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Trav el ing in a (A)fried out com bie
on a hip pie trail, head full of zom bie.
I met a strange la dy; she made me ner (G)vous.
She took me in and gave me break fast.
And she (A)said, “Do you come from a (A)land down un der?”
Where wom en glow and men plun (Bm)der?
Can’t you hear, can’t you (A)hear the thun der?
You (D)bet ter run, you (A)bet ter take cov er.”
Buy ing bread from a (A)man in Brus sels;
he (A)was a six foot four and full of mus cles.
I said, “Do you (A)speak a my lan guage?” (A)tempt me
(Bm)He just smiled and (A)gave me a veg e mite sand wich.
And (A)he said, “I you come from a land down un der
where beer does flow and men chun (Bm)der.
Can’t you hear, can’t you (A)hear the thun der?
You (D)bet ter run, you (A)bet ter take cov er.”
“Do you come from a (A)land down un der?
Where wom en glow and men plun (Bm)der?
Can’t you hear, can’t you (A)hear the thun der?
You (D)bet ter run, you (A)bet ter take cov er.”
“Do you come from a (A)land down un der?
Where wom en glow and men plun (Bm)der?
Can’t you hear, can’t you (A)hear the thun der?
You (D)bet ter run, you (A)bet ter take cov er.”
This page shows “Down Under” by Men At Work 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 D at 105 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to lock in your oompah bass pattern — your left hand will alternate between a low root note and a higher chord tone on each beat, which gives the song that bouncy, playful drive at 105 BPM. You're working with five chords (Bm, A, G, D, and C), and the trickiest transition is moving from G to C since C sits outside the key of D and your fingers won't fall where they expect. Practice that switch slowly, hands separate, until the reach feels automatic. Once your left hand's oompah groove is steady, bring your right hand in at half tempo and gradually speed up. Watch for the temptation to rush — the rhythm has a laid-back swagger that disappears if you push ahead of the beat. Nail this one and you'll have real confidence handling bass patterns that keep a steady pocket underneath changing chords.