Last boys calling (The legend of 1900)（来自XIAOCUI在俱乐部的帖子 >>>>>>）

演唱者：　
Roger Waters(Pink Floyd,平克 弗洛伊德乐队）)

歌词

Come hold me now
I am not gone
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
You turned back up the gangway of that steel tomb again

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 the seabirds cry
I hold the child
The child in the man
The child that we leave behind

alejate (See here)

I never felt so much love in my soul
And no one loved me more than you did
Because of you I laughed and cried
I was reborn also
All I had, I gave to keep you here
I know that saying goodbye is best
Suffering, I will pay for my mistake
And nothing will be the same
I have to accept it
And find the strength in me for this goodbye

Just walk away
I cannot bear it anymore
There?s no way to go back in time

Forget it and let me go on alone with my solitude

Go away, tell me goodbye
I will resign myself to go on without your warmth
And I will never understand what happened
If there's nothing I can do
Just walk away

I?m not going to repent for yesterday
Loving you and I know, woman
For that love
For always being faithful
Today I have to be strong and learn

Ennio Morricone Mini biography: A classmate of director Sergio Leone with whom he would form one of the great director/composer partnerships (right up there with Eisenstein & Prokofiev, Hitchcock & Herrmann, Fellini & Rota), Ennio Morricone studied at Rome's Santa Cecilia Conservatory, where he specialised in trumpet. His first film scores were relatively undistinguished, but he was hired by Leone for Per un pugno di dollari (1964) on the strength of some of his song arrangements. His score for that film, with its sparse arrangements, unorthodox instrumentation (bells, electric guitars, harmonicas, the distinctive twang of the jew's harp) and memorable tunes, revolutionised the way music would be used in Westerns, and it is hard to think of a post-Morricone Western score that doesn't in some way reflect his influence. Although his name will always be synonymous with the spaghetti Western, Morricone has also contributed to a huge range of other film genres: comedies, dramas, thrillers, horror films, romances, art movies, exploitation movies -making him one of the film world's most versatile artists. He has written nearly 400 film scores, so a brief summary is impossible, but his most memorable work includes the Leone films, Gillo Pontecorvos _Battaglia di Algeri, La (1965)_ , Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Nuovo cinema Paradiso (1988), plus a rare example of sung opening credits for Pier Paolo Pasolini's Uccellacci e uccellini (1966). It must be stressed that he is *not* behind the work of the entirely separate composers Bruno Nicolai and Nicola Piovani despite allegations made by more than one supposedly reputable film guide!