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Sting: The very best of Sting & The Police

 A l b u m   D e t a i l s


Label: A&M Records
Released: 1997
Time:
 75:48
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.sting.com
Appears with: The Police
Purchase date: 1997.11.29
Price in €: 14,99



 S o n g s ,   T r a c k s


[1] Message in a Bottle (Sting) - 4:49
[2] Can't Stand Losing You (Sting) - 2:58
[3] Englishman in New York (Sting) - 4:25
[4] Every Breath You Take (Sting) - 4:13
[5] Seven Days (Sting) - 4:39
[6] Walking on the Moon (Sting) - 4:59
[7] Fields of Gold (Sting) - 3:40
[8] Fragile (Sting) - 3:54
[9] Every Little Thing She Does Is Magic (Sting) - 4:20
[10] De do do do de da da da (Sting) - 4:09
[11] If You Love Somebody Set Them Free (Sting) - 4:14
[12] Let Your Soul Be Your Pilot [edit] (Sting) - 4:29
[13] Russians (Prokofiev/Sting) - 3:57
[14] If I Ever Lose My Faith in You (Sting) - 4:29
[15] When We Dance [edit] (Sting) - 4:17
[16] Don't Stand So Close to Me (Sting) - 4:03
[17] Roxanne (Sting) - 3:12
[18] Roxanne '97 [Puff Daddy Remix] (Sting) - 4:33

 A r t i s t s ,   P e r s o n n e l


GORDON MATTHEW "Sting" SUMNER - Arranger, Producer, Main Performer, Vocals, Bass
ANDY SUMMERS - Guitars
STEVE COPELAND - Rhythm Guitar

FULL FORCE - Backing Vocals

SEAN "Puffy" COMBS - Producer, Remixing
NEIL DORFSMAN - Producer, Mixing
NIGEL GRAY - Producer, Engineer
HUGH PADGHAM - Producer, Engineer, Mixing
STEVIE J. - Producer
J. DUB - Producer

CHARLES ALEXANDER - Engineer, Mixing
HERB POWERS - Mastering
JIM SCOTT - Engineer
PETER SMITH - Producer, Engineer
SIMON OSBORNE - Engineer
CHRIS GRAY - Engineer
WILLIAM CLAXTON - Photography
DAVE COLLINS - Mastering, Remastering
CHUCK BEESON - Art Direction, Design
JOE MADDERN - Sequencing
DUANE MICHAELS - Photography

 C o m m e n t s ,   N o t e s


In the summer of 1997, Puff Daddy took "I'll Be Missing You," a sappy reworking of "Every Breath You Take," to the top of the charts across the world; it became the biggest rap single in history. The success of "I'll Be Missing You" had the bizarre byproduct of making the Police hip again among both rock and rap artists. So, what better to celebrate the occasion -- as well as the 20th anniversary of the Police's first album -- than the release of another compilation, this time combining highlights from the Police and Sting's solo career? The Very Best of Sting & the Police does just that, combining 14 songs -- not necessarily his biggest hits, either -- in a seemingly random chronological order. The Police cuts are generally classics ("Message in a Bottle," "Can't Stand Losing You," "Every Breath You Take," "Walking on the Moon," "Every Little Thing She Does Is Magic," "Don't Stand So Close to Me," "Roxanne"), but there are several big hits left off, which should probably be expected for an integrated collection like this. What does come as a surprise is the solo material. There's plenty of good music on his records, but the selection here emphasizes his MOR side, relying on songs like "Fields of Gold," "Englishman in New York," "Let Your Soul Be Your Pilot," "Russians" and "If I Ever Lose My Faith In You," instead of some of his more ambitious material. Obviously, that selection is designed to snag a mature, thirty-something audience, which makes the inclusion of Puff Daddy's remix of "Roxanne" (included in both its original and remixed incarnations) a little puzzling, since that strives to appeal to a younger audience. Then again, you don't really expect coherence from a collection that simply wants to cash in at the right moment. While it's hard to ignore the fact that this disc isn't necessary, the music itself is good, and certain casual fans may find this useful, but anyone following Sting or the Police for any length of time will find The Very Best Of... superfluous.

Stephen Thomas Erlewine - All Music Guide



The Police

Nominally, the Police were punk rock, but that's only in the loosest sense of the term. The trio's nervous, reggae-injected pop-rock was punky, but it wasn't necessarily punk. All three members were considerably more technically proficient than the average punk or New Wave band. Andy Summers had a precise guitar attack that created dense, interlocking waves of sounds and effects. Stewart Copeland could play polyrhythms effortlessly. And Sting, with his high, keening voice, was capable of constructing infectiously catchy pop songs. While they weren't punk, the Police certainly demonstrated that the punk spirit could have a future in pop music. As their career progressed, the Police grew considerably more adventurous, experimenting with jazz and various world musics. All the while, the band's tight delivery and mastery of the pop single kept their audience increasing and by 1983, they were the most popular rock & roll band in the world. Though they were at the height of their fame, internal tensions caused the band to splinter apart in 1984, with Sting picking up the majority of the band's audience to become an international superstar.

Stewart Copeland and Sting (b. Gordon Sumner) formed the Police in 1977. Prior to the band's formation, Copeland, the son of a CIA agent, had attended college in California, before he moved to England and joined the progressive rock band Curved Air. Sting was a teacher and a ditch digger that played in jazz-rock bands, including Last Exit, on the side. The two musicians met at a local jazz club and decided to form a progressive pop band with guitarist Henry Padovani. For the first few months, the group played local London pubs. Soon, they were hired to appear as a bleached-blonde punk band in a chewing gum commercial. While the commercial provided exposure, it drew the scorn of genuine punkers. Late in 1977, the band released their first single, "Fall Out," on I.R.S., an independent label Stewart Copeland founded with his brother Miles, who was also the manager of the Police. The single was a sizeable hit for an independent release, selling about 70,000 copies.

Padovani was replaced by Andy Summers, a veteran of the British Invasion, following the release of "Fall Out." Summers had previous played with Eric Burdon's second lineup of the Animals, the Zoot Money Big Roll Band, the Kevin Ayers Band and Neil Sedaka. The Police signed with A&M by the spring of 1978, committing to a contract that gave the group a higher royalty rate in lieu of a large advance. A&M released "Roxanne" in the spring of 1978, but it failed to chart. The Police set out on a tour of America in the summer of 1978 without any record to support, travelling across the country in a rented van and playing with rented equipment. Released in the fall of 1978, Outlandos D'Amour began a slow climb into the British Top 10 and American Top 30. Immediately after its release, the group began a UK tour supporting Alberto y Los Trios Paranoias and released the "So Lonely" single. By the spring of 1979, the re-released "Roxanne" had climbed to number 12 on the UK charts, taking Outlados D'Amour to number six. In the summer of 1979, Sting appeared in Quadrophenia, a British film based on the Who album of the same name; later that year, he acted in Radio On.

Preceded by the number one British single "Message in a Bottle," Regatta de Blanc (fall 1979) established the group as stars in England and Europe, topping the UK charts for four weeks. Following its release, Miles Copeland had the band tour several countries that rarely received concerts from foreign performers, including Thailand, India, Mexico, Greece and Egypt. Zenyatta Mondatta, released in the fall of 1980, became the Police's North American breakthrough, reaching the Top 10 in the US and Canada. In England, the album spent four weeks at number one. "Don't Stand So Close To Me," the album's first single, became the group's second number one single in the UK; in America, the single became their second Top 10 hit in the spring of 1981, following the number 10 placing of "De Do Do Do, De Da Da Da" in the winter. By the beginning of 1981, the Police were able to sell out Madison Square Garden. Capitalizing on their success, the band returned to the studio in the summer of 1981 to record their fourth album with producer Hugh Padgham. The sessions, which were filmed for a BBC documentary hosted by Jools Holland, completed within a couple months and the album, Ghost in the Machine, appeared in the fall of 1981. Ghost in the Machine became an instant hit, reaching number one in the UK and number two in the US, as "Every Little Thing She Does is Magic" became their biggest hit to date.

Following their whirlwind success of 1980 and 1981, in which they were named the Best British Group at the first Brit Awards and won three Grammys, the band took a break in 1982. Though they played their first arena concerts and headlined the US Festival, each member pursued side-projects during the course of the year. Sting acted in Brimstone and Treacle, releasing a solo single, "Spread a Little Happiness," from the soundtrack; the song became a British hit. Copeland scored Francis Ford Coppola's Rumble Fish, as well as a the San Francisco Ballet's King Lear, and released an album under the name Klark Kent; he also played on several sessions for Peter Gabriel. Summers record an instrumental album, I Advance Masked, with Robert Fripp. The Police returned in the summer of 1983 with Synchronicity, which entered the UK charts at number one and quickly climbed to the same position in the US, where it would stay for 17 weeks. Synchronicity became a blockbuster success on the strength of the ballad "Every Breath You Take." Spending eight weeks at the top of the US charts, "Every Breath You Take" became one of the biggest American hits of all time; it spent four weeks at the top of the UK charts. "King of Pain" and "Wrapped Your Finger" became hits over the course of 1983, sending Synchronicity to multi-platinum status in America and Britain. The Police supported the album with a blockbuster, record-breaking world tour that set precedents for tours for the remainder of the '80s. Once the tour was completed, the band announced they were going on "sabbatical" in order to pursue outside interests.

The Police never returned from sabbatical. During the Synchronicity tour, personal and creative tensions between the band members had escalated greatly, and they had no desire to work together for a while. Sting began working on a jazz-tinged solo project immediately, releasing The Dream of the Blue Turtles in 1985. The album became an international hit, establishing himself as a commercial force outside of the band. Copeland and Summers demonstrated no inclination to follow their bandmate's path. Copeland recorded the worldbeat exploration The Rhythmatist in 1985, and continued to compose scores for film and television; he later formed the prog-rock band Animal Logic. With his solo career -- which didn't officially begin until the release of 1987 XYZ -- Summers continued his art-rock and jazz-fusion experiments; he also occasionally collaborated Fripp and John Etheridge.

During 1986, the Police made a few attempts to reunite, playing an Amnesty International concert and attempting to record a handful of new tracks for a greatest hits album in the summer. As the studio session unraveled, it became apparent that Sting had no intention of giving the band his new songs to record, so the group re-recorded a couple of old songs, but even those were thrown off track after Copeland suffered a polo injury. Featuring a new version of "Don't Stand So Close to Me," the compilation Every Breath You Take -- The Singles was released for the 1986 Christmas season, becoming the group's fifth straight British number one, and the their fourth American Top 10. Following its release, the group quietly disbandded, reuniting to play Sting's marriage in 1992. That same year, a Greatest Hits album was released in the UK. The following year, the box set Message In A Box: The Complete Recordings was released, followed in 1995 by the double-album Live.

Stephen Thomas Erlewine, Copyright © , All-Music Guide.



Das ist ja alles nichts Neues. Sowohl die Höhepunkt von The Police als auch die von Sting gibt es schon geraume Zeit als Best-Of-Zusammenstellungen. Daß die Plattenfirma mit diesem Mix hauptsächlich auf die Geldbeutel der (sammelwütigen) Fans schielt, liegt auf der Hand. Aber trotzdem: Eine 1977/78 mit "Roxanne" beginnende Zeitreise durch musikalischen Erfolg, die 1996 mit "Seven Days" nicht endet, zeigt deutlich: Sting bleibt sich immer treu, hat ein Händchen für Melodien und Arrangement und entwickelt sich selbst immer weiter: Egal ob als Interpret seiner leichten Pop-Melodien ("Englishman in New York") oder wenn es mal gut abgeht ("Message in a bottle") -- Diese Musik hat Substanz und wird nie langweilig. Das wird besonders deutlich, wenn er hier auch von Andy Summers und Stewart Copeland bis zu Dominic Miller und Vinnie Colaiuta alle Generationen der ihn und seine Songs begleitenden und oft genug auch veredelnden Musiker präsentiert. Als Sahnehäubchen -- und letztes Kaufargument -- für die Fanbase enthält das Album einen 97er Remix von "Roxanne". Kein geringerer als Puff Daddy hat hier Hand angelegt und das gute alte Relikt Post-Punk-Ära in die HipHop Kultur der späten Neunziger gehievt.

Wolfram Lumpe - Amazon.de



There's Sting and there's the Police--with good anthologies available for each. So the purpose of this collection is less than clear. Taken cold, it's a patchy, half-way approach that asserts a dubious continuity between Sting's solo work and the Police tracks that made him famous. In fact, it suggests that people want old Police songs chiefly because Sting is featured on them. Well, that's not necessarily the case. Regardless, besides offering an update of "Roxanne," this collection features a mini-album's worth of top-flight Police hits and a similar selection of Sting tracks. For more of either, look elsewhere.

Gavin McNett - Amazon.com
 

 L y r i c s


Message In A Bottle

Just a castaway
An island lost at sea
Another lonely day
With no one here but me
More loneliness
Than any man could bear
Rescue me before I fall into despair

I'll send an SOS to the world
I'll send an SOS to the world
I hope that someone gets my
I hope that someone gets my
I hope that someone gets my
Message in a bottle

A year has passed since I wrote my note
But I should have known this right from the start
Only hope can keep me together
Love can mend your life
But love can break your heart

I'll send an SOS to the world
I'll send an SOS to the world
I hope that someone gets my
I hope that someone gets my
I hope that someone gets my
Message in a bottle

Walked out this morning
Don't believe what I saw
A hundred billion bottles
Washed up on the shore
Seems I'm not alone at being alone
A hundred billion castaways
Looking for a home

I'll send an SOS to the world
I'll send an SOS to the world
I hope that someone gets my
I hope that someone gets my
I hope that someone gets my
Message in a bottle


Can't Stand Losing You

I've called you so many times today
And I guess it's all true what your girlfriends say
That you don't ever want to see me again
And your brother's gonna kill me and he's six feet ten
I guess you'd call it cowardice
But I'm not prepared to go on like this

I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing
I can't, I can't
I can't
I can't stand losing you

I see you've sent my letters back
And my LP records and they're all scratched
I can't see the point in another day
When nobody listens to a word I say
You can call it lack of confidence
But to carry on living doesn't make no sense

I can't, I can't
I can't stand losing
I can't, I can't
I can't stand losing

I guess this is our last goodbye
And you don't care so I won't cry
But you'll be sorry when I'm dead
And all this guilt will be on your head
I guess you'd call it suicide
But I'm too full to swallow my pride

I can't, I can't
I can't stand losing
I can't stand losing you


Englishman In New York

I don't drink coffee I take tea my dear
I like my toast done on the side
And you can hear it in my accent when I talk
I'm an Englishman in New York

See me walking down Fifth Avenue
A walking cane here at my side
I take it everywhere I walk
I'm an Englishman in New York

I'm an alien   I'm a legal alien
I'm an Englishman in New York
I'm an alien   I'm a legal alien
I'm an Englishman in New York

If "manners maketh man" as someone said
Then he's the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say

I'm an alien   I'm a legal alien
I'm an Englishman in New York
I'm an alien   I'm a legal alien
I'm an Englishman in New York

Modesty, propriety can lead to notoriety
You could end up as the only one
Gentleness, sobriety are rare in this society
At night a candle's brighter than the sun

Takes more than combat gear to make a man
Takes more than license for a gun
Confront your enemies, avoid them when you can
A gentleman will walk but never run

If "manners maketh man" as someone said
Then he's the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say

I'm an alien   I'm a legal alien
I'm an Englishman in New York
I'm an alien   I'm a legal alien
I'm an Englishman in New York


Every Breath You Take

Every breath you take
Every move you make
Every bond you break
Every step you take
I'll be watching you.

Every single day
Every word you say
Every game you play
Every night you stay
I'll be watching you.

Oh can't you see
You belong to me?
How my poor heart aches
with every step you take.

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.

Since you've gone I've been lost without a trace.
I dream at night, I can only see your face.
I look around but it's you I can't replace.
I keep crying baby, baby please..................

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.......


Walking On The Moon

Giant steps are what you take
Walking on the moon
I hope my legs don't break
Walking on the moon
We could walk forever
Walking on the moon
We could live together
Walking on, walking on the moon

Walking back from your house
Walking on the moon
Walking back from your house
Walking on the moon
Feet they hardly touch the ground
Walking on the moon
My feet don't hardly make no sound
Walking on, walking on the moon

Some may say
I'm wishing my days away
No way
And if it's the price I pay
Some say
Tomorrow's another day
You stay
I may as well play

Giant steps are what you take
Walking on the moon
I hope my legs don't break
Walking on the moon
We could walk forever
Walking on the moon
We could be together
Walking on, walking on the moon

Some may say
I'm wishing my days away
No way
And if it's the price I pay
Some say
Tomorrow's another day
You stay
I may as well play

Keep it up, keep it up...


Fields Of Gold

You'll remember me when the west wind moves
Upon the fields of barley
You'll forget the sun in his jealous sky
As we walk in fields of gold

So she took her love
For to gaze awhile
Upon the fields of barley
In his arms she fell as her hair came down
Among the fields of gold
Will you stay with me, will you be my love
Among the fields of barley
We'll forget the sun in his jealous sky
As we lie in fields of gold

See the west wind move like a lover so
Upon the fields of barley
Feel her body rise when you kiss her mouth
Among the fields of gold

I never made promises lightly
And there have been some that I've broken
But I swear in the days still left
We'll walk in fields of gold
We'll walk in fields of gold

Many years have passed since those summer days
Among the fields of barley
See the children run as the sun goes down
Among the fields of gold
You'll remember me when the west wind moves
Upon the fields of barley
You can tell the sun in his jealous sky
When we walked in fields of gold
When we walked in fields of gold
When we walked in fields of gold


Every Little Thing She Does Is Magic

Though I've tried before to tell her
Of the feelings I have for her in my heart
Every time that I come near her
I just lose my nerve
As I've done from the start

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

Do I have to tell the story
Of a thousand rainy days since we first met
It's a big enough umbrella
But it's always me that ends up getting wet

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

I resolve to call her up a thousand times a day
And ask her if she'll marry me in some old fashioned way
But my silent fears have gripped me
Long before I reach the phone
Long before my tongue has tripped me
Must I always be alone?

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

Every little thing she does is magic
Everything she do just turns me on
Even though my life before was tragic
Now I know my love for her goes on

Every little thing
Every little thing


If You Love Somebody Set Them Free

If you need somebody, call my name
If you want someone, you can do the same
If you want to keep something precious
You got to lock it up and throw away the key
If you want to hold onto your possession
Don't even think about me

If you love somebody, set them free

If it's a mirror you want, just look into my eyes
Or a whipping boy, someone to despise
Or a prisoner in the dark
Tied up in chains you just can't see
Or a beast in a gilded cage
That's all some people ever want to be

If you love somebody, set them free

You can't control an independent heart
Can't tear the one you love apart
Forever conditioned to believe that we can't live
We can't live here and be happy with less
So many riches, so many souls
Everything we see we want to possess

If  you need somebody, call my name
If you want someone, you can do the same
If you want to keep something precious
You got to lock it up and throw away the key
If you want to hold onto your possession
Don't even think about me

If you love somebody, set them free


Let Your Soul Be Your Pilot

When you're down and they're counting
When your secrets all found out
When your troubles take to mounting
When the map you have leads you to doubt
When there's no information
And the compass turns to nowhere that you know well
Let your soul be your pilot
Let your soul guide you
He'll guide you well

When the doctors failed to heal you
When no medicine chest can make you well
When no counsel leads to comfort
When there are no more lies they can tell
No more useless information
And the compass spins
The compass spins between heaven and hell
Let your soul be your pilot
Let your soul guide you
He'll guide you well

And your eyes turn towards the window pane
To the lights upon the hill
The distance seems so strange to you now
The dark room seems so still

Let your pain be my sorrow
Let your tears be my tears too
Let your courage be my model
That the north you find will be true
When there's no more useless information
And the compass turns to nowhere
That you know well

Let your soul be your pilot
Let your soul guide you
Let your soul guide you
Let your soul guide you
Upon your way


Russians

In Europe and America, there's a growing feeling of hysteria
Conditioned to respond to all the threats
In the rhetorical speeches of the Soviets
Mr. Krushchev said we will bury you
I don't subscribe to this point of view
It would be such an ignorant thing to do
If the Russains love their children too

How can I save my little boy from Oppenheimer's deadly toy
There is no monopoly of common sense
On either side of the political fence
We share the same biology
Regardless of ideology
Believe me when I say to you
I hope the Russians love their children too

There is no historical precedent
To put words in the mouth of the president
There's no such thing as a winnable war
It's a lie we don't believe anymore
Mr. Reagan says we will protect you
I don't subscribe to this point of view
Believe me when I say to you
I hope the Russians love their children too

We share the same biology
Regardless of ideology
What might save us me and you
Is that the Russians love their children too


If I Ever Loose My Faith In You

You could say I lost my faith in science and progress
You could say I lost my belief in the holy Church
You could say I lost my sense of direction
You could say all of this and worse, but
If I ever lose my faith in you
There'd be nothing left for me to do

Some would say I was a lost man in a lost world
You could say I lost my faith in the people on TV
You could say I'd lost my belief in our politicians
They all seemed like game show hosts to me
If I ever lose my faith in you
There'd be nothing left for me to do
I could be lost inside their lies without a trace
But every time I close my eyes I see your face

I never saw no miracle of science
That didn't go from a blessing to a curse
I never saw no military solution
That didn't always end up as something worse, but
Let me say this first
If I ever lose my faith in you
There'd be nothing left for me to do


When We Dance

If he loved you
Like I love you
I would walk away in shame
I'd move town, I'd change my name

When he watches you
When he counts to buy your soul
On your hand his golden rings
Like he owns the bird that sings

When we dance
Angels will run and hide their wings

The priest has saved my soul
Salvation is in the balance of the angels
And underneath the wheels of passion
I keep the faith in my fashion

When we dance
Angels will run and hide their wings
(Oooh) I'm still in love with you

CHORUS
When we dance
Angels will run and hide their wings
I'm gonna love you more than life
If you'll only be my wife
I'm gonna love you night and day
I'm gonna try in every way

When we dance
Angels will run and hide their wings
I'm gonna find a place to live
Give you all I've got to give
I would love you more than life
If you'll only be my wife

If I could break down these walls
And shout my name at heaven's gate
I'd take these hands
And I'd destroy the dark machineries of fate,
The vehicles are broken
Heaven's the one above
Hellfire's a promise away
I'd still be saying
I'm still in love
Still in love
Still in love
Still in love...

He won't love you
Like I love you
He won't care for you this way
He'll mistreat you with disdain

Come and live with me
We'll have children of our own
I would love you more than life
If you'll come and be my wife

CHORUS
When we dance
Angels will run and hide their wings
I'm gonna love you more than life
If you'll only be my wife
I'm gonna love you night and day
I'm gonna try in every way

When we dance
Angels will run and hide their wings
I'm gonna find a place to live
Give you all I've got to give
I would love you more than life
If you'll only be my wife

When we dance...

I had a dream last night
Dreamt you were by my side
Walking with me baby
My heart was filled with pride
I had a dream last night


Don't Stand So Close To Me

Young teacher, the subject
Of schoolgirl fantasy
She wants him so badly
Knows what she wants to be
Inside her there's longing
This girl's an open page
Book marking - she's so close now
This girl is half his age

Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me

Her friends are so jealous
You know how bad girls get
Sometimes it's not so easy
To be the teacher's pet
Temptation, frustration
So bad it makes him cry
Wet bus stop, she's waiting
His car is warm and dry

Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me

Loose talk in the classroom
To hurt they try and try
Strong words in the staffroom
The accusations fly
It's no use, he sees her
He starts to shake and cough
Just like the old man in
That book by Nabakov

Don't stand, don't stand so
Don't stand so close to me
Don't stand, don't stand so
Don't stand so close to me

Don't stand, don't stand so
Don't stand so close to me


Roxanne

Roxanne
You don't have to put on the red light
Those days are over
You don't have to sell your body to the night

Roxanne
You don't have to wear that dress tonight
Walk the streets for money
You don't care if it's wrong or if it's right

Roxanne
You don't have to put on the red light
Roxanne
You don't have to put on the red light

Roxanne  (Put on the red light)
Roxanne  (Put on the red light)
Roxanne  (Put on the red light)
Roxanne  (Put on the red light)
Roxanne  (Put on the red light)
Roxanne

I loved you since I knew you
I wouldn't talk down to you
I have to tell you just how I feel
I won't share you with another boy

I know my mind is made up
So put away your make up
Told you once I won't tell you again
It's a bad way

Roxanne
You don't have to put on the red light
Roxanne
You don't have to put on the red light

Roxanne  (Put on the red light)
Roxanne  (Put on the red light)
Roxanne  (Put on the red light)

 M P 3   S a m p l e s


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