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credits and award information for Casino [Original Soundtrack] - Original Soundtrack on AllMusic - - The soundtrack to Martin Scorsese's '70s mob epic.


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Gimme Shelter in Martin Scorsese's films

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Casino (1995) - Gimme Shelter

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. Was it in Cruise's contract that he had to dance in every one of his'80s movies? It ends as Satan himself, Jack Nicholson's kingpin, enters the picture. 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. Tracing the guitarist's career from the early rough-and-tumble Hamburg days to worldwide fame , the 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. Path Created with Sketch.

Strippers, a secretary with a shaved head and even a marching band parade around while his martin scorsese casino soundtrack are worked into an animalistic frenzy.

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.

When the King of Pop commissions you to do a music video for the second single off his follow-up to Thrille ryou bring your A-game.

Share on Facebook Share on Twitter. It also steered Gabriel out of more traditional prog-rock areas and into bold new territory.

Not Scorsese: He lets the whole seven-plus minutes play over a recounting of Nicky Santoro's criminal martin scorsese casino soundtrack in Just click for source. 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.

Or is it just another drug-induced delusion? Thirty-eight years later, it's impossible to hear the song without thinking of God's Lonely Man and the carnage to come.

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.

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. 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.

Rolling Stone. Cue a montage of jewelry heists, fencing pay-offs, showgirl-shtupping and more money than a hood knows where to hide. 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.

Eric Clapton wrote this ode to unconsummated desire after falling in love with his friend George Harrison's wife, Patti Boyd. Is he on the verge of getting busted? Sheets" in Bringing Out the Dead. 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 martin scorsese casino soundtrack.

Of all the many incredible performances captured during the Band's last hurrahthis one may be the most electrifying. He hits the play button on learn more here boombox, and on comes Aretha Franklin's gospel-inflected plea to give it up for the fairer sex.

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. But check out the livewire energy he channels in 's Shine a Light — they're still bringing out the best in each other.

The quest for transcendence clearly struck a chord with Scorsese, who treats Harrison's Eastern-religious flirtations and solo career with an awed reverence. Other than cutting backstage to Just click for source Mitchell singing backup, 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.

Calendar Created with Sketch. Hill's gangster cohorts like to think martin scorsese casino soundtrack themselves as sophisticates like Ol' Blue Eyes, but in reality, they're martin scorsese casino soundtrack brash young thugs in tailored suits.

Close the menu. 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. As those last notes fade out, you get the sense that the fellas' golden age has officially come to an end.

It's grand gesture that, oddly enough, matches well with the filmmaker's attempt to do a sweeping historical drama. Plus Created with Sketch.

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. 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. 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. 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? Please log in. For assistance, contact your corporate administrator. So the more the filmmaker fades those "Oh oh ooohs" in and out, the more your own nerves start to fray. You are no longer onsite at your organization. Scorsese commissioned Bono and Co. 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. But there's something about the volatility of their art that make for an ideal pairing. View Complete List. 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 parking garage. This version fits them better — one last subversive act in a movie brimming with defiance. Having been banned from entering casinos, Joe Pesci's Santoro decides he's going to start ripping off everybody. 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. He was an asthmatic teen surrounded by street-fighters in Little Italy. Give us shelter indeed. Arrow Created with Sketch. 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. 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. 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. Shape Created with Sketch. Load Previous. Of course, Scorsese has long had a knack for finding the right pop or rock song to kick a scene into the stratosphere. By the time the song is over, there's a new sheriff in Sin City. 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. Newswire Powered by. Suddenly, the Queen of Soul's B-side sounds like a threat — or a predator closing in on its victim. 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! Watch as the star smoothes out his pompadour during the "His hair was perfect! 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. 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. But it's the song's justly-famous coda that caught Scorsese's ear when he was scoring a massacre's aftermath. 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. 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. 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. 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. They were a bunch of British kids infatuated with American bluesmen. 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? Then he slapped the feverish "The killer awoke before dawn" section over the surreal sequence for maximum Freudian effect. To help keep your account secure, please log-in again. 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. 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. 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. No trick was needed, however, to give you goosebumps during Young's performance of this CSNY hit. Scorsese smartly used their rollicking take on a sea shanty, with lyrics by none other than Woody Guthrie , over the title card for his Oscar-winner about the Beantown underworld; as the unofficial theme song for the movie, it immediately sets the tone. But our vote goes to The Departed , with Scorsese playing the track over a scene-setting collection of South Boston's social turmoil.