🖐 Martin Scorsese's Music: An A to Z Guide to the Director's Soundtracks - Rolling Stone

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"Gimme Shelter" is the opening track to the album Let It Bleed by the Rolling Stones. Gimme Shelter (). Goodfellas (). Casino ().


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Performed by The Rolling Stones Courtesy of Promotone B.V.. Published by ABKCO Music, Inc. Gimme Shelter Written by Mick Jagger & Keith Richards.


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He has used 'Gimme Shelter,' in particular, in each installment of his trifecta of mob masterpieces: 'Casino,' 'Goodfellas' and 'The Departed.'.


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"Gimme Shelter" is the opening track to the album Let It Bleed by the Rolling Stones. Gimme Shelter (). Goodfellas (). Casino ().


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He has used 'Gimme Shelter,' in particular, in each installment of his trifecta of mob masterpieces: 'Casino,' 'Goodfellas' and 'The Departed.'.


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Performed by The Rolling Stones Courtesy of Promotone B.V.. Published by ABKCO Music, Inc. Gimme Shelter Written by Mick Jagger & Keith Richards.


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G: The Rolling Stones' “Gimme Shelter” From 'The Departed'. No one and listen to a live version over two separate murder scenes in Casino.


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Performed by The Rolling Stones Courtesy of Promotone B.V.. Published by ABKCO Music, Inc. Gimme Shelter Written by Mick Jagger & Keith Richards.


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Performed by The Rolling Stones Courtesy of Promotone B.V.. Published by ABKCO Music, Inc. Gimme Shelter Written by Mick Jagger & Keith Richards.


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No trick was needed, however, to give you goosebumps during Young's performance of this CSNY hit. His decision to set Henry Hill's descent into schnookdom to Vicious' snotty, nihilistic take on Sinatra's signature song is a stroke of genius. Thirty-eight years later, it's impossible to hear the song without thinking of God's Lonely Man and the carnage to come. Watch as the star smoothes out his pompadour during the "His hair was perfect! They were a bunch of British kids infatuated with American bluesmen. It also steered Gabriel out of more traditional prog-rock areas and into bold new territory. His gamble paid off: listening to the Sixties folk singer gently coo about being "below the ocean" while a made man gets stomped, you can practically hear Tarantino taking notes in the background. The quest for transcendence clearly struck a chord with Scorsese, who treats Harrison's Eastern-religious flirtations and solo career with an awed reverence. Rolling Stone. But Scorsese figured that the juxtaposition of this Age of Aquarius tune with the sight of loudmouth gangster Billy Batts "Now go get your fuckin' shinebox! Suddenly, the Queen of Soul's B-side sounds like a threat — or a predator closing in on its victim. Load Previous. This version fits them better — one last subversive act in a movie brimming with defiance. It's grand gesture that, oddly enough, matches well with the filmmaker's attempt to do a sweeping historical drama. The Northern Irish singer can make anything sound soulful, but who knew that he could turn The Wall 's paean to alienation into something so transcendental — or that Scorsese could make it seem like the prelude to a seduction? The rumble sequence that showcases Jackson's dance moves doubles as a West Side Story homage, and you can tell Scorsese is having fun indulging his inner Vincente Minnelli. Scorsese has used so many of their songs in so many of his films, both originals and covers notably Devo's take on "Satisfaction" , that by the time he got around to making a Stones concert film, it almost seemed anticlimactic. It ends as Satan himself, Jack Nicholson's kingpin, enters the picture. Bum-rushing through Bob's early New York folkie days, the filmmaker plays a snippet of this anti-segregation tune over footage of civil-rights demonstrations and Southern unrest; the combo of the excerpt and newsreel clips offers a contextual footnote to the volatile America that this musical revolutionary was chronicling. Arrow Created with Sketch. Most filmmakers might borrow a few bars, or maybe the horns and Latin percussion breakdown, from this Stones gem off of Sticky Fingers to goose up a set piece. But there's something about the volatility of their art that make for an ideal pairing. It's one of the most famous steadicam shots in all of film history: A three-minute tour that starts on the street outside the Copacabana, winds through the club's bowels and ends up onstage as Henny Youngman does his act. She seems almost as intoxicated by her proximity to power as we are to both a virtuoso cinematic move and Phil Spector's wall-of-sound teen opera. Scorsese has always been more of a Stones man than a Beatles fellow, but you can guess why the filmmaker would be compelled to construct a three-and-a-half-hour documentary around the Fab Four's resident quiet one.

Strippers, a secretary with a shaved head and even a marching band parade around while his coworkers are worked into an rolling stones gimme shelter casino frenzy.

Rumors have long circulated that Scorsese employed some technical wizardry to cover up onscreen evidence of, shall we say, Neil Young's recreational activities at the time. Of all the many incredible performances captured during the Band's rolling stones gimme shelter casino hurrahthis one may be the most electrifying.

Of course, Scorsese has long had a knack for finding the right pop or rock song to kick a scene into the stratosphere. To help keep your account secure, please log-in again.

Calendar Created with Sketch. Is he on the verge of getting busted? The Grammy-winning result introduced Qawwali singers, Senegalese musicians and Middle Eastern sounds to an audience weaned on rock and helped popularize the growing world-music boom.

Shape Created with Sketch. Scorsese said he wanted to fill this sequel to The Hustler with the sort of down-and-dirty music you'd hear in pool-hall jukeboxes. The anthem sounds modern, but the ambition behind such shoot-for-the-moon bombast.

What better way to cap off an epic tale of Irish immigrants fighting for control New York's Five Points region than a new song by Ireland's premier arena-rock band? Scorsese smartly used their rollicking take on a sea shanty, with lyrics by none other than Woody Guthrieover the title card for his Oscar-winner about the Beantown underworld; as the unofficial theme song for the movie, it opinion what not to do at a casino with sets the tone.

Give us shelter indeed. When Scorsese restarts the song at the end, you can see it's all part of a cycle: This is man doomed to spiraling downward. Eric Clapton wrote this ode to unconsummated desire after falling in love with his friend George Harrison's wife, Patti Boyd. This is gangster Henry Hill using his connections to charm his future wife Karen, a point that Scorsese doubles down on by scoring it to the Crystals' hit about a young woman being swept off her feet.

He hits the play button on his boombox, and on comes Aretha Franklin's gospel-inflected plea to give it up for the fairer sex.

But it's the song's justly-famous coda that caught Scorsese's ear when he was scoring a massacre's aftermath. Share on Facebook Share on Twitter. Tracing the guitarist's career from the early rough-and-tumble Hamburg days to worldwide famethe filmmaker gives you an idea of how chaotic Beatlemania must have been for Harrison — and why he eventually turned to more spiritual pursuits in the name of personal fulfillment.

Cue a montage of jewelry heists, fencing pay-offs, showgirl-shtupping and more rolling stones gimme shelter casino than a hood knows where to hide. And that's exactly what Scorsese did, crafting an minute clip that starts off as a gritty black-and-white drama featuring a baby-faced Wesley Snipes before morphing into a color musical in a rolling stones gimme shelter casino garage.

So the more the filmmaker fades those "Oh oh ooohs" in and out, the more your own nerves start to fray. Procol Harum's biggest hit concerns a man smooth talking a woman into bedbut those woozy organ chord sounds made it the ideal musical motif for Scorsese's contribution to this triptych.

Sheets" rolling stones gimme shelter casino Bringing Out the Dead. Let's face it: Donovan's hippiesh ditty about an underwater utopia is the last song you'd expect to play over a brutal barroom beatdown.

A tip of the corduroy, snap-brimmed cap is in order for how Scorsese deftly uses this protest song off of Dylan's second album, The Freewheelin' Bob Dylan.

He may have a weakness for Motown and classic rock, but Scorsese isn't afraid to drop in a punk song when the occasion calls for it. It's only quoted, as Travis Bickle is told by his object of desire that he reminds her of a lyric from Kristofferson's Dylanesque country song "Partly truth and partly fiction, a walking contradiction.

Newswire Powered by. A swinging tune written by Italian crooner Tony Renis with English lyrics by everyone's favorite whitebread vocalist Pat Boone it's one of several songs drifting in and out of the background of Scorsese's black comedy about a yuppie lost in Eighties downtown Manhattan.

When the King of Pop commissions you to do a music video for https://print33.pro/casino/casino-militar-1111.html second single off his follow-up to Thrille ryou bring your A-game.

Excellent seneca casino winners very than cutting backstage to Joni Mitchell singing rolling stones gimme shelter casino, Scorsese holds mostly on Young, Robbie Robertson and Rick Danko singing together in tight three-shots — a visual equivalent to the sense of Sixties community that this concert would commemorate.

Then he rolling stones gimme shelter casino the feverish "The killer awoke before dawn" section over the surreal sequence for maximum Freudian effect. Plus Created with Sketch.

View Complete List. Path Created with Sketch. Nilsson's third hit off his chart-topping Nilsson Schmilsson album isn't a particularly fast song, but it virtually drips with dread: This is what paranoia sounds like. Having been banned from entering casinos, Joe Pesci's Santoro decides he's going to start ripping off everybody. He was an asthmatic teen surrounded by street-fighters in Little Italy. The director played the bit featuring Jim Gordon's piano and Duane Allman's slide guitar on set while he was filming scenes of police discovering mobster corpses, timing the camera movements to match the tune's mournful ebb and flow. By the time the song is over, there's a new sheriff in Sin City. But our vote goes to The Departed , with Scorsese playing the track over a scene-setting collection of South Boston's social turmoil. Close the menu. A story about a downtown painter Nick Nolte watching his young muse Rosanna Arquette outgrow him, it's punctuated by repeated snippets of singer Gary Brooker wailing about seasickness and virgins, each instance echoing the couple's growing estrangement. But check out the livewire energy he channels in 's Shine a Light — they're still bringing out the best in each other. In what may be the most jittery last act of any American movie, Ray Liotta's coked-up gangster runs errands while keeping an eye on that helicopter in the sky. Asked by a distributor to include some skin in his very first feature, Scorsese shot a naked Harvey Keitel and several equally unclad women traipsing about a loft. As those last notes fade out, you get the sense that the fellas' golden age has officially come to an end. Hill's gangster cohorts like to think of themselves as sophisticates like Ol' Blue Eyes, but in reality, they're just brash young thugs in tailored suits. Scorsese commissioned Bono and Co. Or is it just another drug-induced delusion? But it does manage to combine Scorsese's heritage with pop-music pleasures — and adds a sense of oddball fun to the director's story of a guy who can't find his way home above 14th Street. The result feels like an early music video — and a good harbinger of how he'd use rock and pop tunes to such subversive and energetic ways in the future. You can hear it while Ray Liotta sets up "the Pittsburgh connection" in GoodFellas , and listen to a live version over two separate murder scenes in Casino. Not Scorsese: He lets the whole seven-plus minutes play over a recounting of Nicky Santoro's criminal career in Vegas. Was it in Cruise's contract that he had to dance in every one of his'80s movies? No one has used the Stones to better effect on sound tracks than Marty, and no Stones song has been used more times by the director than this tune off of 's Let It Bleed.