DISGRACELAND - Presenting Our New Video Podcast "This Film Should be Played Loud"

Episode Date: February 18, 2026

We're sharing the audio from our new video podcast "This Film Should Be Played Loud." "This Film Should Be Played Loud" is a new monthly video podcast where Jake and Zeth discuss the convergence of music and film. Each episode explores the great music from one great film and the needle drops, the scores, and the soundtracks that heighten storytelling and enrich the viewing experience."This Film Should Be Played Loud" is only available on Patreon. To see what you've been missing and to get access to ad free listening of Disgraceland and Hollywoodland as well as other exclusive bonus content, become an All Access member by visiting disgracelandpod.com. For a limited time, you can receive 20% off your monthly or yearly membership by using the code "DISGO" at checkout.See omnystudio.com/listener for privacy information.

This is exactly right. Double Elvis. Hey, discos, we have a special treat for you today in the feed. Today we are unveiling to all of you, a, or most of you anyways, a special sneak peek at our new video podcast, this film should be played loud. This film should be played loud is a new monthly podcast co-hosted by myself, Disgrace Land host, of course, Jake Brennan, and Hollywoodlands Zeth Lundy. In this new show, Zeth and I tackle our first.

favorite topic, the convergence of music and films. This is kind of like a combination of disgrace land and Hollywood land, but just centered around the music in movies. Each episode of this film should be played loud is a discussion about the great music in an equally great movie that we both love. Soundtracks, needle drop, scores. We take you into the moments in these films where music heightens the storytelling and the movie watching experience. We tackle one film in every episode. So if you want to know about what drove Martin Scorsese's incredible song selection for the Goodfellas soundtrack, or curious to understand how the songs in train spotting impacted 90s pop culture, or maybe you want to hear why Boogie Nights contains the single

greatest performance by an actor in a recording studio ever captured on film. All of these topics are covered in our episodes. Songs from movies that sent us down rabbit hole, scenes with songs by that musician who became your favorite, who you didn't know you loved until you saw the film, how films soundtrack the devil, and the tunes you hated before they made it onto the screen, but that you now love. We discuss all this and more in this film should be played loud. Now, this new podcast is available to watch and listen to exclusively on Patreon for our disgraceland all access members. Go to disgracelandpod.com to sign up now and use discount code disco for 20% off your monthly or yearly membership,

but act now because this discount is only available for a limited time. Again, this podcast, this film should be played loud. It's not going to be available here in the disgrace land feed or in the Hollywood land feed. You can only get it on Patreon. And again, you can watch it and you can listen to it. All right, as promised, we're now going to let you hear our first episode of this film should be played loud on the great soundtrack for the incredible film Goodfellas. You can hear it here for a limited time in the disgrace land feed,

but all access members can watch this Goodfellas episode, along with, like I said, episodes on train spotting, boogie nights, and more to come all over on Patreon by becoming disgrace land all access members. As always, guys, thank you for your support. Without further ado, here is, this film should be played loud. Let's, I'm going to go get my shine box, right? Is that what we're doing? Is that the way to- Yeah, yeah, go get your shine box.

I'm going to go pistol whip my neighbor across the street and go to be. You want some fuck-o Welcome to the first episode of this film should be played loud An exclusive video podcast for our Patreon listeners A podcast about great music in great film This first episode is on Goodfellas And it's incredible soundtrack They often call me Speedo

But my real name is Mr. Jake Brennan That's Dr. Zeth Lundy, my co-hosts, Zeth, how are you, my man? I'm doing great, man I'm psych to talk about Goodfellas It's turned 35 this year I know, that's crazy That is, I was

I was 1990. It came out. I was 16 years old. I saw it at the Sears Town Mall in Lemonster, Massachusetts. I went with a bunch of friends from Clinton. I believe Bruce Millett took us in what would have been a big black Cadillac arriving in style. And I think my good friend, Mr. David Duchnowski, was with us. I can't remember who else. Probably Seth Sauer, Sean Hastings. Anyways, we all saw this. And, you know, it was just, I didn't know anything about Martin Scorsese. I didn't know really that much about Robert De Niro. I was just 16 years old. But what I did know about was the Rolling Stones. And oh my God, what this movie did for the Rolling Stones. We're going to talk about that later. But I want to know how you first saw this movie and how the music impacted you at the age you're at when you finally saw Goodfellas.

You know, I was thinking about that earlier. I did not see it in the things. This came out in 1990. So I was, you know, I was 13 when it came out, just about to go into high school or I was going into high school. And I did not see it in the theater. I don't know when I saw it. It wasn't one of the first Scorsese films I saw because I remember very early on seeing Raging Bull and taxi driver and some of the earlier ones like that first and then getting into Goodfellas later. but to your point, the music aspect of it really, we'll get into this some more later,

but it really illuminated some musical icons for me that weren't illuminated for me at the time. Right. Pre-internet era, you're not scrolling through it. You don't have the benefit of streaming, scrolling, none of that. You got your snobby record store guy. You got your friend who's got an older brother at college. I actually had a friend in high school around the same time whose older brother went to school in London or somewhere in England. I think it was London.

But he had, this sounds weird. This sounds like something you would hear somebody who grew up in the 1960s say. But it just goes, you couldn't, we didn't have the access to music. Yeah. Like we did. I mean, CDs weren't even a thing yet. Right. So it was cassettes for us.

And no one really listened to vinyl except their parents. And they weren't really using record players. anymore. And Chad Taylor's older brother, I think he got them from going to call. He had all the early singles that ended up being that singles box set. And Chad would make me tape. So I had all that. I had memo from Turner. I had, you know, I had- So that blows my mind. I didn't know about memo from Turner until like way, way, way, way longer. Yeah, well, I didn't know the actual lineage of memo from Turner. And there's some interesting history with the film here. So, so memo from Turner is, is an obscure Mick Jagger song that the Rolling Stones recorded.

It was first recorded by the Stones. Then I think I have this writer. It was first recorded by the Rolling Stones. Then Mick re-recorded it with John Hyatt and some members of the Rolling Stones. I think, God, there's somebody else famous who plays on this track. Rikuder plays slide on it. Did I say John Hykuter? I said John Hyatt.

I meant Rycuder. Rycuder. Yeah. And this is for the performance. soundtrack, right? The performance soundtrack, right? I remember you in Hamlock Road in 1956. You're a faggy little leather boy with a smaller piece of stick.

And that's the version that's in Goodfellas. It's in that incredible run of the helicopter scene, right? Everyone knows the helicopter scene from Goodfellas. This might be... You're jumping ahead here, but you're kidding me excited. Well, whatever. We have no format. This is just all about, you know, music and movies that we love.

So the helicopter scene, I went back and I looked. It's the best mixtape inside of a movie that I've ever come across. And it's, it feels like it's a long tape when you think of the impact of it, but it's actually pretty short. It's Jump in the Fire by Harry Nilsson. Then it goes to Memo from Turner, the Mick Jagger version, however, incorrectly credited in the soundtrack as a Rolling Stone song. It's actually not. It's a Mick Jagger version. Then it goes into like a couple seconds of the live version.

version of Magic Bus by The Who. And then it goes into Monkey Man. And then What is Life by George Harrison? You kind of feel like he's getting away with it. Like he's getting away with it. And then Manish Boy by Muddy Waters. And then, of course, the writing's on the wall for Henry Hill. But hang on.

The best part about that whole stretch, for me, at least, my favorite part, is in between Monkey Man and What is Life. There's just the briefest clip of Muddy Waters at the beginning of Manish Boy going Yes. Everything. Yes. Everything. Yes.

Yes. Exactly. That's it. Everything. Everything going to be all right this morning. Full shot. And then it cuts right into what is life. And you're like, what the fuck is going on here?

You're absolutely right. And, you know, in that, okay, so we need to talk about Scorsese's approach here. Before Goodfellas, Scorsese is famously the guy because of mean streets. He's famously the guy who uses rock and roll to express emotion to use rock and roll songs, pop songs to express emotion in film as opposed to using score. Okay, so by the time he gets to Goodfellas, you know, he's already gone through and he's worked up the script with Nicholas Pilegi, and he's indicating in the margins what songs he wants.

And I read an interview with the music editor for the film where he said that Scorsese knew two years in advance what songs exactly he wanted playing in which frames of the film. He was putting it in the script. He was like, put cream, sunshine to your love here. Right, exactly. Pilegi's rereading the script, and he's, it's just a sunshine to love. It's just said, add cream. Yeah.

Pellegey's like, what the fuck do you mean, add cream? He's like, Donna, da, dunce, dunce. You know, it's interesting when I read this thing about the music editor from Goodfell is making a big deal of the fact that Scorsese knew exactly what songs he wanted in the film two years in advance, it didn't strike me as being strange. I was just like, well, yeah, that's how you fucking do. it, dude, right? Right. But it's not how you do it. I mean, I've actually, I've worked on

indie films and stuff. I've music supervised stuff and did music for, for a film, a Parker Posey film. And the director, it was a friend, he was basically like, I don't know shit about music, you figure it out. And I feel like that's an approach that a lot of directors have. I think you're right. But remember that Scraese started, I mean, one of his first major gigs was the Woodstock movie, which he's credited for now as an editor, but I believe at the time, this was in that Mr. Scorsese documentary was on Apple recently, he was like the second director of that movie. So like he's, he's creating that movie, he's cutting that movie with music at the forefront of his mind. Right. Exactly. Exactly. And

obviously he's surrounded by great live music, Santana, Slice Stone, all that stuff. Yeah. But this is after he grows up, and this is the good thing about Goodfellas. It really feels like a, Like, I don't know, it was growing up in my small town, it was very much like this where, you know, we all hung out on this main drag, right? And you would just hear, there'd just be this soundtrack constantly, cars driving by. People still carried boom boxes around. I'm not trying to make it sound like I grew up in the Bronx. I didn't. But music was kind of like it was more in the air than it is now.

Now everyone's got, you know, ear pods on and their little pods and their cars and whatever. It just, it was different then. And I feel like it was much different and a much more extreme version of what I just explained in a tiny little sort of, you know, two block stretch of downtown New York where Martin Scorsese grew up in the 1960s. And that's sort of like jukebox system that he was living in. And that's what that movie feels like all the way throughout the beginning. I mean, the first, you know, the opening is, you know, by the time he blows up the cars, you've already whipped through like your, you're, you're, you're. Your ears are just on fire from all the incredible soundtracking that's going on. Yeah.

It's like a radio station. You know, it's just like switching the channels. It's du-up. Exactly. It's-all-groups. It's Italian. It's all over the place. But it's what he would have heard.

Right. Exactly. He's so fearless with his music choices and confident. And, you know, I don't care, man. I know we all love memo from Turner and Monkey Man. but no one knew those fucking songs except Stone's heads and they'd be like, well, if you're going to put a Stone song in there, give me shelter, I understand, but you know, why not jumping jet? Why not Brown Sugar? Why not, hey, they got the new Steel Wheels album just came out.

Why don't we use the song off that? You know what I mean? And he's like, no, fuck you. It's these songs. I had never heard that to the point earlier talking about memo from Turner. I had never heard Monkey Man. I'd never heard Memo from Turner. I never heard Harry Nelson's Jump in the Fire. I never heard any of these songs until I saw them in good. fellas yeah yeah it really and then think of like I was thinking about this too it does this movie does a lot for Eric Clapton who I have a real rough relationship with like I think we all do but yes yeah like the the Rolling Stones were I was kind of like I was like in my group of friends I was like the guy who listened I was the stones guy but I was also the guy who listened to like old music and

it's only it's I'm not trying to you know inflate my taste as a young fucking Wes Anderson character, but my dad had a massive record collection. So I had access to shit that other, my friends didn't, right? Yeah. But I was like the stones guy. I was always, I was always trying to push the stones on people. And, you know, people were going to go so far because they were fucking lame in 1990. Yeah, because all we knew was rocking a hard place at the late 80s.

You know what I mean? Yes. Yes. It was, they were lame. Those records sucked. Those 1980s records sucked. Steel wheels I like now. I kind of like steel wheels now.

I got to admit, yeah. Hated it then. And all my friends rightfully did as well. But then Goodfellas happens. And it's like, oh, yeah. And I'm sitting there going, see, I told you pricks. You know, like, listen, listen. However, we have to talk about Clapton.

And we have to talk. There's something this happens. It happens twice in this movie with me. I've never been an Eric Clapton fan. I'm becoming one. I'm becoming one. But we used to, you know, you know, 10 years after Goodfellell's is out, now it's like shorthand and it's in the culture.

It's in the Zika. We're hanging out upstairs at the Middle East or whatever with our friends and we're like Layla's on or like and you know the piano part happens we're like this is the best shit clapped I never did you know I mean because he's not on it at that point yeah But it's cemented that song for me. I love it I fucking love the tune the whole thing the entire song It's fantastic and I got to say like you know sunshine of your love I showed goodfellas to Harlan my 11 year old the other night and that scene Jimmy Conway at the bar down down down down and he and it's when he's real he realizes he's gonna kill Morty yeah and they's taking that long drag on the cigarette yeah yeah it's fucking pure evil and Sunshine of your love is playing and my son just goes oh like that was it like he was so moved by that like viscerally like you know he just knew how awesome that was I love that was I

I love that. I love that. That's great. That's great. You know, there's something about the way, I think it was Philip Seymour Hoffman, who once said that cigarettes are great for actors because it gives them something to do with their hands. But De Niro really knows how to like the pull on that cigarette. Like, he doesn't have to say anything. You just that and the song, and in the song, you hear Eric Clapton say, it's getting near dark, right? It's getting near dark. Oh, really? shit like yeah oh wow wow so i in and just like the rolling stones in 1990 were fucking dead clapton was nothing in 1990 yeah i mean the lamest you know like my friend's dad's like derrick claptine you know what i mean it was that whole we joke about this but it's that whole divorce rock era it really is what's that shit what was that record he had out it was Promise. That's not the one. It's promises.

He is a song, Promises. I love that shit now. That's the thing. No, I do too. Hold on, but he had a, he had this incredible divorce rock record out at that time.

Journeyman came out in 1989. Journeyman had pretending, running on faith, bad love, no alibis. This was like the super slick A-O-R Eric Clapton, which sort of made him

super lame. Yeah. I think the I shot the sheriff stuff is like 1980, 1981, that's okay, and then it's bad, and then he has a Scorsese, like, rise again with color of money. Color of money, which is also lame. I was like, this is like a fucking Miller-like commercial. I hate this.

Well, I know, but that's what makes that movie so great. It's like the Phil Collins song in that movie as well. Like it makes that it's of that time, you know? Yeah. Yeah, color of money is, it's essential. It's amazing. Essential? Really?

Yeah, it's essential. It's essential. It's essential. It's essential. It's essential. It's, you know, Tom Cruise could have done nothing after that. And we would have been like, Tom Cruise is fucking the man. He's amazing in that.

He's incredible. All that's real. The whole thing. We're getting on track with Vince. And just the fact that he's playing, we don't have to go in the weeds about this, but he's playing. Paul Newman thinks he's playing Tom Cruise and Tom Cruise has been playing Paul Newman in the whole movie. It's just, ah, it's awesome.

It is so good. It's so damn good. All right. So I wanted to do this thing. Okay. There's no score in Goodfellas. And this podcast, just so everyone knows, we'll reset it a little bit. This podcast, Zeth and I are going to do this once a month.

It's for our Patreon listeners for you guys. And we're going to do a new movie every month. And we're going to talk about the music in that movie. We're going to talk about this. Here we're clearly talking about the soundtrack. But we're also going to talk about score. We're going to talk about music supervision. And we're going to do it more in a fanboy kind of way

and less than kind of a nerdy research kind of way because we do enough nerdy research on other stuff. Yeah. And this is just stuff that's, on to talk about on a Tuesday night while I'm having a glass of bourbon with my doctor here. So we're going to keep it to that. Now, in Goodfellas, there's no score, like zero, nine, zilch. This has become my new favorite thing in watching film and television.

Okay. Because I'm like, I've had it with modern scoring in television. Like I'm watching the new Claire Dane's Netflix show, which I kind of like a lot. Okay. And the score is just like, it's like, yeah, we've been doing the same score since Ozark. Okay, everybody does this. And it gets in the way of the emotion. It's so predictable.

It puts a sort of governor on the emotion, right? Right. And it's also, there's something going on with the way they're mixing stuff lately where it's so hard to hear dialogue. And I don't know if it's our TVs or what the hell it is. Anyhow, I'm rewatching the wire like we talked about, absolutely no score. in the wire. Interesting. No scoring.

Everything is incidental. It's all on the radio or whatever. Same thing with Rachel getting married. Another great example of that. And this, this is intentional what he does. Like, absolutely no score.

Fantastic. There's a best score in music supervision category at the Oscars. There is no best soundtrack award at the Oscars. Their fucking ain't should be, man. Yeah. Like you think of all the great movies with great soundtracks.

Yeah, I know. Goodfellas, Boogie Nights, Easy Rider, I can go on and I do the right thing. It's endless. Yeah, yeah. It's the graduate. It's like why we're going to be doing this show forever. Exactly. Endless material.

So one thing I want to look at, though, if you, I want to look at like, okay, if there was a best soundtrack category. Sure. Right. From films that were released when Goodfellas was released in 1990, okay, who would win it? So it's hard to come up with a list of nominees. I think you get to look first at the Best Picture nominees, which Goodfellas was nominated for Best Picture. Didn't win.

It was nominated for five awards. It won Joe Pesci won for Best Supporting Actor. That's it. Okay. What won Best Picture? Dance with Wolves? Best Picture was Dances with Wolves. Yeah.

Okay. Okay. So Best Picture nominees. Dances with Wolves, Ghost, Awakening's, Godfather, Three, and Goodfellas. Now, of the. I think the only one that Sniffs a Best soundtrack nomination. I can't believe

I'm fucking saying of this, but Ghost. Because of that iconic righteous brothers fucking Swayze. I was like, was that Swayze kind of like, I was thinking of it was Swayze kind of like feeling up Whoopi Goldberg and Ghost and the righteous brothers were playing. I looked at it. I was like, no, it was to me

more. But Whoopi Goldberg was in Ghost. She was in Ghost. Yeah. All right. So again, another movie where I and it's just probably part of our generation but I was made aware of unchained melody by that movie you know yeah I probably was too yeah big chill turned me on to a lot of shit big chill big chill big chill stand by me good morning Vietnam all that stuff yeah yeah uh what was the other one the share one was it the mermaids little mermaid's yeah i think that was

another one kind of big chilly so other films from 1990 that came out that weren't best picture. Okay. Here's the list of the top grossing films in order. Some of them were Best Picture nominees. Ghost, Home Alone, Pretty Woman, Dances with Wolves, total recall, back to the future, three. I didn't even know there was a three. Die Hard 2.

Presumed innocent, Teenage Mutant Ninja Turtles, and kindergarten cop. So those are the best, the highest... It's not a tumor. Highest grossing. It's not a tumor at all. Pretty Woman had a soundtrack, soundtrack? But the rest of those probably had scores, right? It did. Yes, you're right.

I'm sure back to the future had a soundtrack. So Pretty Woman and Ghost are in the mix here. Okay. So now let's look at, so far we've got Goodfellas, Pretty Woman, and Ghost for possible nominees. Okay. So let's look at some of the best independent films from 1990. Okay. Here's where it gets interesting.

Okay. All right. Pump up the volume. Oh, yeah. Oh, yeah. Oh, yeah. Pump up the volume has got the wave of mutilation U.K. surf version, that slow version.

of the Pixies on. Mm-hmm. Yeah. Sorry, I digress there. It also has Henry Rollins and Bad Brains doing MC5. That's right. Metropolitan. I just wanted to mention this movie because I love it, but it doesn't have a soundtrack.

Okay. Slacker, Wild at Heart, King of New York, house party. Oh, yeah. Some great soundtracks here. Let's just dip into the pump up the volume soundtrack here. All right. All right.

This is gold. Everybody knows by Concrete Blonde. The Leonard Cohen song. The Leonard Cohen song, yeah. Wave of mutilation. Pixies, you mentioned that the UK serve version. Kick Out the Jams. I mentioned the MC5 tune, Bad Brains, and Henry Rollins.

Me and the Devil Blues, Robert Johnson's song by Cowboy Junkies. Just so, so, so good. Dad, I'm in jail by Was Not Was. Yeah, that's the song I was telling you about the other day. Yeah, why were we talking about it? I'm in jail because you were at, we were just talking about was not was. And I asked you if you knew that song and you, and it's just, it's such a great song. So even a song.

It's just a experimental, strange track. Just a telephone call. It's just Dawn Was recording Ryan Adams calling home. All right. So, all right, the Wild and Heart soundtrack. Yeah. All right. Laudangelo, Angelo Bata.

Bata Lente. So I'm not going to go through that. It's literally like seven songs. There's them, them doing Baby, Don't go. Sure. Great. Chris Isaac's Wicked Game, Gene Vincent, Bopalulula.

This is what you'd expect. Nick Cage doing Love Me Tender. I think there's that, like that thrash metal band is on there, too, that the club they go to. It's kind of all over the place in the best way. Yeah. Yeah. I don't remember this movie hardly at all. I know I saw it with my girlfriend at the time.

I was probably distracted. And I really want to hear Nick Cage doing Love Me Tender. Dude, it's amazing. It's amazing. Like, I've watched this movie probably more than I should. It's like one of my favorites. But, yes, Nick Cage doing, singing those songs, it's incredible, especially inside that thrash metal club where he has the thrash band stop and has them provide the backing.

To Love Me Tender? It's not Love Me Tender because he says he's going to sing that to his wife. He sings another Elvis song. Love Me, maybe. Yeah, yeah, yeah. To read me like a food. All right, so wild at heart, pump up the volume, and then house party. Hello, Cool J.

It's at the break of dawn, Luther Vandros, Del Phonics, Hey Love. Yeah. Bad boy having a party, Sam Cook. So this is a good one. This is a good one. Yeah, it didn't really crack the Eric B. Rakim, run for cover. Yeah, this is a great, great soundtrack. So if we're nominating, we've got to come up with five.

Let me know. These are the five I have. Good fellas. Pretty Woman. pump up the volume, house party, and ghost, all from 1990. Okay, all right, I can get with that. There's nothing I missed, right? No, no.

You don't want to throw Godfather 3 in here for the Godfather Waltz for the 1700 time? No, no, I don't. And I actually did a little recon just to see if we were missing anything, and, you know, we're really not. There was the Adventures of Ford Farrelly movie, the movie with a... Dice Clay? Dice Clay. That has a pretty, kind of an interesting soundtrack, but I don't know that it really deserves to be in this list, so. No, I mean, it's almost like, this is an unfair version of this.

Like, I really think this could be a good device to do, like, podcast episode to podcast episode. Sure, yeah. Like, what are the, what are the best soundtrack nominations for the year that the movie comes out? But Goodfellas might be the greatest soundtrack ever. So nothing is going to come close to it in 1990. You know what's great about Goodfell's soundtrack is it just seems to span the genesis of rock and roll. You know, it starts with do-op. girl group and then it moves into

you know British invasion and uh that just gritty rock and roll rolling Rolling Stones cream whatever drug rock it's like classic rock drug rock it's not Queens of the Stone Age drug rock it's Eric Clapton

at his filthiest like exactly everything's got that yeah that filthy gritty kind of Dwayne Allman and needles hanging out of their arms and like that era clapped him you know what I mean like songs written by a fucking murder but Clapton claims the credit. And two songs that involve

Jim Gordon on drums, right? Layla and Jumping to the Fire. Yeah. Yeah, pretty incredible. Do you know about the songs that Scorsese had on a list that he didn't include in this movie? No, but I can't wait to hear this.

So there's a Made Man, I think is the name of the book, because a book that's about the making of Goodfellas. And in that book, There's a list of song titles that Scraise had, and a bunch of them were the ones that we hear in the movie. You know, what's funny is that Jump Into the Fire by Harry Nelson is not on this list. But some of the songs are on this list that were not used include, with a little help from my friends by Joe Cocker. Okay.

I feel like he used, did he use that in casino? No. I don't think so. I don't think so. I don't think so. Keep going. I don't want to cut you off. Keep going.

Gasoline Alley by Rod Stewart. I was thinking if there was a song that could have been included here that was not like a faces Rod Stewart song, again, with that sort of like gritty, like, druggie rock. That's True Blue. True Blue. Never been a millionaire.

And I tell you, Mama, I don't care. It's so good. I'm using that one in my movie. What year is that from? True Blue. That seems a little too late, don't you think? No, it's still 70s. I think Morning Woods playing.

Oh, no, you're right. You're right. Okay, okay. All right. Okay, gasoline and I'll lead Rod Stewart. Only the good die young, Billy Joel. Oh, great one. The things that you might have done.

Only the good die young. If that was in Goodfellas, right, we would now be saying, that makes perfect sense. These were like Long Island, mobster, Queens guys, you know, like, you know, and it would have had this whole blow up shine culturally to it that it doesn't really have, you know? Yeah. Yeah. Now, not to get like too, like, too much Professor Lundy about this at all, but do you notice that... It's Dr. Mundy to you. When we get into, when we get into, like, the true, like, when Polly's like, don't be involved in drugs, don't be involved in heroin, and Henry's like, yeah, yeah, yeah, no problem.

And then we cut to him doing Coke. And immediately, that's like, give me shelter the Rolling Stones. We jump from do Wop and Girl Group stuff to rock and roll when the... When the corruption comes in, when the vice comes in. The darkness. And then very tellingly, right after Henry is arrested, after that incredible playlist of songs, the Nilsson, Rolling Stones, Mighty Waters, he's arrested. And then the rest of the movie, which is like 20 to 25 minutes, has no music at all. I know.

I know. Nothing. It's the aftermath. It's the aftermath. It's the aftermath. Yeah. Yeah. Yeah.

It's just like, it's dead. Everything's dead. It's Heinz ketchup on egg noodles dead I was gonna say You know You notice that De Niro's that Jimmy puts ketchup on his pasta And he shakes it

He shakes it My buddy Dave Welsh from Clinton Used to do that You should just fucking shake it Oh my God I was like dude It's gonna take you 20 minutes To get that shit on your French fries

I know what you're doing Come on now Oh man It's hard to find glass bottles of Heinz I gotta tell you Yeah I know I know I'm getting for like nine bucks

at Whole Foods but you know who wants to do that so there's some interesting music uh life imitating art in this film okay it's when they're at the copa it's henny youngman take my wife please it's the real henny youngman playing himself like 20 years older than he should be in that scene and they do that incredible device where they cut from i think it's the copa where henny young it is some club i think so And they cut from the club and hanging on stage doing his thing. Take my wife that whole bit. You know what I mean?

Right. And he keeps going. They cut to the airport where they're stealing. You know, they're robbing the airport the first time. And he's still doing his bit. Before I said, try to kick you. Dr. Welzer is here.

Wonderful doctor. Give you guys six months to live. Couldn't pay his bill. Give another six months. While they're showing them walking, you still hear it. It's so good. I know. It's so fucking.

It's one of those things I'm like, did Scorsese like fall into that? Did he invent that? Or who did he steal it from? I want to know where that came from because it's so simple, it's, but it's so brilliant. It's just great. It's great. His cinematic language is just unmatched. It's really this like the syntax, the punctuation, that everything.

He's just, it's like, it's like someone's talking to you with all the senses, you know? Yeah. Yeah. I mean, it was, I was reading about, talk about punctuation, the opening scene. You know, when they're, after they open the trunk of the car and they, they stab bats, and then they, they slam the trunk and rags to riches starts. Yep. They had a fight in the edit over and over again to get that.

So it, the trunk slams on the downbeat. You know what I mean? It's like normally you would start it like with the up, like on the one or whatever. But it's like they had, and he wanted the downbeat. because the slamming of the trunk down, just brilliant. Just, it's so smart. I think it's just all in his head. I think it's just evidenced by all those storyboards that he drew as a kid.

I think he just has, he has this innate, God-given knack for that sort of thing. Yeah, yeah, he absolutely does. And again, the confidence of this is one of those things, too, that has to be some sort of like, we can pull this one of these out of every movie. I feel like on every movie soundtrack. We talked about this movie kind of makes you like Clapton. It absolutely,

now this took a while. Like I didn't see Don't Look Back, the Dillon movie, until probably 10 years after I saw Goodfellas. Yeah, same. So it took me a full decade to develop my hatred of Donovan. Okay?

Is your hatred of Donovan vicariously through Bob Dylan because Bob Dylan hates Donovan that rule? Really? Well, you can kind of tell in that movie. And he's just such a twit. And he's, he's, I was like, this guy's so contrived and full of shit. You know, he's like Scott Weiland without the darkness.

You know what I mean? Yeah, I hear you. I hear you. But then, and even like, Goodfellas, it took, it took like 20 years of Goodfellas for me to finally be like, I love Donovan. Just because of Atlantis. Atlantis. Yeah.

It's so good. The counterpoint between that song and it's, hippie-dippy bullshit and the violence that's going on totally uh you know who stole that completely is gus van zant in um goodwill hunting come it's me it's me it's me will remember we went to kindergarten together when they're tooling on the kid in south boston in the beginning of the film and jerry rafferty's uh baker street is playing yep yep absolutely it's the same thing it's absolutely uh slow motion all of it i don't know they do they do it I think they do a bit of slow motion in the scene where they're beaten on Billy Bats.

Maybe not. There might be. I always get that scene. That scene is very similar to that scene in Casino where she stabs the guy in the neck with a pen. It's very similar. Yeah, it is very similar. The Goodfellas scene, though, with Atlantis is one of those great, like you put it, counterpoint. It's like that that song is.

not at all what you'd expect for that moment of violence, you know? And it, and it just, the violence does seem way more real with that song playing. Yeah. And this is why counterpoint with filmmaking and soundtracking, you just hit the nail completely on the head and I want to reinforce it. It's why it's so important because if you were in a bar and a fight broke out, the fucking jukebox doesn't care what songs playing. Exactly.

Yeah. And that's how life works. it's absurd and there's strange shit happening all the time and you can't control it. And he's just like, but I have to say, that's not how I think that the majority of creative people think. They think like we have to match the emotion of what we're seeing. And Scorsese's bravery is,

creative bravery is just like, no, this is how I saw a guy getting his head fucking stomped on the ground in my neighborhood. and, you know, Frankie Valley, a Frankie Valley ballad was playing in the background, you know? Yeah.

He seemed to just kind of say, like, fuck it with this movie. Like, I'm just going to, I'm going to do whatever creative impulse I want to do with this movie.

You know what I mean? Like detractors be damned or whatever. Right. Yeah. It's, it's his, I think it's his most personal movie. I think.

I wouldn't be surprised, knowing his upbringing, you know? I mean, maybe, maybe mean streets but it's so much earlier and he wasn't at the peak of his powers he didn't have the budget um i'm trying to think of another one that is more personal it's kind of later maybe the irishman that's very personal i feel like because of how the age he he was at when he made it

and all those guys were at yeah yeah i can see that scoring in that is fantastic as well soundtracking in that and the scoring he uses score he has robbie robertson yeah yeah which is a reason we have to cover irishman and that was something too which in the beginning, you don't like Irishmen as much as I do, do you? No, no, I, I like the Irishman. I haven't, I need to see it more. I haven't seen it enough.

I need to see it more, so it's sort of like lives in me some more, you know what I mean? Yeah, in the beginning, the scoring was a sore thumb, and now I can't live without it. Now I just, I love it. It's fantastic. It's the best music, the best, the best movies are the ones that, you know,

it's like Glenn says in Raising Arizona. It's a way home, You only get it on the way home. I love that. Okay. More life-imitating art. Bobby Vinton at the Copa. Okay.

That's actually Bobby Vinton. It's Robert Vinton. That's Bobby Vinton's son. No shit. Exactly like his dad. And is actually, I think he's the same age his old man would have been in that era when they were doing it. No way.

What else did he do? I don't think he did anything. I think he was just sitting around his whole entire life. I mean like, okay, I'm on the picture. I'm ready, Mr. Scorsesey. Here we go. Oh, my God. Roses are red.

Is that the song he does not seen? Roses, and he holds out his hand to the bottle goes to the table and he's. Yeah. Yeah. Yeah. That's the one. The way that this film is scored with its soundtrack that rock and roll is equals corruption. Rock and roll equals reckoning.

Not that Scorsese is coming down on rock and roll, but it's just the way the seduction of the lifestyle, which is the first half of the film, how you're seduced by this lifestyle. That's all doo-wop. It's girl groups. It's like, you know. Big strings, arrangements. It's roses are red.

Then he kissed me, leader of the pack. You know, like he's sure the boy I love, all these, the Ronnettes, the crystals, the whatever. And then as soon as we get into the nitty-gritty of Henry Hill doing cocaine with one of his multiple mistresses, it's like, you know, it's Mick Jagger's saying about rape and murder. You know what I mean? McChacker literally like puking into the microphone on a monkey man like, yeah, exactly. And that's obviously such a deliberate choice and it works so well.

I think on a almost like a subconscious level as you're watching this movie and moves you through where the character arc of Henry Hill is going. Yeah, I think that's accurate. I think that's accurate. I think this is, I don't own this soundtrack. I don't think it's important anymore. It exists. It exists.

It came out back of the day. It came out. It's not, it's not, you can't stream it. You can find playlists. Right. But you know what? You know what was not on? It's just wild.

I looked up the soundtrack. You know what Somme was not on the soundtrack? The physical CD that came out was jumping into the fire. Hmm. That's interesting. Which might be because it's so long. Maybe they didn't, you know. Yeah.

Yeah, you only had 70 minutes on a CD or whatever it was. Right. Right. Did you know, I think you're the one who told me this, that my way, they wanted the Sinatra version of it for the closing credits. Oh, I didn't. I didn't tell you that. I didn't know that.

Yeah, and they couldn't get it. So they went with the Sid Vicious version. And how fucking great is that? I love that. I love that. So much better. Yeah. Yeah.

So much better. Totally. Totally. I mean, I don't even think he would have gone with the Sinatra thing if he did clear it because it just, I mean, so on the money. I mean, was the plan to have the Sinatra thing playing while Tommy shooting? Yeah. No, because that would have taken us back in time. We need to be moving forward.

The music's moving forward as the characters are moving forward. You need to have the 1977, 77, 78, 79, whatever it is, version of that song, the punk version. It's the best credits, too. It's just the shooting, too.

It's just fucking, it's so good. It is great. It's so good. All right, let's talk about some movies we're going to do next month. We're going to do this every month, guys. And we're going to do it towards the end of the month

because we need time to think about this and, you know, put them together. I just think there's no, shortage of incredible topics that we can cover here. Boogie Nights comes to mind. That is a huge one. We can do 17 different Scorsese ones. There's a million Tarantino ones.

We came out of the gate big here with Goodfellas. I don't want to go so big. I don't want to burn out on all the huge ones. Yeah. Early on, we've got to come up with a good mix. I watched the other night. This is going to sound like the most emo shit ever, and I'm not trying to sound like fucking ghee from Rites of Spring.

But I watched Rachel getting married the other night. Yeah. I watched it the other day, too. And the soundtrack is, it's actually incidental. There are no songs mixed into it, but it's about a family in the music business, and there's a bunch of musicians at this wedding and you hear everything. It's fantastic. And the stories behind how they got that music, how they made it, how they shot it,

because it's a small little indie film, is really interesting. So I'd like to cover that at some point as well. I mean, there's so many. I mean, I wouldn't even, I don't even know how we would do it, but I'd love to do, there's no music and no country for old men, and somehow I think there's a version of us covering that. Because all the spots where the music should be, where it would have fucked it up. I don't know, what are some of the choices you've been thinking about? I mentioned this to you earlier.

I mentioned train spawning earlier. I re-watch train spawning recently, and I really think that that is sort of like the consummate example of using songs in your movie to to sort of communicate whatever you're, whatever's going on thematically and narratively in the film. So that springs the mind right away.

Yeah, there's so many places that we can go with this. I mean, yeah, okay, we could just turn this into the selections pod. We're not going to do that. Let's get some sort of list together with the listeners on Patreon.

We'll get some suggestions from folks as well. Yeah, man, this was fun. This is good. Absolutely. I'm going to go get my shine box, right? Is that what we're doing? Is that the way to?

Yeah, go get your shine box. I'm going to go pistol whip my neighbor across the street and go to bed. You want some fucko? You want fucko? You want some? All right. Hope you guys dug that. That was our first episode of this film should be played loud.

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