Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Tom Jones - Sex Bomb - Chord
Key B major – G# minor Chords G#m, Cm, C#m, D#, G, F#, Fm Easy key C
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Key: B | Abm | G#m
Capo: 0
G#m C#m
Spy on me baby use satellite
G#m D#
Infrared to see me move through the night
G#m C#m
Aim gonna fire shoot me right
G#m D# G#m
Aim gonna like the way you fight (and I love the way you fight)
G#m C#m
Now you found the secret code I use
G#m D#
to wash away my lonely blues (well)
G#m C#m
So I can't deny or lie cause you're
G#m D# G#m
the only one to make me fly
G#m C#m
G#m D#
You can give it to me when I need to come along (give it to me)
G#m C#m
Sexbomb sexbomb you're my sexbomb
G#m D# G#m
And baby you can turn me on (Baby you can turn me on)
You know what you're doing to me don't you. ha ha I know you do
G#m C#m
No don't get me wrong ain't gonna do you no harm
G#m D#
This bomb's made for lovin' and you can shoot it far
G#m C#m
I'm your main target come and help me ignite
G#m D# G#m
Love struck holding you tight (hold me tight darlin')
G#m C#m
Make me explode although you know
G#m D#
the route to go to sex me slow (slow)
G#m C#m
And yes I must react to claims of those
G#m D# G#m
who say that you are not all that (huh, huh, huh)
G#m C#m
Sexbomb sexbomb you're a sexbomb (uh, huh)
G#m D#
You can give it to me when I need to come along (give it to me)
G#m C#m
Sexbomb sexbomb you're my sexbomb
G#m D# G#m
And baby you can turn me on (turn me on darlin')
G#m C#m
Sexbomb sexbomb you're a sexbomb
G#m D#
You can give it to me when I need to come along
G#m C#m
Sexbomb sexbomb you're my sexbomb
G#m D# G#m
And baby you can turn me on
G#m F# G#m
You can give me more and more counting up the score
F# G#m
You can turn me upside down inside out
F# G#m
You can make me feel the real deal)
G#m
I can give it to you any time because you're mine
G#m C#m G#m D# G#m C#m G#m D# G#m
Ouch, sexbomb, baby
Cm Fm
Sexbomb sexbomb you're my sexbomb
Cm G
And you can give it to me when I need to be turned on
Cm Fm
Sexbomb sexbomb you're my sexbomb
Cm G Cm
And baby you can turn me on (turn me on)
Cm G Cm
And baby you can turn me on (turn me on)
Cm G Cm
Baby you can turn me on (turn me on)
Cm G Cm
Ooh baby you can turn me on (turn me on)
Cm G Cm
Baby you can turn me on
Cm G Cm
Baby you can turn me on
Cm G Cm
Baby you can turn me on
Cm G Cm
Well baby you can turn me on
End of song Play again?
Tom Jones - Sex Bomb Tabs
NotesX
Harmony analysis
Tom Jones – Sex Bomb: key and chord analysis
The song opens on G#m and ends on Cm. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
- #7 = G (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G# minor side because it opens on G#m, G#m is heard 45 times while B never appears and the major V chord points straight at G#m. That is an interpretation, not a rule — the same chords are just as valid seen from B major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to B or to G#m; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| bii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 19× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | 16× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | 16× |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| #iv | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 3× |
| bVI | G | Borrowed from the parallel minorborrowed chord | G · B · D | 9× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 45× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 45× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| #iii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 19× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | 16× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | 16× |
| VI | E | Submediant — warm colour | E · G# · B | — |
| #vi | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 3× |
| #VII | G | Chromatic colour chordoutside the key | G · B · D | 9× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 7 different chords appear 110 times in total; 3 of them sit naturally inside the shared scale. The major V of G#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from B, the same D# is V/vi, a secondary dominant heading for G#m. G is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D# G#m BV/vi → vi G#mV → iharmonic-minor cadence ×16
- C#m G#m Bii → vi G#miv → iminor plagal ×16
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×3
The move to watch is D# → G#m, heard 16 times. From the G#m side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the B side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- When D# comes, swap the scale's F# for G: that single note is the harmonic-minor sound of the chord.
- On G, follow the chord's notes (G · B · D) rather than the key's scale — it's a borrowed colour.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is G#m; the ear learns where home is within a second. The backbone is G#m, Cm, C#m, D# — vi–bii–ii–V/vi from the B side, i–#iii–iv–V from the G#m side. D# is the interesting twist: in B it is a chromatic chord (V/vi), while in G#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D# → G#m (V/vi → vi in B, V → i in G#m): harmonic-minor cadence — the major V resolves dramatically. The final chord is Cm; the ear comes to rest in B.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Tom Jones - Sex Bomb Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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