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(Csus)Ain’t got no re grets.
I (Csus)ain’t los in’ track of which way (G)I’m go in’.
I ain’t (G)gon na dou ble (G6)back, (G)no.
Don’t want a mis (C)play,
put on no (F5)dis play.
An an gel, (Fsus)no, but (G)I know (G6)my way.
I used (Csus)to fol low, yeah, that’s (Csus)true.
But my fol low in’ (G)days are o ver, now I just (G)got ta fol low (G6)through.
(G)And
I re mem ber when my (C)fa ther said,
he said “Son, (F5)life is sim (G)ple, it’s ei ther (Fsus)cher ry red
(G)or (C)mid night (G7)blue.”
(C)Oh.
(C)Mid night (G7)blue,
oh whoa.
(Csus)You were the rest less (C)one (Csus)and you did not care that I was (G)the trou bled boy (Fsus)look in’ for (G)a dou ble (G6)dare.
I (Csus)won’t a pol o gize for the things I’ve (Csus)done and said, but when (G)I win your heart (Fsus)I’m gon na paint it cher ry (G6)red.
I (Csus)don’t wan na talk a bout (C)it.
What you do to (F5)me, I can’t (G)live with out it.
And you (Csus)might think that it’s much too (Csus)soon for us to (F5)go this far,
(G6)in to (G)the (C)mid night (G7)blue.
(C)Oh.
It’s (C)mid night (G7)blue,
oh whoa.
If things could be dif f’rent that ’d be a shame, ’cause I’m the one who can feel the sun right in the pour in’ rain.
I won’t say where and I don’t know when but soon there gon na come a day, ba by, I’ll be back a gain.
Yeah, I’ll be back for you.
You see, I’m (C)sav in’ up my love.
(C)Mid night (G7)blue,
(C)oh.
(C)Mid night (G7)blue,
oh whoa.
This page shows “Midnight Blue” by Lou Gramm 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 C at 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with suspended and extended chords — you'll move between C and Csus4, F and Fsus4, G and G7, so your fingers need to know exactly which single note shifts to make without fumbling. Your left hand follows an oompah bass pattern throughout, alternating between a low root note and a higher chord hit, which gives the piece its steady, peaceful groove at 100 BPM. Start by practicing that left hand alone until it feels automatic, because once you add the right-hand melody over those sus4 and sixth-chord voicings, you don't want to be thinking about both hands at once. The trickiest spots are the quick pivots from F6 to Fsus4 and from G6 into G7 — loop those two-bar transitions slowly before speeding up. Once these shapes sit comfortably under your hands, you'll find that sus4 resolutions start feeling intuitive in practically every pop song you touch next.