SOMEWHERE . . .

Of all the songs on "She Likes To Play" (The Surf Whammys), this is the most spontaneous. Everything you hear was composed, performed, and recorded precisely one time on the first take, with the only exception being the chords, which were composed in advance.

At the start of the song, the chords are played on a KORG® Triton® Studio music workstation, which was used to emulate the sound of a grand piano. The rhythm guitar chords, which were played on a Fender® Stratocaster® guitar through an IK Multimedia Amplitube® 2 plug-in set to emulate a heavily-distorted Vox® AC30 amplifier, begin at the obvious point in the third verse.

The orchestration for "Somewhere" was done on a KORG Triton Studio music workstation, and it is the most elaborate orchestration on the album. While perhaps not rising to the level of Phil Spector's "Wall Of Sound", it certainly might be somewhere in the middle of a "Door Of Sound" or a "Room Of Sound".

The melodic counterpoint bass guitar part for "Somewhere" was composed, played, and recorded after the rhythm section, most of the orchestral instruments, and the stereo vocal tracks were recorded, since this is one of the best ways to ensure that all the instruments are synchronized to the melody and the vocal performance. There are a few flavors reminiscent of Paul McCartney's melodic bass guitar counterpoint on "Rain" (Beatles), which might be the most melodic of McCartney's bass guitar compositions.

[1st Verse]

Red birds and blue birds fly upward in space,
Converging and merging in a paradoxical place,
Somewhere on top of the world,
Where troubles are vanquished by grace . . .

[2nd Verse]

Somewhere on top of the world,
Nowhere that you can describe,
There you'll find peace,
Where red birds and blue birds can fly . . .

Somewhere on top of the world . . .

[3rd Verse]

Rocking and rolling, walking and strolling,
Jumping and skipping all day as you play,
Somewhere on top of the world,
All your troubles fall away . . .

[Repeat 1st Verse]

Somewhere on top of the world . . .