Chords for Yes 1991 Documentary P.3. Owner Of A Lonely Heart

I was _ still _ _ wondering how to further the career of V.S.
And they suggested we try out a guitarist called Trevor Rabin.
Strangely enough, two years prior to that, I'd been given a tape,
strangely enough again, by Brian Lane, of _ _ Trevor Rabin.
I get a call from this guy Richard Steinberg, who was at Atlantic at the time.
_ _ _ He wanted me to join these two bands.
I said, which bands?
He said, well Keith Emerson's getting a band together with Jack Bruce.
_ _ _ Jack's worked with you.
Jack Bruce played on my third solo album.
And so he said, yeah, we should get him, whatever.
_ _ And then the other band is Chris Squire and Alan White.
I'm looking for someone, a singer-songwriter, guitar player. _ _ _
And I didn't speak to Keith, but I spoke to Chris.
_ _ _ And I said, what do you want to do?
And he said, well, I've heard your tapes and I'm impressed.
I'd love to get together and see what happens.
Alan and I met him, we sort of just immediately got on very well.
In fact, we went to my house and played down in my studio.
And it was probably the worst _ jam anyone's ever had.
But it didn't seem to matter because we already knew we liked each other.
It sounded awful, but it kind of felt good.
It was kind of strange because the sound was weird.
But I felt there was definitely a communication.
They'd just finished working with Jimmy Page.
And I started working on some of the tracks they were doing with Jimmy. _ _
And redid some of the guitars and stuff.
And it started sounding pretty good.
It had always been a shame in a way that _ Tony's departure from the band
hadn't really been the most _ justified fact of life in many ways.
So I got in touch with him and asked him, do you want to _ _ maybe come back?
I've got a new guitarist. _
Do you want to come _ and have a go at this other band?
Which was going under the working title of Cinema.
We had really no _ _ _ aspirations of putting Yes back together.
_ _ _ Trevor was very inspirational.
And it was _ _ really a playing thing.
I think we played for nine months.
Trevor had a lot of material.
And Chris had material.
And we had things we worked on together.
Atlantic came down _ _ and didn't like it.
They had some doubts about whether we should have a separate singer.
But we wanted to carry on like that.
Chris had _ a studio in London.
I said, let's go into your studio and just put some of these songs down. _ _
And then we can shop them around.
_ And we did that.
And Atlantic heard the tapes and loved the tapes.
And the deal went _ _ skyrocketing.
And it was enough to enable us to do an album.
We started recording the music with Trevor Horn.
Spent about a year, _ _ nine months, _ doing the album, finishing the album.
And once again, John came to town.
John wasn't doing anything specific.
And he'd called Chris about three months before.
And he said, why don't we play to him?
Came to the studio, listened to the material, and _ liked it.
And _ _ decided he wanted to sing on it.
He came down, he sang on a couple of tracks.
And purely by just putting the faders up and listening to what was going on,
it was like the 80s version of a modern Yes with John.
So there really wasn't anything we could call the band from that point on.
But Yes again. _ _ _ _ _ _ _
[D] _ _ _ _ _ _ [C] _ _
[D] _ _ [A] _ _ _ _ _ _
[D] _ _ _ _ _ _ [B] _ [D] _
_ _ [G] _ _ _ [A] _ _ _
[D] _ _ _ _ _ _ [B] _ _
[D] _ _ _ _ _ [A] Move yourself.
[D] _ You [G] always live your life.
[B] Never [D] thinking about [G] the future.
_ _ [A] Prove yourself.
[D] _ You are the move you make.
[C] Take your chances, [D] win or lose.
[G] _ _ _ [A] [B] See yourself. _
[D] _ You are the specific [A] thing.
You give [D] _ _ _ [G] _ _ [A] _ _ _
[D] yourself for every move you [A] make.
For [D] the story.
[G] _ _ _ [A] [B] I'm a [D] lonely heart.
[G] _ _ [A] _ I'm a [D] lonely heart.
[G] _ _ [A] _ _ _
[D] _ What [G] _ [Am] happened, _ _
[D] _ _ _ _ [G#] I was doing a gig. _
_ _ [F#] _ And this went faulty. _
[C#m] _ And I just got really, I got very upset.
_ [B] So at the end of the show, [D#] it was a very important show.
I mean, I was only 18.
I took the [C#m] guitar and I thought, shit, I'm just going to throw it.
[C#] Like that.
Hoping [F] that _ [C#m] _ _ who [F#m] was doing his job at the time would catch it.
_ [G#m] He didn't catch it.
_ [C#m] You can see where it snapped [F#m] along there.
_ And I tried [G#m] 22 different necks.
_ Couldn't come up with one. _ _
So I got a guy, found a guy who put [C#m] that in and fixed it.
Oops, sorry about that.
And he [B] fixed it.
And it's been great.
There's [C#m] no neck like this.
It's the best [F#m] neck on earth.
[C#m] And then of course _ my [F#m] airbrush _ stuff and [G#m] everything was done [F#m] during the, [C#m] _ what [F#] times could we [D#] call it?
The mad times.
[E] And this guitar [F#m] went into the army with me.
[A] Spent a year in the army with me.
This [B] guitar's got a lot of stories.
[A#] _
_ _ _ _ _ _ _ _
[C] _ _ [D] _ _ _ _ [A] _ _
[C] _ [D] _ _ _ [G] _ _ _ _
_ _ _ _ [Am] _ _ _ _
[D] _ _ _ _ [Am] _ _ [C] _ _
[D] _ _ [A] _ _ _ _ [C] _ [D] _
_ [G] _ _ _ _ [E] _ _ _
_ _ _ _ _ _ _ _
_ _ _ Move yourself. _
You are the movie maker.
Take your chance, [D] you know you [E] deserve.
_ See yourself.
_ Give your free will a chance.
You and you, that's the only way.
_ Shake, shake yourself.
You're every movie maker.
So the story goes.
_ [Am] Hold her up a lonely [A] [G] heart. _
[Am] Hold her up a [D] lonely heart.
[G] Nothing looks better than [Am] a hold her up a [D] broken heart.
[G] _ _
[Am] Hold her up a lonely heart. _ _ _
_ _ _ _ [Bm] Say you don't want a [D] chance in.
_ [A] _ You've [D] been hurt so many [E] times.
_ _ _ [C] _ [D] _
You're the angel [C] in the sky.
[C] I'm dancing [D] on a lonely [G] way.
[A] If you [D] lose yourself, know [G] nothing's gonna save [A] you.
There's no real [D] reason to be [G] lonely.
_ [Am] See [C] yourself.
[D] _ [G] Give your free will a [A] chance.
You've got [D] to want to [Gm] succeed.
_ [A] Hold her [Am] up a lonely [D] heart.
_ [G] _
_ [Am] Hold her up a [A] lonely heart.
[G] Much better than [Am] a hold her up a broken heart.
[D] _ [G] _ _
[Am] Hold her up a [A] lonely heart.
_ _ [Am] _
_ [G] _ _ _ [A] _ _ _ [Am]
Hold [G] her up a lonely heart.
_ _ [Am] _ _
[G] _ _ [A] _ You're a musician.
[Am] Hold [Em] her up a lonely heart.
_ _ _ [C] _ _ _
[G] _ [A] You can't even get a [Am] job.
_ [G] _
_ _ _ _ _ _ _ _
_ _ [D#] _ _ _ [G#] _ _ _
It is [F] _ _ _ _
[Am] _ _ _ [D] _ _ _ _ [Am] _
_ _ _ [D] _ _ _ _ _
[B] _ _ [D] _ _ _ [G] _ _ _
[C] _ _ [D] _ not a [Am] war.
[C] _
_ [D] _ _ _ _ [Am] _ _ _
[D] _ _ [G] _ _ [A] _ _ _ _
_ _ _ _ _ _ [C] _ _
[D] _ _ _ _ [E] _ _ _ _
[D] _ _ [E] _ _ _ _ _ _
[D] _ _ [C] _ _ [A] _ _ _ _
[D] _ [E] _ _ _ _ [A] _ Primarily I think [F#] John McLaughlin's been a major influence.
Funnily enough, some time back he was doing [B] a Shakti tour.
And some [E] people had told him about me or something.
I'd just moved to L [E].A.
And I can't [Bm] remember exactly the story.
The management [C] phoned up because I think it [E] was
Aldo Miello couldn't make it at the time or something.
[C#] So there was a_
They asked if [Em] I would be interested in doing it.
And I said, [Bm] well, of course.
You know, it was a silly question.
But I couldn't do it [E] [N] contractually.
I wasn't