(Dm)Rev vin’ up your en gine; lis ten to her howl in’ roar.
She got you Met al un der ten sion beg gin’ you to touch and go.
(C)High way to the (Dm)dan ger zone;
I’ll take you (C)right in to the (Bb)dan ger zone.
(Dm)Head in’ in the twi light spread in’ out her wings to night.
She got The jump in’ off the deck, and shov in’ in to o ver drive.
(C)High way to the (Dm)dan ger zone;
I’ll take you (C)right in to the (Bb)dan ger zone.
(Bb)right in (C)to the (Bb)dan ger zone.
You’ll nev er (Gm)say hel lo to you un til you get it on the (F)red line o ver load.
You’ll nev er (Bbsus2)know what you can do un til you get it up as (C)high as you can go.
(C)High way to the (Dm)dan ger zone;
gon na take you (C)right in to the (Dm)dan ger zone.
(Bbsus2)High way to the (Gm)dan ger zone;
(C)right in to
the (Dm)dan ger zone.
(C)High way to the (Dm)dan ger zone;
gon na take you (C)right in to the (Dm)dan ger zone.
(Bbsus2)High way to the (Gm)dan ger zone;
(C)right in to
the (Dm)dan ger zone.
This page shows “Danger Zone” by Kenny Loggins 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 140 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for driving, rhythmic confidence in your left hand — that oompah bass pattern needs to stay rock-steady at 140 BPM, so start slow (try 90–100 BPM) and lock in the bass-chord, bass-chord bounce before you add the right hand. Your six chords sit nicely in B♭ major, but watch the move between B♭ and B♭sus2 — it's just lifting one finger, yet at tempo it's easy to rush and blur the two together, so isolate that switch until it feels automatic. The Dm to C transition can also catch you off guard since it moves quickly and sits a little differently under the hand; loop those two bars until the fingering is second nature. Once both hands are comfortable separately, bring them together at a reduced tempo and bump it up in small increments — don't chase full speed until the groove feels effortless. Pedal sparingly here; too much sustain will muddy that punchy pop-rock energy, so keep it dry or use quick half-pedals at most. This is the piece that'll really solidify your ability to hold a steady oompah groove under a melody — once you own that skill, a huge number of pop and rock songs will feel easier.