Since 1946 Morricone composed over 500 scores for cinema and television, as well as over 100 classical works. His filmography includes over 70 award-winning films, including all Sergio Leone films since A Fistful of Dollars (including For a Few Dollars More, The Good, the Bad and the Ugly, Once Upon a Time in the West and Once Upon a Time in America), all Giuseppe Tornatore films (since Cinema Paradiso), The Battle of Algiers, the Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, The Thing, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley's Game and The Hateful Eight.
After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for westerns. His score to 1966's The Good, the Bad and the Ugly is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame. With an estimated 10 million copies sold, Once Upon a Time in the West is one of the best-selling scores worldwide. He also scored seven westerns for Sergio Corbucci, Duccio Tessari's Ringo duology and Sergio Sollima's The Big Gundown and Face to Face. Morricone worked extensively for other film genres with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski and Henri Verneuil. His acclaimed soundtrack for The Mission (1986) was certified gold in the United States. The album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums.
Morricone's best-known compositions include "The Ecstasy of Gold", "Se Telefonando", "Man with a Harmonica", "Here's to You", the UK No. 2 single "Chi Mai", "Gabriel's Oboe" and "E Più Ti Penso". He functioned during the period 1966–1980 as a main member of Il Gruppo, one of the first experimental composers collectives. In 1969, he co-founded Forum Music Village, a prestigious recording studio. From the 1970s, Morricone excelled in Hollywood, composing for prolific American directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty and Quentin Tarantino. In 1977, he composed the official theme for the 1978 FIFA World Cup. He continued to compose music for European productions, such as Marco Polo, La Piovra, Nostromo, Fateless, Karol and En mai, fais ce qu'il te plait. Morricone's music has been reused in television series, including The Simpsons and The Sopranos, and in many films, including Inglourious Basterds and Django Unchained.
As of 2013, Ennio Morricone has sold over 70 million records worldwide. In 1971, he received a "Targa d'Oro" for the worldwide sales of 22 million.[8] In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music." He has been nominated for a further six Oscars. In 2016, Morricone received his first Academy Award for his score to Quentin Tarantino's film The Hateful Eight (2015), becoming the oldest person ever to win an Oscar. His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d'Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010. He died in his home city of Rome, Italy in 2020 at the age of 91, leaving a grand legacy behind him.
Lost Boy Calling
Ennio Morricone Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I would not leave you here alone
In this dead calm beneath the waves
I can still hear those lost boys calling
You could not speak, you were afraid
To take the risk of being left again
And so you tipped your hat and waved and then
And in Mott street in July
When I hear those seabirds cry
I hold the child, the child in the man
The child that we leave behind
And in Mott street in July
When I hear those seabirds cry
I hold the child, the child in the man
The child that we leave behind
The spotlight fades, the boys disband
The final notes lie mute upon the sand
And in the silence of the grave
I can still hear those lost boys calling
We left them there when they were young
The men were gone until the west was won
And now there's nothing left but time to kill
You never took us fishin' dad and now you never will
And in Mott street in July
When I hear those seabirds cry
I hold the child, the child in the man
The child that we leave behind
Ennio Morricone's song Lost Boys Calling is a haunting tribute to the ghosts of lost boys, who still call out from the ocean depths. The song begins with an appeal to a loved one to hold on, to not be afraid, to not be left alone, even though the singer is now below the waves. The song seems to suggest that these lost boys were left behind, either by their fathers or society-at-large. The lyrics are evocative of the difficult truth that in Mott Street in July, the singer can still hear the cries of the seabirds and the haunting call of those who were lost before their time.
The lyrics delve into the idea of childhood, of innocence left behind, whether by choice or circumstance. The lyrics refer to the "child in the man" that they hold in Mott Street in July, a reminder of the child they once were before life happened. The song is a poignant reminder of what is lost when children are neglected, sometimes by design, sometimes by accident.
There is a sense of sorrow and regret in the song, a powerful evocation of the ways in which choices in life can have lasting and tragic effects. The lyrics also touch on themes of abandonment, isolation, and even mortality, all of which are poignantly accentuated in Morricone's mournful score.
Line by Line Meaning
Come, hold me now, I am not gone
Don't be afraid, I am still here with you
I would not leave you here alone
I won't abandon you
In this dead calm beneath the waves
In this stillness below the ocean's surface
I can still hear those lost boys calling
I can still hear the cries of those who have passed away
You could not speak, you were afraid
You were too scared and couldn't speak
To take the risk of being left again
To risk being abandoned again
And so you tipped your hat and waved and then
You showed a small gesture of farewell
You turned back up the gangway of that steel tomb again
You went back to the place that makes you feel trapped
And in Mott street in July
In a place called Mott street during a summer month
When I hear those seabirds cry
When I hear the sounds of the ocean's birds
I hold the child, the child in the man
I embrace the inner child of the adult
The child that we leave behind
The part of us that we leave behind as we grow old
The spotlight fades, the boys disband
The fame fades away and the boys go their separate ways
The final notes lie mute upon the sand
The last sounds are silenced and forgotten
And in the silence of the grave
In the stillness of death
I can still hear those lost boys calling
I can still hear the voices of those who have passed away
We left them there when they were young
We abandoned them when they were still children
The men were gone until the west was won
The men were gone until they found success in the west
And now there's nothing left but time to kill
Now there's nothing else to do but wait for death
You never took us fishin' dad and now you never will
You never spent time with us and now it's too late
And in Mott street in July
In a place called Mott street during a summer month
When I hear those seabirds cry
When I hear the sounds of the ocean's birds
I hold the child, the child in the man
I embrace the inner child of the adult
The child that we leave behind
The part of us that we leave behind as we grow old
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: Ennio Morricone, Roger Waters
Lyrics Licensed & Provided by LyricFind
Albert Arthur Parsnips
I've never written anything like this. Certainly not in a public domain. But I grew up without a father, in a time and a place when this was barely acceptable. I was constantly made aware of this, by teachers, and, also, by the parents of my friends. Roger Waters produces music of a quality that reminds me of Victor Hugo's work. In that he can express the agony children are made to experience. Thank you so much, Roger, for being able to say what the rest of us cannot.
Mike D
Two of the greatest musicians. I never thought these two legends would do a song together.
This is amazing!
Ann G
I can't express how this song touches me, I love the entire film "the Legend of 1900".
Gustavo Menezes
There's so much greatness to this film I can't even begin to state my profound admiration. So many geniuses working together... Tornatore, Morricone, Tim Roth, Roger Waters... There are films so great that after I've just finished watching them I get that feeling "the world should have ended after this film was released because it's so awesome Earth just can't bear existing simultaneously.". Am I the only one who thinks those things... ?
Adolfo Andrade
Que pasa si unimos a Roger Waters, Ennio Morricone, Eddie Van Halen, Giuseppe Tornatore y Tim Roth? Existe esta obra maestra!!! :)
Sergio A. H.
un sillón.....la luz tenue.....reposar y abrir la mente, el corazón y el espíritu.....y dejar que esta maravilla artística entre sin mas en nuestro cuerpo y nos relaje, nos remita allá donde queramos ir......nada mas....donde queramos ir....
Toto Chacha
Bought the movie after all those years' searching, yeah!!!! I will never forget the rush of emotions when I first heard the song at the end of the movie 'The Legend of 1900'... Great story, great acting and superb piano playing too xoxo
greg Wood
simply fucking amazing and rips my hard ass heart to pieces. Thank you kindly. Peace be with you all.
greg Wood
Awesome can not describe this. Thanx
Ilie Horlea
Un videoclip minunat,o muzica extraordinar de romantica si niste imagini care sunt compatibile 100 % cu melodia !