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  1. #1
    Good Enough extreme red roth's Avatar
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    Favorite VH Album

    Van Halen, 1984, 5150
    Favorite VH Song

    Today? Stay Frosty
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    09.19.16 @ 06:20 AM
    Liked 104 Times in 44 Posts


    Default Lost Boys Calling

    I've burned this tune on to a couple of cd's.

    It really is a haunting, yet grabbing piece of music.

    I swear Ed's solos are so sweet, I'm not afraid to admit I get teary-eyed, and I have no idea what the lyrics are about. Now that's powerful.

    I know Ed is so much more capable than what he's done lately. All anyone has to do is listen to this awesome collaboration with Roger Waters to understand that Ed can still make quality "holy fuck is that awesome" music.

    Here's a blurb about the tune I pulled from somewhere on the net:

    The biggest surprise, and it's pleasant, is the final track ("Lost Boys Calling"). Here, vocalist Roger Waters (Pink Floyd) and guitarist Edward – no "Eddie," please! – Van Halen (from the band of the same name) collaborate with Morricone on a song that savvy radio programmers might pick up and succeed with. Waters's touchingly vulnerable voice sells the lyric (also by Waters), and the guitar solos by Van Halen show – if there was any question – what a fine musician he is. I don't know what "Lost Boys Calling" has to do with the film, if anything, but it brings the CD to an unusual and positive close. by Raymond Tuttle
    The Barn Burned Down, Now I can See the Moon

  2. #2
    Top Of The World MackieMan's Avatar
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    05.31.12 @ 10:07 AM
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    It is on the "Legend of 1900" Soundtrack, last track.

  3. #3
    Don't Touch the Dog There axebrian's Avatar
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    03.26.16 @ 06:04 PM
    Liked 6 Times in 4 Posts

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    I've had Lost Boys Calling for some time. Very interesting work from Ed. I also like the "my trem arm gently weeps" part on his solo.

    After reading the lyrics and the movie summary below, the song makes more sense.

    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 clild that we leave behind

    And in Mott street in July
    When she hears those seabirds cry
    She holds 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 she hears the seabirds cry
    She holds the child
    The child in the man
    The child that we leave behind

    THE LEGEND OF 1900
    Giuseppe Tornatore (1998)

    Directed by Giuseppe Tornatore and based on a monologue by novelist Alessandro Baricco, The Legend of 1900 tells the story of a baby boy who was abandoned in a transatlantic steamer. The baby is discovered by a goodhearted man who works in the ship's engine room, and is named "1900" after the year of his birth. The legend tells of the boy growing up in the ship and over the years becoming a virtuoso pianist (played by Tim Roth).

    Narrated from the point of view of his friend and musical partner from the ship's band (played by Pruitt Taylor Vince), 1900 amuses the ship's crew and guests (and the viewer) with his intrepid piano playing. As the legend grows, 1900 reaches the ears of jazz legend Jelly Roll Morton (Clarence Williams III) who responds by challenging him in a duel. What results is the film's most enlightening scenes featuring original compositions by Ennio Morricone as well as classic ragtime pieces.

    Recalling the melodrama so characteristic of Cinema Paradiso, director Giuseppe Tornatore injects romanticism to nostalgia, particularly when a character, transformed by dramatic events over the years, stands before the deteriorated place that housed his youth. (In Cinema Paradiso the adult protagonist visits the movie theater --now in ruins-- where he had experienced love and loss. In The Legend of 1900, 1900's friend goes back years later to see the same ship --now in ruins-- where he believes 1900 still resides.) Although at times the film seems overly melodramatic (with its symbolic representations of loss and change accompanied by an emotional music score), The Legend of 1900 offers an original account of one character's drama and his unique way of coping with the world in which he was born.

    February 10, 1978...The day that changed the Rock N Roll guitar world!!!

  4. #4
    Good Enough Ian Sane's Avatar
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    Van Halen/Fair Warning
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    10.27.16 @ 02:49 AM
    Liked 136 Times in 84 Posts


    Great song!
    “And what we have at our fingertips is arguably one of the greatest high tenor voices ever – that was in Michael Anthony. In our tiny little corner of the universe, that voice is as identifiable as the high voice in Earth, Wind & Fire, as identifiable as the high voice in the Beach Boys. Van Halen is an indelicate house blend of both – that’s intentionally. So I would always look forward to that reunion.” - David Lee Roth



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