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There’s plenty to read into the opening lines of this song, also off Let It Bleed: “I’m a flea-bit peanut monkey / All my friends are junkies.” Scorsese uses it in two scenes as the monkeys on Hill’s backs - his own coke addiction and the increasingly dangerous deals he’s making - escalate to the inevitable point of no return.
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The first time Scorsese uses it, it’s to show Henry Hill (Ray Liotta) going against the wishes of boss Paulie (Paul Sorvino) and dealing cocaine, the forbidden side action that ultimately brings them both down.
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“Gimme Shelter,” from 1968’s Let It Bleed, is a tense enough track on its own, even before its association with the documentary of the same name about the deathly Stones concert at Altamont. He only appears on film as part of the big finale, in which Bob Dylan and all the assorted guest stars performed “I Shall Be Released.” By this time, guitarist Ronnie Wood had left Rod Stewart and The Faces to become a full-time Stone. Scorsese filmed The Band’s epic farewell concert in 1976, turning it into 1978’s The Last Waltz. One of the outliers on this list still technically counts. You talk about penance, and you send this through the door.” Devoutly Catholic, Charlie thinks, “Thanks a lot, Lord. The Stones’ single from 1968 plays over De Niro as he saunters into the club with two women on each arm, soaked in bloodred lighting. … the entrance of Charlie’s pal Johnny Boy (Robert De Niro). Charlie shows his tough-guy side, strutting up to strippers and holding a lit match to his finger while his internal monologue about a black dancer and a shaky hand belie his internal struggles. In this scene from the director’s 1973 breakout, we meet Harvey Keitel’s young, conflicted mobster, Charlie, as he saunters through a strip club while Jagger sings a gentle, lovelorn pop tune. “My films,” the man himself once said, “would be unthinkable without them.”įittingly, Scorsese’s first use of a Stones song comes from their first album, a self-titled 1964 LP rereleased in the United States as England’s Newest Hitmakers. Ahead of the show’s Sunday-night premiere, we took a look back at Marty’s 43-year love affair with the Stones, and how he used their tracks to elevate certain scene. It was only fitting that he’d eventually direct their 2008 concert film, Shine a Light, and now, collaborate with front man Mick Jagger on HBO’s new music-business series, Vinyl. In four of these - Mean Streets, Goodfellas, Casino, and The Departed - some of his most memorable musical choices are plucked from the Rolling Stones’ catalogue.
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Of his many talents, Martin Scorsese knows how to put a soundtrack together, especially in his modern mob movies. Songs like that come out in five minutes if I work on them more than, say, 20 minutes, they’re probably not going to work.Photo-Illustration: Vulture and Photo by Getty As soon as you start, you get that magic feeling, an extra feeling. It’s how a basketball player must feel when he starts hitting every shot, when you’re in that zone.
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When I’m writing a song that I know is going to work, it’s a feeling of euphoria. That song had everything - different melodies, opera, R&B, rock - and it explored all of those different genres in an authentic way, where it felt natural. A great song has all the key elements - melody emotion a strong statement that becomes part of the lexicon and great production. It takes the emotions of a moment and holds it for years to come. When you hear a great song, you can think of where you were when you first heard it, the sounds, the smells. Click here for the new, updated 500 Greatest Songs list from 2021Ī great song doesn’t attempt to be anything - it just is.