel it. Seriously - that has happened.  Only this week a page on Facebook was brought to my attention that seemed to be attacking some very well respected uke players, and very publicly too. And this wasn't attacking in the sense of 'I don't like their music' (that for me isn't an attack at all, just an opinion), but these were plain abusive comments down to the base level of attacking peoples physical appearances. My last band had some bad mouthing brought to our attention last year via a chain of emails that we were not meant to see, and I have removed myself from certain communities having had one to many doses of the foul mouthed abuse to me personally. And all this from other ukulele players - 'the happy community'....   Before you say I should get a thicker skin, or grow a pair, I can deal with it. In fact I can smile and shrug it off, but many people can't and can become quite upset by things. These things really happen, and whilst it is just a fact life, I don't like it, as I don't like bullying. And because you pick up a ukulele doesn't mean it doesn't or won't happen.

The online world is a strange place, but it does mirror life in many ways with the added attraction that people can hide behind the keyboard. This only seems to make the attacks more vicious. For me though, I still don't think social media is itself the problem, I think the internet just magnifies the inner thinking of the perpetrators (bullies, deep down in many cases), and whether it is about the ukulele or their favourite toaster, it matters little to them so long as they are abusing someone. There are online groups out there who take great pleasure in slagging off other uke players, or other peoples views, other peoples instrument choices like it is a sport. This isn't just 'trolling',  this is a concerted effort by many in harmony with each other. Please don't get me wrong - I don't personally want to live in a land of blue skies and zero disagreements, disagreements are good and healthy, but outright aggression isn't. For the sake of balance of course, there are also online uke groups who seem to tolerate no disagreement whatsoever and I think that is just as unhealthy in the other direction to the point of being saccharine sweet and artificial.

And aside from those who like to be mean for the fun of it, there is a growing movement of those who like to attack based on the 'I am better than you' or 'my uke is better than yours'. This is something I've seen a lot in the guitar community, but guess what? It's there with ukes too!

So in summary, if you spend any time discussing the instrument with other 'fans' then you are sure enough going to come across those encounters that fly directly in the face of this concept that the 'uke community is the friendliest in the world'. So why do people keep saying everything is sweetness and light?

Offline, are things the same? Well, it is difficult for me to comment, but if you tell me that your uke group has never had a disagreement to the point of somebody being upset I would be extremely surprised. It's natural, and that damned four string box of tricks you have chosen to play is neither to blame, nor is it going to make you a nice person overnight. The person does that. Clubs and groups of all kinds have nasty elements, and the uke world is no different.

Let's balance things out a little and look on the bright side. Those who know me personally will (I think!) know that I am generally a 'happy chappie', like a giggle and enjoy the interactions I have with uke players enormously. I will stand up and disagree where I think something is wrong, but I would like to think I don't do so by having to resort to verbal abuse.

The ukulele world is indeed a fun place to interact in the vast majority of cases. More so than in some other musical instrument communities that I have been involved with will you find those players at the top end willing to help and support beginners and a general feeling of 'one-ness' amongst players. I have made some terrific friends through playing this instrument - and I don't just mean acquaintances, I mean those people who physically go out of their way to help and support you (you know who you are - you are all wonderful!). Uke festivals are great things to visit, and (perhaps) because people are on their best behaviour (or because it is face to face) they are always friendly and I would recommend you visit one. There is much to be happy and thankful about.

So why the hell am I ranting? Well, the concept of an instrument being 'happy' in its very nature is something that irritates me a little as I think it misses the full range of what the ukulele can really do. I personally think the constant tag of 'happy' (as nice as it would be for the whole world to be happy) can act to hold back the instrument from being taken fully seriously. It certainly isn't uncommon for those who despise the uke to refer to it as cheesy or corny, perhaps a comedy instrument, but I suspect I would feel the same if the only experience I had of the instrument was endless rounds of You Are My Sunshine and Daydream Believer played by people in beach wear...  (naturally you have a get out clause if you genuinely live on a tropical beach and don't have a worry in the world of course..). People don't endlessly claim that the guitar is such a happy instrument, and not doing so has hardly harmed its appeal.  Would it not help the uke being taken more seriously, if we, the players, started to treat it more seriously?  And as for those experiences you will find online, they can be concerning to any new player who has been repeatedly told that the ukulele world is full of roses and pussycats. Don't blame the instrument, but understand that people are people and you will find good and bad everywhere. Be prepared and you will quickly seek out those people who are more willing to welcome and support you. With time I am sure you will make good friends too, but please. please, stop telling new players that everything is so damn happy....

After all, It is just a ukulele....

Or am I just being grumpy?


AND! Be sure to check out my other ukulele RANTS - where I explode the many myths and bad advice that surrounds the instrument - CLICK this link! http://www.gotaukulele.com/search/label/rants
Read More »

9 Feb 2014

Love Hurts, Gram Parsons Ukulele Chords

Continuing with some Valentines ukulele songs ahead of 14 February. This one is a really lovely tune. Love Hurts by Gram Parsons for ukulele. As usual, video at the end.



Love (G) hurts, love (Em) scars, love (C)wounds and (D7) mars
Any (G) heart not (Em) tough nor (C)strong e(D7)-nough
To take a lot of (G) pain, (B7) take a lot of (Em) pain
(G7) Love is like a (C)cloud (Am7) pulls a lot of (D7) rain
Love (G) hurts, (F) mmm, (C)mmm, love (G) hurts

(D7)

I'm (G) young I (Em) know but (C)even (D7) so
I know a (G) thing or (Em) two I (C)learned from (D7) you
I really learned a (G) lot, (B7) really learnt a (Em) lot
(G7) Love is like a (C)stove (Am7) burns you when it's (D7) hot
Love (G) hurts, (F) mmm, (C)mmm, love (G) hurts 

(D7)

(Em) Some fools think of (B7) happi-(Em)-ness
(B7) Blizzful-(Em)-ness, (B7) together-(Em)-ness
(A7) Some fools fool themselves I guess But they're not fooling (D7) me

I know it isn't (G) true, (B7) know it isn't (Em) true
(G7) Love is just a (C)lie (Am7) made to make you (D7) blue
Love (G) hurts, (F) mmm, (C)mmm, love (G) hurts

(D7)
(G)  (Em)  (C )  (D7)
Love (G) hurts, (F) mmm, (C)mmm, love (G) hurts
(F) Ohhhh (C) Ohhhh love (G) hurts..


Read More »

8 Feb 2014

Valentines Day Is Over - Billy Bragg - Ukulele Chords

Another ascerbic valentines themed ukulele song for the run in to February 14th - Valentines Day Is Over by Billy Bragg for ukulele!

Billy Bragg valentines ukulele
credit - louderthanwar


I love this song, but then I love Billy Bragg and this is off the Workers Playtime LP. The song video is at the end, but generally it's a song that mixes picking and more angry strumming. Have fun. (The trick is in the chord change between the C, Em, and Am which is a quick change before each 'Valentines Day Is Over' lyric line. You may also prefer the sound of the Dm in the verses being played at a higher position than at the lower frets such as 7555.


INTRO C, F, F, C
F, C
F, G
F, C

[C]Someday [F]boy you’ll [F]Reap what you’ve[C]sown
You’ll [F]catch a [C]cold and you’ll be [F] on your [G]own
And [F] you will [C] see that what’s [F] wrong with [C] me
Is [F] wrong with [C] everyone that [Dm]you wanna play your [G] little games on

F, C

[C]Poetry and [F]flowers, [F]pretty words and [C] threats
[F]You’ve gone to the [C]dogs again and [F]I’m not placing [G] bets on you
[F]Coming [C] home tonight [F] anything but [C]blind
If [F] you take me for [C] granted then you [Dm] must expect to [G] find

Sur [F]prise sur [C]prise
[C] [Em][Am]
Valentines Day is [C]over, it’s O[F]ver[G]
[C] [Em][Am]
Valentines Day is O[F]ver[C]
[F] [C]

[G7]If you want to [F]talk about it well [C] you know where the phone is [G7]
Don’t come round rem [E7]inding me ag[F]ain How brittle [Fm] bone is…
[C]God didn’t make you an [G]angel [F]The Devil made you a [G] man
That bru[C]tality and the ec[E7]onomy are rel[F]ated now I under[Fm]stand
Oh when will you [C]realize that [E7]as above [F]so below there [Fm]is no love

[F] [C]
[C] [Em][Am]
Valentines Day is [C]over, its o[F]ver[G]
[C] [Em][Am]
Valentines Day is o[F]ver[C]
[F] [C]

TRUMPET SOLO
[G7]     [F]    [C]
[G7]        [E7]        [F]     [Fm]

For the [C] girl with the hourglass [G] figure
Time [F] runs out very [G] fast
We [C]used to want the [E7]same things
But [F]that’s all in the [Fm]past
And[C]lately it seems that [E7]as it all gets tougher
[F]Your idea of justice just be [Fm]comes rougher and rougher

[F] [C]
[C] [Em][Am]
Valentines Day is o[F]ver[C] It’s o[F]ver[G]
[C] [Em][Am]
Valentines Day is o[F]ver[C]
[F] [C]

[C]Thank you for the [F]things you bought me [F]Thank you for the [C] card
[F]Thank you for the [C]things you taught me [F]when you hit me [G] hard
That [F]love between two [C] people must be [F]based on under[C]standing
Un[F]til that’s true you’ll [C]find your things all [Dm]stacked out on the [G]landing

Sur [F]prise sur[C]prise
[C] [Em][Am]
Valentines Day is o[F]ver[C] It's o[F] ver[G]
[C] [Em] [Am]
Valentines Day is o[F]ver
It’s o[G] ver[C]
It’s o[F] ver[C]
[G] [C]


Read More »

5 Feb 2014

Everybody Knows (Except You) - The Divine Comedy - Ukulele Chords

With Valentines Day around the corner, there may be some of your wanting to find a ukulele song to try to woo the sweetheart who refuses to acknowledge you... so how about this one by the brilliant Divine Comedy. Everybody Knows (Except You) for ukulele. (Video at the end!)


Divine Comedy Ukulele


Read More »

4 Feb 2014

Noah Mahogany Concert Ukulele REVIEW

Time for another review on Got A Ukulele and another from the Noah series of ukes that are put out by Saigon Guitars. You may have read my earlier review on the Noah Monkeypod Tenor instrument, but for this one we go down to the concert scale and with a different wood, in the Mahogany Concert.


Noah mahogany concert ukulele


Noah offer something a little different in the uke world - a range of ukes from the far east (Vietnam in this case) but not instruments that are turned out in bulk in factories - rather they are made by a luthier who Matt from Saigon hooked up with to develop his own range. The other thing I have liked about the Noahs I have seen is that they are priced extremely keenly and offer little build details that you would normally only see on instruments of at a far higher end. Read on, and be sure to visit the video review at the end also!

The Mahogany Concert is completely solid in construction, and for £150 that is already quite a surprise, particularly when you note some of the other features. The body shape is fairly standard in layout with a double bout and waist, but you will note the upper bout is actually a fair bit smaller than the lower - I like that. The whole body is finished in gloss which, on the whole, is nicely applied (more on that later), and does allow the mahogany grain to shine through. The top grain is rather pretty with a  bit of curl at the top and a nice darker wood stripe down the middle. That gloss does allow it to shimmer in the light too!

Noah mahogany concert ukulele body


The side grains are nice and straight in line with the body, and are matched where they meet at the base perfectly - I regularly see solid wood concerts at this price where that level of detail is just not present.

The back also has a lovely book matched grain with a strip of lighter sap wood showing towards the bottom which I think works to great effect.

Noah mahogany concert ukulele back


Finishing the body off is top and back binding which is applied neatly and looks great. On closer inspection you will note that this isn't cheap plastic binding, but used real wood (maple in this case) for the material - again, this is not something one may expect at this price point.

We have more usage of wood on the top in the sound hole rosette which is inlaid in the top in wooden marquetry and looks great and natural.

The bridge mounting is made of rosewood and is a traditional style tie bar design. Like the Noah Tenor though, the whole bridge mounting is finished in gloss like the body. That is unusual and I would much prefer unfinished wood on this part of the uke. I have no idea why I say that, apart from purely aesthetic reasons as I can see no reason for the gloss to affect the play of the instrument. I am just not a fan. The gloss application has also lead to some gloss pooling around the edges of the bridge which I think are noticeable. That said, the rest of the gloss on the body is nicely applied and the gloss seems a nice quality (i.e. not thick or sticky). The bridge is trimmed with white edging and the nut material is bone and is nicely shaped and set. Action here is just right for me.

Noah mahogany concert ukulele bridge


Looking inside and all is neat and tidy with notched kerfling, clear indicators that the back is solid, and the hand finished Noah label which includes a unique serial number and the manufacturers signature. Nice!

Moving on to the neck, this is also made of mahogany, and is in only two pieces that I can see with the jointing being at the heel. Another nice touch is the maple end cap on the heel which gives it another hint of a professional finish. The back of the neck is finished in gloss with one or two bubbles and dull spots, but nothing that I noticed while playing, nor that can be seen by an audience. It also has a nice (for me) chunky profile that fits my hand well.

Topping the neck is a rosewood fingerboard which is nicely coloured and finished. There are some tooling marks on the fingerboard, but remember this is not made on a fast production line by a machine. I like that they remind me that it is made by a person! You can see them, but I certainly could not feel them. The frets are nickel and we have 16 of them with 12 to the top of the body. They are neat, low key and finished well with no sharp edges.

Fingerboard markers are inlaid at the 5th, 7th, 10th and 12th in mother of pearl and look great, especially the double marker at the 12th. Sadly there are no player facing markers facing the player.

Past the bone nut (which is cut well and set right) we are at the headstock and full marks again to Noah for not going with a generic Martin clone crown shape. The shape is plain, but I like it and it sets it apart. The Noah logo is inlaid under the gloss and the whole of the faceplate is a mahogany veneer. Tuning is provided by unbranded sealed chrome gears, and they work just fine with no slop or grinding and they hold well.

Noah mahogany concert ukulele headstock


The whole package is finished with a zippered and padded gig bag and (of course) Aquila strings.

Overall I am impressed. I think the uke looks great and contains enough details to set it apart from the generic factory models, particularly that edge binding and the grain pattern. There are some finish details, but nothing that is particularly noticeable.

To play, the uke is comfortable enough, and a little on the heavy side (though not uncomfortably so, and is nicely balanced).  The setup is also just fine, and even if it wasn't, it is clearly built properly and could be set to play easily. A look at the top shows a wood that seems a little on the thick side to me and I wondered how it would affect volume tone (you may recall that I thought the Tenor Monkeypod Noah was a little on the quiet side, albeit with a very nice tone). Thankfully with this one I think it is just fine - there is bags of volume when strummed or picked (no doubt also helped by the Aquila strings and slightly arched back), but it comes with a good tone and voice too. There is no bark when it is overpowered, and strummed it has a kind of 6 or 8 string jangle which I quite like, whilst still providing clarity across the strings. There is a bit of an echo to harder strumming, but that is something I notice more with Aquila strings and as such will not level that observation at the instrument.

Compared to, say, a Mainland mahogany concert, I think it has more character. The Mainland may have a little more chime when picked (although I suspect a string change on this to fluorocarbons would help here), but the Mainland can, I find, get a little lost in the mix when strummed, whereas this one likes to make its presence known!

It isn't a high end tone, but nor would you expect it to be for £150, but it is perfectly enjoyable and acceptable and will fit in with your club or band nights just fine. And that really sums up why I will recommend these ukes. At £150, there are a fair few choices of all solid concert ukes and I find many are quite generic and plain. This one delivers more looks and finish that you would expect for the money, yet doesn't totally let itself down on the sound either.

Noah mahogany concert ukulele sound hole


All in all, I think they are a bit of a bargain!

PROS

Value for money
Finishing details
Volume

CONS

Some finish question marks

SCORES

Looks - 9
Fit and Finish - 8
Sound - 8.5
Value For Money - 9

OVERALL - 8.6 out of 10

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

http://saigonguitars.com

VIDEO REVIEW

Read More »

2 Feb 2014

Time Of The Season - The Zombies - Ukulele Chords

Browsing Youtube last night I came across this track which I love. Also very easy to play on the ukulele! Pattern is the same throughout, and video at the end to play along with!


Time Of The Season by The Zombies

It's the [Em] time of the season
[C] When the love runs [Em] high
In this time, give it to me easy
[C] And let me [Em] try with treasured [G] hands

(to take you in the [Em] sun to) promised [G] lands
(To show you every [Em] one)

It's [D] the [C] time of the [G] season for [Am] lov [E] ing...


What's your [Em]name? (what's your name)
Who's your daddy? (who's your daddy)
[C] (He rich) Is he rich like [Em] me?
Has he taken (has he taken) Any time (any time)
(To [C] show) To show you [Em] what you need to [G] live

Tell it to me [Em] slowly) Tell you [G] why
(I really want to [Em] know)

 It's [D] the [C] time of the [G] season for [Am] lov [E] ing

 (organ solo; same chords)

 (repeat verse 2)

 (organ solo over Em...C to fade)

Read More »

28 Jan 2014

N'Ukefest Ukulele Gathering Line Ups Are Finalised!

Well, not quite a Got A Ukulele post, but news that the ukulele gathering being hosted by our band The N'Ukes is now booked up for performances! N'Ukefest is GO!


n'ukefest ukulele gathering

N'Ukefest is a charitable ukulele get together on 16-18 May, that is free to attend and now in its third year. This year though we thought we would go a bit bigger, providing two full days of ukulele open mic performances and a special evening programme of some of the UK's biggest uke performers on an indoor stage. Let's take a look at the evening programme first. We are delighted with these acts!!

Phil Doleman


Phil Doleman at N'Ukefest



We are well and truly delighted to get this act to N’Ukefest. Phil Doleman is extremely well known in the uke world and one of the highest regarded performers on the circuit.

Phil has been at the forefront of the ukulele revival for over ten years and is hugely in demand as a performer and workshop teacher. He plays beautiful instrumental uke, some standards, some self penned and has performed at more festivals than we can shake a stick at. Ken Middleton of Ohana Ukuleles called him ‘one of the most talented players in the UK’ and we would fully agree. Fresh from the Ukulele Festival Of Great Britain AND the Grand Northern Ukulele Festival we are delighted to have him with us.

This is a real treat! Did we also say that he is one of the nicest guys you will ever meet as well? He is!

Chonkinfeckle


Chonkinfeckle


Chonkinfeckle are a Wigan trio made up of Les Hilton, Tim Cooke and Peter Byrom and we are absolutely thrilled they are playing for us.

They are extremely well known on the ukulele circuit, having performed at both the Ukulele Festival of Great Britain and this years Grand Northern Ukulele Festival in Pontefract. They perform unique self penned tunes on ukulele, gob iron, percussion and keyboards that stay true to their Lancashire roots. They tell tales of everyday life, work, local characters and often including the local dialect. Beltin!


Krabbers





Krabbers hails from Surrey, and is a well known face on the ukulele circuit and was most recently seen running the ‘open no mic’ and the ‘Unplugthewood’ sessions at the Grand Northern Ukulele Festival.

He is the founder and host of the ‘unplugthewood' open mics and jams and has performed ukulele all over the world including the Ukulele Festival Of Great Britain. He is with us at N’Ukefest as a solo act, performing a range of his self penned material. A fabulous performer with a real songwriting skill and we are so pleased he has agreed to play!


Dead Mans Uke


Dead Mans Uke

 Another addition to the N’Ukefest line up is a duo we were not sure we could get, but it all worked out good in the end!

Tim and Jake Smithies have been playing together for a while now, and are a father and son duo who play in the mighty Anything Goes Orchestra. Dead Mans Uke is a stripped down, simple and stomping ukulele and bass combo that plays blues, Americana and anything else they darn well please on reso uke and double bass. Having played most of the pubs and clubs in their native Yorkshire Dales, including the odd festival (including the Ukulele Festival Of Great Britain) they are now heading further afield, stomping all the way. You have been warned!

The N'Ukes


The N'Ukes
That'll be our band then! The N'Ukes are hosting the event and performing their high octane set on the Saturday night.

The N’Ukes play an eclectic mix of rock, soul, blues, folk and country in their own style, accompanied by keyboards, drums and bass. Never ones to lean on lamp posts or tiptoe through tulips, they prefer to rock things up a little. We will look to throw some surprises into the mix on the night and of course you will get to know us as we will be rushing around during the day to make sure the event goes well!


Ooty And The Cloud

ooty and the cloud

Ooty And The Cloud are a Chester based three piece making their return to N’Ukefest! Ooty comprise Stephen Fowler (vocals, uke, bouzouki), Rekha Fowler (Melodica, whistles) and Sally Gallagher (vocals, uke) and make some lovely music, much of it self penned with some inspired covers thrown in. Guaranteed to give us a dreamy set. Did we add they are also lovely people too?

And, that is just the evening programme. All day on Saturday and Sunday we are delighted that the following performers, bands, clubs have agreed to perform for the crowds on the outdoor open mic stage.

SATURDAY

11.00 The N’Ukes - introdcution, welcome and song

11.20 Jan Hough - Wigan
11.40 Bridgnorth Ukulele Band
12.00 Marc Gallagher - Nantwich
12.20 Congleton and Biddulph Ukulele Clubs
12.30 Ray Welch - Reading
12.40 The Splintered Ukes - Liverpool
13.00 Bluddy Hell - Wigan
13.20 Clarice Wokes - Leeds 
13.40 Stockport Ukulele Players
14.00 Surprise Event announcement!
14.10 Ukulele Club Liverpool
14.30 Bolton Uke Group
14.50 Rob Collins - Hebden Bridge
15.10 Aldridge Uke Group
15.30 Beer Of The Infantry - The Wirral
15.50 Macclesfield Uke Group
16.10 Pete Shurmer - Chester
16.30 Surprise Event and book on the day slots
17.20 Michael Adcock - Tenbury

SUNDAY
11.10 Carlisle Uke Club
11.40 Blue and Beyond - South Wales
12.00 Dylan Kennerall-Walters - Stone, Staffordshire
12.30 4ukesake - Skipton 
13.00 Stuart ‘Pockets’ Crout - Edinburgh
13.20 Wirral Uke Orchestra
13.40 The N’Ukefest raffle draw - hosted by Mary Agnes Krell
14.20 Mighty Flea - Wirral
14.40 Peter Moss - Alsager
15.00 Acoustic Milkfloat - Wirral
15.20 Zahra Lowzley - Edinburgh
15.40 Ukulele Union - Halesowen

What a ton of music for you! And don't worry if you are not booked in - keep sending us applications through the website as we will be keeping a reserve list for the open mic, and having some slots available for day visitors.

All details are on www.nukefest.com. We do hope you can come along.
Read More »

22 Jan 2014

Got A Ukulele Interview - Manitoba Hal Brolund

I am delighted to be able to introduce my first ukulele interview of 2014 with a real star of the international uke circuit. I was lucky to see this guy headline the Grand Northern Ukulele Festival in 2013 and having had a chat with him whilst he was there, came away knowing that as well as being a sensational player he is also a really interesting and charming fella too. Say hello to Manitoba Hal Brolund!

Manitoba Hal Brolund
Manitoba Hal - Credit Jessie Buchanan
Hal hails from Canada and is a guitarist, ukulele player and songwriter. He plays fresh and inventive originals mixed with arrangements of traditional blues, in a mixture of fingerpicking and strumming styles. Trust me, if you have a chance to see him live you should jump at the opportunity!


Hello Hal and thanks for speaking to Got A Ukulele! First up, tell me about your earliest musical experiences – how did you get into playing?

I began playing music when I was 18 years old. The bug bit me when I was sitting at a friends house as he was jamming on his acoustic guitar to some record. I have no memory of who the artist was but I clearly remember the music. It was the blues. I knew right then I would play music the rest of my life. Only one problem though...I didn't play anything right then! That moment was my 'Road To Damascus' moment. I began learning to play guitar and writing songs knowing what my future would hold if I put the work in.

And what musical instruments did you start out on?

I began on steel string folk styled guitar. I played Gordon Lightfoot, Cat Stevens, The Box Tops, John Cougar Mellencamp, The Beatles and some Fleetwood Mac.

That is quite a range of styles! When did the uke first fall into your hands?

I got my first uke in 1995 when we were moving my grandfather into an assisted care home. He had an old 1955 Martin Uke in his basement that he'd inherited. He offered it to me with the condition that I learn to play it. I said I would and set about learning songs he would know. Of course in 1995 there was no YouTube and internet resources for ukulele were much scarcer than today. I bought a bunch of old sheet music and had to learn to read it to play the songs of his day. In the end he gave me the gift of music and helped my find my true path.

Tell us about the origins of the moniker ‘Manitoba’, I must say, it’s a cool handle you have there.

In 1998 I was hired to play at a blues festival in Regina, Saskatchewan. The fancy themselves as a national Canadian blues festival and would introduce their artists by telling where they were from right before their name. In my case I lived in Winnipeg Manitoba at the time and they would introduce me by saying "ladies and gentlemen from Manitoba, Hal Brolund".  Now up until this point I'd had trouble with people misspelling my last name. I would get all manner of strange spellings so I knew I wanted to fix that and Manitoba Hal sounded like a good stage name. So in 2000 I adopted it officially.

Well I think the name certainly fits the style of music you play! What is your take on ‘the blues’?

This is a tough question to answer. I actually took three days to think about this before giving you my answer! Son House described the blues as that which consists between a man and a woman. That's it, that's all. It may have started there but it has grown to include all ranges of human emotion. There are happy blues, low down blues, sad blues, playful blues, sexy blues...you name it. Some believe you have to be black to play the blues. Or that it has to be played on an old guitar with a bottle neck and learned at the crossroads at midnight. I believe "the blues" are simply the human spirit communicating through song. Every person has experienced troubled times, happy times, love, heart break, betrayal, friendship. These are the subjects of the blues. It is the raw emotion that is communicated that give the blues it's legitimacy though. It's not enough to use a blues musical form or rhyming scheme. It's not enough to use coded language, tales of the devil or to play it on this instrument or that, there MUST be real emotion involved or it's just a song and NOT the blues.

Manitoba Hal
Credit - Missie D'Eon


You had me totally caught out when I reviewed one of your blues CD’s as I was convinced you had used more than just the ukulele – tell me more about that!

One of the goals of my CD Flirting With Mermaids was to make a CD that wasn't an obvious ukulele CD but was filled with ukulele. I wanted to take the ukulele into places it doesn't often go so in the studio we put it through a Leslie speaker (which is most commonly used with a Hammond organ), through distortion and other effects to show that as a small instrument it is only limited by your imagination. The plan was to make a CD that if you weren't a fan of ukulele you could listen to and enjoy and if you were a fan of ukulele you would enjoy the variations of tone that the ukulele created. The end result came out so beautifully that people often mistake the organ sounds for an actual Hammond organ or the distorted lead solo lines as being performed by an electric guitar. Of course the uke is featured in a pure acoustic form in several places on the record as well.

I am increasingly seeing people scoff at the idea that the uke can or should work with such a wide range of styles. It’s one of the reasons I’ve enjoyed your approach so much. Clearly you don’t agree that the uke should be pigeon holed?

I think the ukulele is a musical instrument. If you can imagine it's sound in a context then it belongs there whether or not it's been there before. The instrument obviously works well (maybe better) in certain styles but why not try it out everywhere?

How much time do you spend recording to get a CD just as you want it?

This depends a lot on the material and production style. Usually I stick with a "live off the floor" aesthetic which to me means playing the song all the way through without mistakes and recording that as a single take. So a big part of my "pre-production" of a record is simply practicing and deciding the arrangement of a song. Then I'll spend a day getting the sound right. i.e. where the mics should be placed, how I'll capture the sound etc... Then I just go for it. My CDs Huckster, Little Box of Sadness and Devil On The Wall were all recorded this way over 2 or 3 days. Flirting With Mermaids was a little more involved because of the large cast of musicians and singers that appear on the record and all the extra production tricks. This CD took almost 2 weeks in the studio recording and another week of mixing and finalizing the record.

And do you always perform solo? Any plans for touring with some of the other players you have worked with?

I do mostly tour solo because it's costly to carry more than one person on the road. Also I don't have a regular band so I am often picking up people as I go for specific jobs. I'm not ruling out touring with some other players but I haven't found that right fit yet musically or personality wise.

Talking of touring, you are certainly a busy man in that regard! What have been some of the highlights, and what is the down side?

This is so hard to answer. Every tour has it's high points and truthfully it's hard to compare them because they are all special and unique. From 2013 I'd have to say the highlights for me were playing a festival on Vancouver Island with John Hiatt, James Burton, Amos Garrett and Albert Lee ... touring in Australia and the UK and of course sailing up the coast of St Marrten in February on a Brigantine sailing vessel. I love to be in motion. My life makes more sense to me when I'm on the go. Of course with this carrot comes the stick. It means being away from loved ones and friends for most of the year. Living out of a suitcase. Not having your own space. I'm a solitary individual in many ways and I really enjoy my peace and quiet. That's hard to get on the road. I cherish my winters for this reason because I stay home between November and February. This is when I do most of my writing, recording and planning of the coming year.

Tell me a little more about your ukulele collection - my readers will be interested to know!

I'm not really a collector of ukes. I tend to acquire a uke and then play it for a while, then retire it and move on to another. After a while I get tired of looking at an instrument gathering dust when it should be played so I sell it off. Currently I have two tenor ukuleles (one Mango aNueNue signature model uke and one Ohana TK-50G), one soprano (no name) and my custom double necked uke made by Fred Casey (a tenor and a concert scale neck on the one body). I am also in the designing phase of building a tenor cigar box resonator uke and a concert scale tin box uke. That's it for the uke collection right now.

I ask this of all my interviewees – what is your best advice for new players?

This is a hard one to answer because I don't think people want to hear the answer. There is a lot of emphasis on the current ukulele resurgence to just play songs. I think that is great but the one thing that is lacking at nearly every ukulele club I've visited is true skills development. There is lots of emphasis on repertoire (learning songs) but not very much on learning chords and scales. So my best advice to new players is to practice skills every day. Spend 15 minutes a day working on chord shapes up the neck, learning scales, which chords belong in which key etc... then when you get together with your group to play songs you are equipped with the skills to really play them accurately and this will increase your fun. Practice makes better!

And finally Hal – I was thrilled to hear you are heading over to the UK later this year to do some workshop sessions – tell me more.

With the help of Mary Agnes Krell and the gang at GNUF I'll be doing a “workshop” tour of ukulele clubs in the UK in May 2014. The tour starts May 24th in Bournemouth. Full dates will be posted shortly but I expect to be around for almost 3 weeks and travel all over the countryside.

Manitoba Hal at GNUF
Hal at GNUF 2013 with his twin neck Fred Casey uke (credit Ed Sprake Photography)


Hal - I will be sure to get the dates on this site when I know them - I am sure it promises to be extremely popular. Hope to catch up with you when you are over too! For now though, thanks for taking the time to talk!

http://www.manitobahal.com
Read More »

19 Jan 2014

Ukulele News - 19 January 2014

Been a while since the last ukulele news feature on GAU, so lets now have a look back over the last two weeks.


The Booming Business Of Ukuleles

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

Hello to the Soberton Strummers!

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

UOGB to play the Isle Of Wight Arts Festival

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

'Apparently' the uke is popular in the UK (yes I am irritated. Plus Formby alert....)

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

OK, that Johnny Depp Story... again.... It is now being syndicated all over the place and isn't going away. Seeing as it all stems from an unknown source speaking to the Daily Star (hardly a bastion of journalism), I remain of the view its false...

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

More news soon!!

Read More »

18 Jan 2014

A Ukulele Has A Happy New Home!

You may recall that before Christmas I ran a ukulele giveaway competition to win a Moselele bamboo concert uke. Many congratulations went to Tobi Abel in Dublin who scored the prize!


Anyway, the postal service overseas has not let me down and was delighted today to receive a mail from Tobi to let me know it had arrived safely. He also included a picture of it next to his Makala uke!

Makala and Moselele Concert ukes
Tobi's prize on the right!
When I advised Tobi he had won he was absolutely thrilled (and shocked!) - he has not been playing all that long and is now the lucky owner of two instruments. Hope you enjoy it Tobi, and thanks again to Moselele for sponsoring the prize.

Watch this space as I am working on some more competitions on Got A Ukulele during 2014!
Read More »

14 Jan 2014

N'Ukefest Ukulele Gathering 2014 goes LIVE

Well it has already been in the planning stages for a couple of months, but the annual N'Ukefest ukulele gathering is now well and truly live!


This is the third year that the event has taken place, each time hosted by our band The N'Ukes. This year it takes place on 16-18 May at the Cotton Arms pub in the heart of leafy Cheshire UK. It is free to attend and all taking place in aid of Macmillan and The Wingate Centre charities. The backbone of the event are the open mic performances from uke players and clubs all over the UK, and on the Saturday night we have a real treat with a range of professional performers giving their time for charity.


Open mic slots can be booked in advance, and whilst we are holding some back for the days themselves, you ought to be quick if you want a guaranteed slot as most of the Saturday slots have already been filled. Are you a solo performer, in a duo, a band or a club and want to perform? Then please head over to the APPLICATION FORM right away!

The general schedule is a follows

FRIDAY - informal evening get together

SATURDAY - open mic day until 5.30pm with lots of surprises. In the evening we have a gig programme comprising Phil Doleman, Chonkinfeckle, Krabbers, Dead Mans Uke, The N'Ukes and Ooty And The Cloud.

SUNDAY - open mic, and grand raffle draw.

The raffle is being kindly organised by Mary Agnes Krell, Director of the Grand Northern Ukulele Festival!

Camping is available on site (details on the website) and we would love to see you there. We think this is going to be the largest informal and free gathering of uke players in the UK during 2014!

http://www.nukefest.com

Read More »

10 Jan 2014

Zahra Lowzley - Inception

This is just magical - and it's only a work in progress. Inception by Zahra Lowzley.



And this surely serves as a lesson to anyone obsessed with getting their tuning pegs right!

Zahra has a Youtube channel of wonderful uke pieces including classical and I would highly recommend you check that out HERE
Read More »

8 Jan 2014

John Daniel Pixie Sopranino Ukulele - REVIEW

What better way to kick of 2014 on Got A Ukulele than with an instrument review. Say hello to the John Daniel Pixie Sopranino.


John Daniel Pixie Sopranino ukulele

I have been hankering after a pocket sized ukulele for some time, and that desire grew a little more after the Ukulele Festival of Great Britain in the middle of 2013. At that even everyone seemed to be walking around with tiny iUke instruments  and they intrigued me. But.... not in a good way. I have to say it - I really don't like the feel or sound of the iUke at all, but most of all I don't like the feel of the neck. It is however priced a little more keenly than the Ohana SK21 I was looking at, and quite a bit more keenly than the Kala Pocket Uke.

Then another festival came along. I was at the Grand Northern Ukulele Festival when one of the performers, Phil Doleman called me over to show me what he had bought from the Southern Ukulele Store stand. He took out a John Daniel Pixie and I knew I had to have one. I enquired at the stall and they told me that when they had more in they would let me know. And they did! This came to me for a little over £100.

John is a private luthier who builds in small quantities and is based in South Wales (making this my first ever Welsh instrument!). The Pixie is completely hand made, and is constructed completely from solid mahogany. I am told that it is wood that has been taken from old furniture hundreds of years old (in this case, an old lab cabinet) which seems a very nice resourceful idea to me!

The uke is in traditional shape with a double bout, but it is quite subtle in its curves which I like. The body is extremely well put together with no gaps and the whole thing is finished in a hand rubbed oil finish. The top is quite plain apart from the fabulous dots decoration around the sound hole in white.

John Daniel Pixie Sopranino ukulele body


The grain on the sides is in line with the wood, and the back is flat with perhaps a slight curve. The top and back (being a small instrument) are single pieces of wood.

John Daniel Pixie Sopranino ukulele back


The bridge is a standard tie bar affair with a white trim and a bone saddle. The  bridge is made of rosewood. Inside all looks very tidy, and shows the use of un notched kerfling holding the top and back to the sides. It also holds the John Daniel label, with serial number and the proud claim that it is 'Hand Crafted In Wales'.

The neck is a particularly fine element of this uke for a couple of main reasons. Firstly the profile is nice and flat which is what I want on a tiny uke, but the nut width is really no different to any other soprano. That is a very good thing in my book. With a  smaller uke, things are going to get cramped as the frets are closer together, but if you narrow the nut as well, then things get quite difficult. The iUke suffers here. This comes back to the common misconception people have that bigger ukes are easier for beginners to play as they have more space. Nonsense. I have sopranos with wider nuts than concerts and they are the ones with more playing comfort. What is interesting to note is the headstock seems to be made of two pieces with a slightly visible joint at the top end.

The other nice element on the neck is the fingerboard - it is a made from rosewood with 12 nickel silver frets, but it is finished beautifully. The edges of the fingerboard are 'rolled' meaning they have a curved outer which makes for real comfort on the hands. You really only tend to see such detail on ukes at the upper end of the price range.

Fretboard markers are at the 3rd, 5th, 7th, 9th and 12th and are inlaid in white plastic. It is a little disappointing not to see side markers, or at least a single one for the players benefit. Still, with a neck this short, it is not hard to get lost on it!

Beyond the nut, the headstock is crown shaped with no outer facing, and is decorated with three small dots mimicking the detail from the sound hole and are the Daniel logo. These are set a little off centre, but this is not a factory made uke and I like the fact it LOOKS handmade.

John Daniel Pixie Sopranino ukulele headstock


Tuners are friction pegs (naturally - geared tuners on a uke this size would look ridiculous), though they represent my only gripe about it. They are bottom end friction tuners, that use plastic on plastic to hold. I found them extremely jerky and sticky and pretty quickly swapped them out for a slightly better set I had lying about which work much more smoothly.

John Daniel Pixie Sopranino ukulele tuners

I am not sure what the strings are that it came with (clear fluorocarbons of one brand or another, STOP PRESS - John has advised they are his own strings, and are indeed in flourocarbon) but SUS also shipped it with some Aquila Piccolo strings as used on the iUke to allow me to tune it a full octave above. I spent about ten minutes playing that way before being totally convinced that I had now found another thing I dislike about the iUke - the fact it is tuned so high!! So back on went the original strings and I started playing with tunings before deciding that F tuning suited my ears (that is to say, CFAD).

So how does it play? Well it is as light as a feather as you would expect, extremely nicely balanced and despite the diminutive size, actually quite comfortable to play and hold.

The setup is spot on with a very nice action and no intonation issues anywhere on the neck. The nut is cut well and the fingerboard is incredibly comfortable to play on. I love the nut width and don't find it particularly cramped at all, even with my large hands. It is a joy!

It also has a ton of volume when you give it a heavier strum, but also sounds delightful when picked. I would suggest if you get one that you too should play with other tunings to suit your own ears. DGBE tuning for example may be another alternative. Heck, that is part of the fun of owning one. I think it has a nice balanced sound and has become a uke I tend to keep very close to wherever I am sitting as it is a joy to just pick up and play. I've also jammed with it along with instruments of all other sizes and it fits in the mix quite well.

In short, I am delighted I got hold of it, and if you get the chance to own a John Daniel, I would give it some serious consideration. Check out the scores and a video review further down the page.

John Daniel Pixie Sopranino ukulele


FOR

Good price for a hand made uke
Tone and volume
Sublime neck
'different' detailing such as the sound hole

AGAINST

Not much - cheap friction tuners

SCORES


Looks - 9
Fit and Finish - 8.5
Sound - 9
Value For Money - 9

OVERALL - 8.8

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

Read More »

31 Dec 2013

Got A Ukulele - Review Of The Year 2013

Well it is that time of year again, and as in previous years it is time for a look back over a year in the life of Got A Ukulele.


In the last year there have been....

160 posts...
11 instrument reviews...
nearly 1.4 million page views over 765,000 visits...

And..

Interviews, festivals to attend and lots of get togethers with uke friends all over the UK. It's been a really fun year and I hope you have enjoyed reading. So below are some of my particular highlights!


JANUARY

The year kicked off as it meant to go on with a review of the Kala ASAC solid tenor uke, and I also looked back with a long term review of the Kanile'a K1 Tenor.

Something quite different followed (for a uke blog at any rate) with a look at the Greataswego Fat Boy kazoo, kindly supplied by Doc Kazoo himself. The beginners tips continued, this time looking at developing a light touch, and I was thrilled to bits to get Les and Tim from Chonkinfeckle to agree to an interview.

Chonkinfeckle
Chonkinfeckle



FEBRUARY

We kicked off the month with the launch of our bands new website. The N'Ukes then went on to a booming year!

The reviews then came quick and fast, looking at both a Riptide Electro and the Barnes and Mullins Calthorpe. One of my favourite videos of that time was Bad Habit by the wonderful Danielle Ate The Sandwich, but that is not meant to overshadow local youngsters The Muckers with their 80's medley!


MARCH

March saw The N'Ukes appear in an interview on BBC Radio Stoke, and I also had a look at the Southern Ukulele Store own brand concert uke - an instrument they kindly let me keep to be raffled later in the year for charity.

I was also blown away by this video by Les Hay Babies, and reviewed the rather pretty Ohana 5 String.

Closing March was another great uke vid by John Pak.

5 string ohana ukulele
5 string Ohana 



APRIL

I was delighted to learn in April that uke pals The pUKEs had been approved with Arts Council funding to run workshops, and I took a look at the excellent Ukulele Exercises For Dummies by Brett McQueen.

One of the prettiest uke tunes I had come across was this one by Malcanisten, and one of my favourites was this by The pUKEs! And April ended with a review of the excellent Pono MTD, and the discovery of the quite wonderful Blue Dean Carcionne.


MAY

In May, my book The Complete What Ukulele Players Really Want To Know was shortlisted for an Indie book award, and the N'Ukes played their most enjoyable venue yet at the Cosey Club.

And at the end of the month I was delighted to receive a copy of the brilliant pUkes Fanzine!


JUNE

June saw us all introduced to that wonderful Get Clucky video by Will Grove-White, and soon after it was Festival time!

During June I attended the Ukulele Festival of Great Britain, and live blogged on each day from Cheltenham. Here is DAY1, DAY2, and DAY 3.

Ukulele Festival Of Great Britain
Ukulele Festival of Great Britain



JULY

This was holiday month and quite quiet, but we did host our annual ukulele get together, N'Ukefest, for the second year running. It was a huge success and thanks again to those who helped, donated or performed!


AUGUST

In August I started the first of my new series of beginner tips called 'RANTS' - these were posts aimed at dispelling bad advice you find online, and we started by looking at common Ukulele Myths.

Later on I presented my review of the quite wonderful Godin Multiuke, and came across this wonderful video by Gerald Ross.

Godin Multiuke
Godin Multiuke



SEPTEMBER

September started with a look at the intriguing Moselele Bambookulele, an instrument that was given away as a prize later in the year... but was otherwise a quiet month as I was on holiday for most of it!


OCTOBER

Then, festival time again, this time the Grand Northern Ukulele Festival. I kicked things off with an interview with Festival Director Mary Agnes Krell, and followed that live blogging from Pontefract on both Day 1 and Day 2 of the festival. It really was a great event.

I discovered this sweet ukulele video by Lucy and La Mer, and Bob Archigan of La Bella asked me to look at his Uke-Pro strings. (highly recommended by the way!)

Grand Northern Ukulele Festival
Phil Doleman and Mary Agnes Krell at the Grand Northern Ukulele Festival



NOVEMBER

A busy month!

November started with a look at the excellent Mr Otis Regrets CD by the Anything Goes Orchestra, together with another 'Rant', this time on bad ukulele advisors.

We also launched N'Ukefest 2014, and I found this great video by Friends Of Old Puppy.

I also reviewed the (awful) Mahalo Flying V, Interviewed the very lovely Sarah Maisel and launched an anniversary competition to mark the 4th year of Got A Ukulele.


DECEMBER

December started with a look at a new ukulele brand, the Noah Monkeypod Tenor, together with another 'Rant', this time on being paid to play ukulele gigs.

Thanks to Ohana Ukuleles, I was extremely lucky to get to look at some rare prototypes and understand their development process, and looked at the unusual Korala Explore plastic ukulele.

December came to a close with a review of a trip to Chester to support Ooty And The Cloud in a charity uke event, and a final 'Rant' on those people who say 'you can't play that on a ukulele'.

Korala Explore concert ukulele
Korala Explore


And aside from those highlights, there have been plenty of other tips, song sheets and videos shared, and I hope you agree that it has been an interesting year.

All that is left to be said now is, that I wish all my readers the VERY best for 2014. I fully intend to keep the blog running and have some great ideas in the pipeline. Your support means a lot so to anyone who has read or contributed - THANK YOU.

See you soon!


2011 Review Of The Year
2012 Review Of The Year

Read More »

Say thanks to Got A Ukulele

Please Help Keep This Site Going!

If you enjoy this blog, 'thank you donations' for the free content are welcomed. Aside from the Google ads, I don't get paid to write this blog and for reasons of impartiality a not sponsored by brands or stores.