When I’m feel in’ (G)blue, to, all I have to (D)do to is take a look at (G)you, to, then I’m not so blue.
When you’re close to (Am)me,
I can feel your (Bm7)heart beat, I can hear you (C)breath ing in my (D)ear.
Would n’t you a (G)gree,
ba by, you and (D)me got a groov y kind of (G)love.
An y time you (G)blue, to, you can turn me (D)do to is an y thing you (G)you, to, an y time at all.
When I kiss your (Am)lips,
oo, I start to (Bm7)shiv er, can’t con trol the (C)quiv er ing in (D)side.
Would n’t you a (G)gree,
ba by, you and (D)me got a groov y kind of (G)love.
An y time you (G)love.
Oh.
When I’m feel in’ (A)blue,
all I got to (E)do is take a look at (A)you,
then I’m not so blue.
When you’re in my (Bm7)arms,
noth ing seems to (C#m7)mat ter, my whole world could (D)shat ter, I don’t (E)care.
Would n’t you a (A)gree,
ba by, you and (E)me got a groov y kind of (A)love.
We got a groov y kind of love.
We got a groov y kind of (D)love.
Whoa.
We got a (E7)groov y kind of (A)love.
This page shows “A Groovy Kind Of Love” by Phil Collins in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of G at 75 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to practice smooth chord transitions at a slow, forgiving tempo. Your left hand follows a pedal bass pattern — sustaining or repeating a single low note while your right hand moves through chord shapes above it — so spend your first few run-throughs hands-separate to lock in each part cleanly. Most chords sit naturally in G major, but the C#m7 and E7 will feel unexpected under your fingers since they borrow notes outside the key. Loop those specific transitions until the hand shapes become automatic — that's where most students stumble. At 75 BPM you have time to place every chord deliberately, but that slow pace also exposes any hesitation between changes, so focus on moving to the next shape early rather than rushing at the last moment. Use gentle sustain pedal to connect the sound, lifting briefly on each chord change to avoid muddiness. This is the piece that teaches your hands to stay relaxed and confident through unexpected chromatic chords — a skill you'll use constantly from here on.