Just take those old rec ords (G)off the shelf.
I’ll sit and lis ten to ’em (C)by y my self.
To day’s ly mu sic ain’t to (D)got the same soul.
I like that old time (G)rock ’n’ roll.
Don’t try to take me to a dis co.
will.
You’ll nev er e ven get me (C)out on the floor.
In ten min utes I’ll be (D)late for the door.
I like that old time (G)rock ’n’ roll.
(CN.C.)Still like that old time (G)rock ’n’ roll.
That kind of mu sic just (C)soothes my soul.
I rem i nisce a bout the (D)days of old
with that old time (G)rock ’n’ roll.
Won’t go to hear ’em play a (G)tan go.
shelf.
I’d rath er hear some blues or (C)by y old soul.
There’s day’s ly mu sic ain’t to (D)get me to go; start play ing old time (G)rock ’n’ roll.
Call me a re lic.
Call me what co.
will.
Say I’m old fash ioned.
Say I’m (C)o ver the hill.
To day’s mu sic ain’t be (D)got the same soul.
I like that old time (G)rock ’n’ roll.
(CN.C.)Still like that old time (G)rock ’n’ roll.
That kind of mu sic just (C)soothes my soul.
I rem i nisce a bout the (D)days of old
with that old time (G)rock ’n’ roll.
Won’t go to hear ’em play a Still like that old time (G)rock ’n’ roll.
That kind of mu sic just (C)soothes my soul.
I rem i nisce a bout the (D)days of old
with that old time (G)rock ’n’ roll.
Still like that old time (G)rock ’n’ roll.
That kind of mu sic just (C)soothes my soul.
I rem i nisce a bout the (D)days of old
with that old time (G)rock ’n’ roll.
Still like that old time (G)rock ’n’ roll.
This page shows “Old Time Rock & Roll” by Bob Seger 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 130 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for your left hand's octave bass pattern — you'll be jumping between G, C, and D octaves at a brisk 130 BPM, so accuracy and relaxation in that hand are everything. Start hands-separate and at about 80 BPM; lock in each octave landing before you even think about adding the right hand melody on top. When you do combine hands, the trickiest moment is usually the move from C up to D, because it comes fast and your left hand has to reposition cleanly while your right hand keeps the rhythm steady. Resist the urge to tense up during those transitions — keep your wrist loose and let your arm guide the jump. Once you're comfortable at tempo, add a little sustain pedal on each chord change to fill out the sound without blurring things together. With just three chords in a classic I–IV–V shape, this is the piece that'll make that progression feel automatic in your hands, and that muscle memory pays off in hundreds of other rock and pop songs.