Chords for Behind The Vinyl: "Hold On" with Rik Emmett from Triumph

[N] Hi, [D] I'm Rick Emmett from [C] Triumph and _ we're here doing Behind the Vinyl on this thing.
This is the [Bb] Triumph Just a Game album.
[C] This is from the old days when there were [A] gatefolds.
So, you know, you can see me [Bb] there in my famous white jumpsuit.
I had three of these.
I had a [Cm] black one and a white one and a [B] red one.
The red one is now in the museum in Calgary, the music center [Bb] there.
_ [Db] _ _ [F] _ They were kind of revealing.
[C] _ _ Just before Spandex was making its large entry into the record business.
Now, I'll tell you this about that.
The reason I got them, I got them at Malabars in Toronto.
[Dbm] You could [C] wear them and sweat and stink them up, but you could take them back to the hotel room
and you could wash them [F] in the sink and hang them to drip dry [Bbm] in the shower.
And the next day [Dm] they wouldn't stink.
So that's why I got them.
It was_
yeah.
[A] Anyways, there you go.
We had [Db] a board game.
Let me get this [D] started here.
Let me drop the needle on Behind the Vinyl.
[Eb] _ _ _ _ _ _ _ _
This is Hold On.
_ [D] _ This was the first song that got airplay for us in the United States.
[Bm] Although we had to edit [D] this.
We're going to do the whole thing for you people. _ _ _
_ _ Kim Mitchell once said he thought [Bb] maybe I should be sued for stealing Elton [D] John's_
your [G] song at the beginning of that.
[D] _ _ _ _ _ _ _ _
_ This was a [Db] poem that I wrote when I was in high school.
We were supposed to do an [A] essay in English class or [Bb] something,
and instead of that I wrote [C] a tiny little two-verse [G] poem.
And this was the poem.
[Em] _ _ [A] _ So, you know, [B] you're out on the road and you're trying to find material _ to, you [Bm] know, come up with songs.
So this was in a file that I had of [A] old stuff, and I brought it out and resurrected it,
and it [E] became the intro for this. _ _ _ _ _ _
There's really nice background vocals by, _ _ I think, Kalina [B] Phillips and _ _ Elaine Overholt [C] in [E] particular.
There's [A] probably somebody else that sang backgrounds on this too.
_ _ That was mostly Elaine's voice that you hear doing that really high soprano [B] stuff.
[D] Those really nice harmonies.
[A] _ _ _ _ _ [E] _
_ And this [Gb] is the sort of typical thing where I would bring a song down to band rehearsal,
[Gbm] and [A] the guys would say, Rick, they're like folk songs, they're like Neil Young.
[B] And I would say, no, no, like it'll start like that, _ but it's going to pick up,
and then the [A] energy will pick up and [E] stuff. _
_ _ _ [Bb] This was about [E] 1979.
_ Here's the power chords now. _ _ _
_ _ _ _ _ _ _ [B]
I liked the drums [A] on this.
Gil Moore [C] hated them.
He liked drums to be big and [A] ambient, and I liked them when they were much [E] more tighter and controlled,
[Bbm] but he didn't like it.
He said it sounded like he was [Em] playing on _ pie [A] plates [G] or, I can't remember, wallets or something.
He [A] didn't like it.
I'm a pretty face.
I'm a chance to lose yourself in the end _ state.
_ [E] _
I love _ _ your dreams.
I love _ you.
This was a kind of a_
over the years, you write something and then you realize later,
oh, it's kind of hard to sing.
There's a lot of [B] Eams and Dreams.
There's a lot of [D] long E vowels to [E] hold.
_ You're holding a high E kind of vowel sound.
It's not very [D] attractive.
It's much better if it's a [A] big open vowel, like an A [E] or an O.
_ _ _ [A] _
When [E] I perform this song live now, [A] this verse I put after the bridge.
_ [Bm] And if I had to do it again, [Bb] if I could go back, I would rearrange the structure of this.
[E] _ _ _ But it's relatively conventional.
You've got an [A] intro and then you've got two [Bb] verses and two [E] choruses before the bridge comes.
And then we have the disco breakdown.
I'm looking forward to that.
I hope you folks [Gbm] are too. _ _
[A] _ _ _ _ [E] _ _ _ _
[Bm] _ _ [E] _ _ _ _ [B] _ _
_ [A] _ _ _ [E] _ _ _ _
_ _ _ _ Those are nice licks.
That's probably my Framus Ackerman guitar lick. _ _ _ _
_ _ _ _ _ Here comes the bridge.
Half time.
[B] _ _ _ _ _
_ _ [Em] Steve Cropper licks there.
[G] _ _
If you [A] _ grew _ _ _
_ [E] _ _ up in Toronto, there was a lot of influence of R [A]&B bands _ in the 60s.
[E] Donny Triano and all that kind of stuff.
So [A] Steve Cropper was the guy from Green Onions kind of guy.
_ [B] A lot of guitar players playing tellies.
Those were the kind of licks that you learned growing up. _ _ _ _ _
_ I really like this.
I like what Gil did.
Phil Wise coming to this.
_ _ So I had written all of this out.
[D] This whole structure [B] of this bridge section. _ _
[C] The feedback of the guitars.
I [B] knew I wanted that B note to be sustaining for this [A] amount of time.
And here's the disco.
_ _ [E] _ _ _
So I did this with Mike Jones in the small room at Sounds Interchange.
I probably spent a better part of a day on this. _
And these are wire choirs.
People have different [D] names for them.
Some people call them guitarmenies.
[E] But it's like you just do track after track after track and you build [C] it up.
And the engineer Mike Jones had done these with [Bm] the guy from the Moody Blues, Justin Hayward.
And [E] so you can hear how these layers [C] of [Em] melody are being added.
There's probably [E] now _
[C] 24 tracks of guitar [E] or something. _ _ _ _
_ [D] _ [A] And it's just three chords but they're expanding.
_ _ [E] _ And now we're back to the song again.
But I always like that breakdown.
But it started with disco.
And a little side story about that.
_ The room [Bm] that I did it in, Rod Stewart [E] was recording in that place.
And he was doing vocals at night and then we were doing guitars during the day.
And I came in one day and it was all a wood kind of place.
[C] And Rod Stewart in Sharpie had [E] written on the wood all of these prison walls that encase me.
Rod Stewart.
And the [Cm] building's been torn down now.
I wonder what [A] they did with that piece of wood.
Anyhow, [B] we're at the end and it faded.
Thanks [C] a lot.
See you later.
_ [E] _ _ _ [Gbm] _ _ _ _ [Em] _ _ [C] _ _ _ [E] _ _
_ _ _ [A] _ _ [C] _ _ [Em] _
_ _ _ _ [B] _ _ _ _
_ _ _ _ _ _ _ _