Chords for Behind The Vinyl: "Somebody Somewhere" with Mark Holmes from Platinum Blonde

Tempo:
137.3 bpm
Chords used:

C#

F#

D#

A#m

E

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Behind The Vinyl: "Somebody Somewhere" with Mark Holmes from Platinum Blonde chords
Start Jamming...
[C#] Anyway, yeah, [D#] what
[C#] can I say about Somebody Somewhere?
It's a song that went
through [F#] also a [A#m] lot of changes in the [A#] production style.
We weren't [G#] exactly sure
how we're [F#] gonna do it.
[C#] I remember I [F#m] was, I really liked Keith, [C#] Keith Forsey,
[Fm] Keith Forsey I think, yes, [A#m] his production style with [D#m] [D#] Billy Idol and
[C#] Encyclic Furs.
[F#]
So we wanted to have a saxophone somewhere.
[D#] Everybody had a
saxophone at that time.
We fell into it.
[F#] It was almost like, oh I need that,
you know, [D#m] jacket with those padded shoulders because [A#] everybody's got one and I
want one sort of [F#] thing, you know.
This [C#] really took us in a new direction of
music.
I mean, we went from a three-piece band to [A#m] adding Kenny and then all of a
sudden adding more instruments [C#] and having them sort of featured.
Anyway, the
late Earl Seymour played [E] saxophone in this [A#m] and it was interesting.
It's nice to [E] go in the studio [C#] late at night and have a few drinks.
It's like
being out with the lads.
It was just [D#] such an amazing thing and you've got people
dropping [F#] in and listening as we're making a [D#] record and nice girls hanging
about every now and then if we [F#] were lucky.
We didn't really attract the girls
that [C#] then so much.
I jest.
And there was this place across the street from
Metalwork Studios, [G#] silliest name, [C#] I can't even remember what it was.
It's just one of
those, I can't remember.
But anyway, we'd [D#] always be looking [C#] forward to the
break and we'd go over there, have a few drinks and come back and make
records.
And this one here was amazing.
He had a glass of scotch, which
was eventually his downfall, [A#m] a [D#] cigarette which he could smoke inside back then.
[F#] And he played this wonderful, wonderful solo.
[D#]
And the [F#] video we did [F#m] in
Los Angeles, [C#] while making the video, Alan Hale Jr.
was just kind [Fm] of walking by and
said [C#] hi, the skipper from Gilligan's Island.
And he was in the [A#m] video with us.
It was amazing.
[C#] I said, this is great.
And of course they wanted the Hollywood sign
and all that kind of stuff.
And [F#]
it was nice [D#] being there.
I think it was, I think it
might have been my first time [F#] in Hollywood.
I did this and then I ended [D#] up
dating Nancy and living there for [F#] quite a while.
[C#] But it was interesting because [F#] the
video [C#] itself, like most of our videos, weren't really [F#] our idea.
[C#] We wanted to do
something else and never went because we were just kids.
Nobody ever took us
seriously.
They liked the songs, they liked the content, but for some reason they
wouldn't allow us to have too much input in the [A#m] videos.
[C#]
So [D#] I think [C#] the video lacked
a little bit of direction, but it was really cool seeing, I mean, the producers.
I mean, they did so many great videos back then.
And it was nice to have that
kind of a production.
[D#] I mean, we spent more on the next record as far as, you
know, when we did Contact.
That was just an insane video with hundreds of extras.
[C#]
It may be sometimes, it may sometimes take away [G] from the actual song itself,
but this one was [C#] nice.
I mean, it felt like we were making a Hollywood movie and I've
always adored Hollywood, [F] which, [E] you know, Platinum Blonde, I mean, it's a Hollywood
name really when you think [F#] about it.
It's a Hollywood film.
And [G] it sort of brought
us full circle, maybe, even though we never really circled around that end very
often.
[B] And that's the end of side one.
Very sad to see that side end.
[E] [D] [F#m] [Em]
[G] [E]
[A] [G]
[B]
[A] [G]
Key:  
C#
12341114
F#
134211112
D#
12341116
A#m
13421111
E
2311
C#
12341114
F#
134211112
D#
12341116
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_ _ _ _ _ _ _ _
_ _ _ _ [C#] Anyway, _ _ yeah, _ [D#] _ what _ _
[C#] can I say about Somebody Somewhere?
It's a song that went
through [F#] also a [A#m] lot of changes in the [A#] production style.
We weren't [G#] exactly sure
how we're [F#] gonna do it.
[C#] _ I remember I [F#m] was, I really liked Keith, _ [C#] Keith Forsey, _
[Fm] Keith Forsey I think, yes, _ [A#m] his production style with [D#m] _ [D#] Billy Idol and
[C#] _ Encyclic Furs.
_ _ _ [F#]
So we wanted to have a saxophone somewhere.
[D#] Everybody had a
saxophone at that time.
We fell into it.
[F#] It was almost like, oh I need that,
you know, [D#m] jacket with those padded shoulders because [A#] everybody's got one and I
want one sort of [F#] thing, you know. _ _
_ _ _ This [C#] really took us in a new direction of
music.
I mean, we went from a three-piece band to [A#m] adding Kenny and then all of a
sudden adding more instruments [C#] and _ having them sort of featured.
Anyway, the
late Earl Seymour played _ [E] saxophone in this [A#m] and _ it was _ interesting.
It's nice to [E] go in the studio [C#] late at night and have a few drinks.
It's like
being out with the lads.
It was just [D#] such an amazing thing and you've got people
dropping [F#] in and listening as we're making a [D#] record and _ nice girls hanging
about every now and then if we [F#] were lucky. _ _
We didn't really attract the girls
that [C#] then so much. _
_ I jest. _ _ _ _
_ _ _ _ And there was this place across the street from
Metalwork Studios, _ [G#] silliest name, [C#] I can't even remember what it was.
It's just one of
those, _ _ _ _ _ _ I can't remember.
But anyway, _ _ _ _ we'd [D#] always be looking [C#] forward to the
break and we'd go over there, have a few drinks and come back and _ _ _ make
records.
And this one here was amazing.
_ He had a glass of scotch, which
was eventually _ his downfall, _ _ [A#m] a _ [D#] cigarette which he could smoke inside back then.
_ [F#] And he played this wonderful, wonderful solo.
[D#] _ _ _ _ _ _
_ And the _ [F#] video we did [F#m] in
Los Angeles, [C#] _ _ while making the video, _ _ _ Alan Hale Jr.
was just kind [Fm] of walking by and
said [C#] hi, the skipper from Gilligan's Island. _ _
_ And he was in the [A#m] video with us. _
It was amazing.
[C#] I said, this is great.
And of course they wanted the Hollywood sign
and all that kind of stuff.
And _ [F#] _
_ _ it was nice [D#] being there.
I think it was, _ I think it
might have been my first time [F#] in Hollywood.
I did this and then I ended _ [D#] up
dating Nancy and living there for [F#] quite a while. _ _
_ _ _ _ [C#] But _ _ _ it was _ _ interesting because [F#] the
video [C#] itself, _ like most of our videos, weren't really [F#] our idea.
[C#] We wanted to do
something else and never went because we were just kids.
Nobody ever took us
seriously.
They liked the songs, they liked the content, but for some reason they
wouldn't allow us to have too much input in the [A#m] videos.
_ _ [C#] _ _
_ So [D#] I think [C#] the video lacked
a little bit of direction, but it was really cool seeing, I mean, _ the producers.
I mean, they did so many great videos back then.
And it was nice to have that
kind of a production.
[D#] I mean, we spent more on the next record as far as, you
know, when we did Contact.
That was just an insane video with _ hundreds of extras.
_ [C#] _ _ _
_ _ _ _ _ It may be sometimes, it may sometimes take away [G] from the actual song itself,
but this one was [C#] nice.
I mean, it felt like we were making a Hollywood movie and I've
always adored Hollywood, [F] which, [E] you know, Platinum Blonde, I mean, it's a Hollywood
name really when you think [F#] about it.
It's a Hollywood film.
And [G] it sort of brought
us _ full circle, maybe, even though we never really circled around that end very
often.
[B] _ _ And that's the end of side one. _
Very sad to see that side end.
_ [E] _ _ [D] _ _ [F#m] _ _ _ [Em] _ _ _
_ [G] _ _ _ _ [E] _ _ _
_ [A] _ _ _ _ [G] _ _ _
_ _ _ _ [B] _ _ _ _
_ [A] _ _ _ _ [G] _ _ _