My (Dm)ba by’s al ways danc ing and it (F)would n’t be a bad thing, but I don’t get no lov ing, and (Bb)that’s no lie.
We (Dm)spent the night in ’Fris co at (F)ev ’ry kind of dis co.
(Bb7)From that night I kissed my love good (C7sus4)bye.
Don’t blame it on (F)sun shine, don’t blame it on the (F7sus4)moon light, don’t blame it on the (Eb)good times, blame it on the (F)boo gie.
Don’t blame it on (F)sun shine, don’t blame it on the (F7sus4)moon light, don’t blame it on the (Eb)good times, blame it on the (F)boo gie.
(F)I just can’t, (Dm)I just can’t, (Bb)I just can’t con (C7sus4)trol my feet.
(F)I just can’t, (Dm)I just can’t (Bb)I just can’t con (C7sus4)trol my feet.
(F)I just can’t, (Dm)I just can’t, (Bb)I just can’t con (C7sus4)trol my feet.
(F)I just can’t, (Dm)I just can’t (Bb)I just can’t con (C7sus4)trol my feet.
(F)Sun shine, don’t blame it on the (F7sus4)moon light, don’t blame it on the (Eb)good times, blame it on the (F)boo gie.
Don’t blame it on (F)sun shine, don’t blame it on the (F7sus4)moon light, don’t blame it on the (Eb)good times, blame it on the (F)boo gie.
This page shows “Blame It On The Boogie” by The Jacksons 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 Bb at 116 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement is a great way to get comfortable with an oompah bass pattern in your left hand — that steady low-note-then-chord bounce is the engine of the whole groove, so practise it alone at around 80 BPM until it feels automatic before you add the right hand. Your biggest challenge at tempo will be the sus4 chords: moving cleanly between F and Fsus4 or landing Csus4 without hesitation. Drill those transitions in a short loop until your fingers know the shape by feel, not by sight. Watch out for the Bb7 as well — that added flat seventh wants to pull you forward, so lean into the rhythm rather than slowing down to find the note. Once both hands are steady separately, bring them together still below tempo and only speed up when the oompah groove locks in with the melody. This is the piece that'll make playing in B-flat with confidence feel like second nature.