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

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So the next time you need someone to get the job done right, get matched with quality candidates with an Indeed sponsored job. Visit Indeed.com slash NextHire and sponsor your job today. Hey, Discos, we have a special treat for you today in the feed. Today we are unveiling to all of you, 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, Disgraceland host, of course, Jake Brennan, and Hollywood Lands, Zeth Lundy. In this new show, Zeth and I tackle our favorite topic, the convergence of music and films. This is kind of like a combination of Disgraceland 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 good fellow soundtrack or curious to understand how the songs and 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 Disgrace Land 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 going to hear our first episode of this film should be played loud on the great soundtrack for the incredible film Good Fellows. You can hear it here for a limited time in the Disgrace Land feed but all access members can watch this Good Fellows 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 uh, I'm going to go get my shine box right? Is that what we're doing? Is that the way? Yeah, 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? Welcome to the first episode of this film should be played loud in exclusive video podcasts for our Patreon listeners. A podcast about great music in great film. This first episode is on Good Fellows 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-host. Zeth, how are you my man? I'm doing great man. I'm psyched to talk about Good Fellows. It's turn 35 this year. I know that's crazy. That is, I was um, I was 1990, I came out, I was 16 years old. I saw it at the Sears Town Mall in Lemonster, Massachusetts. Wow. I went with a bunch of friends from Clinton. I believe Bruce Millet took us in what would have been a big black Cadillac arriving in style. And um, I think my good friend Mr. Dave Duchinowski 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. 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 were at when you finally saw Good Fellows. You know, I was thinking about that earlier. I did not see it in the theater. 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 Good Fellows 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. Yeah. 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, I mean CDs weren't even a thing yet. 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 here. 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. Okay. I'm just making history with the film here. So Memo from Turner is, is a obscure Mick Jagger song that the Rolling Stones recorded. It was first recorded by the Stones. Then I think I have this right. 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. Right. Right. Kudor plays slide on it. Did I say John? Right. Kudor. Right. Kudor. Yeah. And this is for the performance soundtrack, right? The performance soundtrack, right? I remember you in Hamlock Road in 1956. You're a fagggy 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, of the helicopter scene, right? Everyone knows the helicopter scene from Goodfellas. This might be- You're jumping ahead here, but you're getting excited. Whatever. We have no format. This is just all about music and music 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 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 Nielsen. Then it goes to Memo from Turner, the Mick Jagger version, however incorrectly credited in the soundtrack as a Rolling Stones song. It's actually not. It's the Mick Jagger version. Then it goes into like a couple seconds of the live 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 Managed Boy by Muddy Waters. And then of course, the writing's on the wall for Henna 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 Managed Boy going, Everything. Everything is going to be alright this morning. That's it. Everything, everything is going to be alright this morning. And then it comes 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. Right. 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 Pelleggi and he's got like, 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 or your love here. Right, exactly. Pelleggi's rereading the script and he's just, this is a sunshine or love. It's just an ad cream. Yeah. Pelleggi's like, what the fuck do you mean ad cream? He's like dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun I mean, I've actually, I've worked on indie films and stuff. I've had music supervised stuff and did music for a film, a Parker Posey film. And the director, who 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 Scorsese 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 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. But this is after he grows up. And this is the good thing about Goodfellas. It really feels like, I don't know, it was growing up in my small town, it was very much like this, where 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 boomboxes 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 ear pods on, and they're little pods in 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 two block stretch of downtown New York, where Martin Scorsese grew up in the 1960s, and that 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, the opening is, by the time he blows up the cars, you've already whipped through, 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 do-op, it's go groups, it's Italian, it's all over the place. But it's what he would have heard. Right, exactly. And he's so fearless with his music choices and confident. And, you know, I don't care, man, like, I know we all love Memo from Turner and Monkey Man, but no one knew those fucking songs except Stonesheads. And they'd be like, well, if you're gonna put a Stonesong in there, give me a shelter, I understand. But, you know, why not Jump and 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 the, you know what I mean? Like, and he's like, no, fuck you, it's these songs. I had never heard, to the point earlier, you're talking about Memo from Turner. I had never heard Monkey Man. I had never heard Memo from Turner. I had never heard Harry Nielsen's Jump in the Fire. I had never heard any of these songs until I saw them in Goodfellas. 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. I think we all do, but yes, yeah. Like the Rolling Stones were, I was kind of like, I was 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, 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 my friends didn't, right? 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 1990s. Yeah, because all we knew was rocking a hard place at the late 80s, you know what I mean? Yes, yes, they were lame. Those records sucked, those 1980s records sucked. Steel Wheels I like now. I kind of like Steel Wheels now, I gotta admit, yeah. I hated it then and all my friends record it 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 Goodfellas is out, now it's like shorthand and it's in the culture, it's in the zeitgeist, we're hanging out upstairs at the Middle East or whatever, we're their friends and we're like, layla's on and we're like, and you know, the piano part happens, we're like, this is the best shit Clapton ever did. You know what I mean? Because he's not on it. At that point, but it cemented that song for me. I love it, I fucking love the tune, the whole thing, the entire song, it's fantastic. And I gotta 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, down, down, down, down, and it's when he realizes he's gonna kill Morty. Yeah, he's taking that long drag on the cigarette. Yeah, it's fucking pure evil and Sunshine of Your Love is playing. It's getting you done when lights go outside, you're the light. And my son just goes, I'll soon be gone. 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, 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? Like, yeah. Oh, wow, wow. So, just like the Rolling Stones, in 1990, we're fucking dead. Clapton was nothing in 1990. Yeah. I mean, the lamest, you know, like, my friend's dad's like Derek Clapton. You know what I mean? Well, it was that whole, we joke about this, but it's that whole divorce rock era. It really is. What's that, oh shit, what was that record he had out, it was super slick. Promo's this, Promo, no, that's not the one, it's Promises, he has a song, Promises. I love that, I love that shit now, that's the thing. No, I do too, hold on, but he had a, like, he had this incredible divorce rock record out of that time. Journeyman came out in 1989. Journeyman had pretending, running on faith, bad love, no alibis, this was like the super slick AOR, Eric Clapton, which sort of made him super lame. Lost in love, situations change. Yeah, I think the I Shot the Sheriff's stuff is like 1980, 1981, that's okay. And then it's bad, and then he has a Scorsese, Rise again with Color of Money. Color of Money. It's in the way that you use it. All you know. Which is also lame, I was like, this is like a fucking Miller-like commercial. It's lame. 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, it's of that time, you know? Yeah. One more night. Yeah, Color of Money is, it's essential. It's amazing. Essential? Really? Yeah, it's essential. It's essential Scorsese, yes. Yeah. 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 on the weeds about this, but he's playing, Paul Newman thinks he's playing Tom Cruise, and Tom Cruise has been playing Paul Newman the whole movie. It's just, ah, awesome. It is so good. It's so damn good. It is not hard to destroy a college. Last season, the podcast Campus Files brought you stories of fraternity drug rings, stolen body parts, campus cults, and more. And now Campus Files is back for another season. There's a guy screaming into his phone. He's like, I just saw Charlie Kirk just ass-nated right in front of me. Every week is a new episode and a new story. It was so chaotic. It's almost like a university on a siege. Listen to and follow Campus Files, available now wherever you get your podcasts. 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 gonna do this once a month for a Patreon listeners for you guys. And we're gonna do a new movie every month. And we're gonna talk about the music in that movie. We're gonna talk about this, here we're clearly talking about the soundtrack, but we're also gonna talk about the score. We're gonna talk about music supervision. And we're gonna do it more in a fanboy kind of way and less in kind of a nerdy research kind of way. Cause we do enough nerdy research on other stuff. And this is just stuff that's fun to talk about on a Tuesday night while I'm having a glass of bourbon with my doctor here. So we're gonna 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. Because I've had it with modern scoring in television. Like I'm watching the New Clare Daines Netflix show, which I kind of like a lot. 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? 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, okay. 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. They're fucking a should be, man. Like you think of all the great movies with great soundtracks. Good fellas, Boogie Nights, Easy Rider. I can go on and on, do the right thing. It's endless. Yeah, yeah. It's the graduate. It's like why we're gonna be doing this show forever. Exactly. Endless material. So one thing I wanna look at though, I wanna 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 gotta look first at the best picture nominees which Goodfellas was nominated for best picture. Didn't win. It only won, it was nominated for five awards. It won, Joe Pesci won for best supporting actor. That's it. Okay, what one best picture? Best picture was, Dancers with Wolves. Yeah. Okay, so best picture nominees. Dancers with Wolves, Ghost, Awakenings, Godfather 3 and Goodfellas. Now, of these, I think the only one that sniffs a best soundtrack nomination, I can't believe I'm fucking saying this, but Ghost because of that iconic righteous brothers, fucking Swayzee. I was like, was that Swayzee kind of like, feeling up whoopie Goldberg and Ghost and the righteous brothers were playing. I looked it up and I was like, no, to me more. But whoopie Goldberg was in Ghost. Okay. That 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. Yeah, it probably was too. Big Chill turned me onto a lot of shit. Big Chill. Stand by me. Good morning, Vietnam. All that stuff, yeah. What was the other one? The Cher one. Was it the Mermaids? Little Mermaids? Mermaids, yeah. I think that was another one. Kind of Big Chili. So other films from 1990 that came out that weren't Best Picture. Okay, here's a 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 3, and you didn't even know there was a 3. 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. 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, baby. Oh yeah, Pump Up the Volume has got the Wave Immutilation UK surf version, that slow version of the Pixies Zone. Sorry, I digress there. It also has Henry Rawls 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. 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 UK surf version. Kick Out the Jams, I mentioned the MC5 tune, Bad Brains and Henry Rawls. 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. Why were we talking about it? Hi, Dad, I'm in jail because we were just talking about Was Not Was and I asked you if you knew that song and it's just such a great song. It's not even a song. It's just an experimental, strange track. Just a telephone call. It's just Don Was recording Ryan Adams calling home. All right, the Wild at Heart soundtrack. Yeah. All right, a lot of Angelo Bottleamente. So I'm not gonna go through that. There's literally like seven songs. There's them doing Baby Please Don't Go. Sure. Great. Chris Isaacs' Wicked Game, Gene Vincent, Beep-A-Baloola. This is what you'd expect. The Cage to In Love with Ten. I think there's that thrash metal band is on there too that the club they go to. It's kind of all over the place. It's the best way. 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 wanna hear Nick Cage doing Love Me Tender. Dude, it's amazing. I've watched this movie probably more than I should. It's 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? To, it's not Love Me Tender, because he says he's gonna sing that to his wife. He sings another Elvis song. Love Me, maybe? Yeah, yeah, yeah. Treat me like a... Treat me like a... Treat me mean and cruel. But love me. All right, so Wild at Heart, Pump Up the Volume, and then House Party, L.O. Cool J to the Break Dawn, Luther Vandross, Delphonix, Hey Love, Bad Boy Having a Party, Sam Cook. So this is a good one. This is a good one. It didn't really crack the... Eric B. Ruckham, Run For Cover. Yes, this is a great soundtrack. So if we're nominating, we gotta come up with five. Let me know. These are the five I have. Goodfellas, 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 wanna throw Godfather III in here? No. Godfather Waltz for the 1700s time. No, no I don't. And I actually did a little recon just to see if we were missing anything. And we're really not. There was the Adventures of Ford Farrell-ey movie, the movie with... 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 best soundtrack nominations for the year that the movie comes out? But Goodfellas might be the greatest soundtrack ever. So nothing is gonna come close to it in 1990. You know what's great about Goodfellas soundtrack is it just seems to span the genesis of rock and roll. It starts with doo-wop and girl group, and then it moves into British Invasion and that gritty rock and roll, rolling stones, cream, whatever. It's like drug rock. Drug rock, absolutely. 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 he's fucking. Exactly, everything's got that, yeah, that filthy gritty kind of. Dwayne Almond and needles hanging out of their arms and like that Eric Clapton, you know what I mean? Songs written by a fucking murderer but Clapton claims the credit. And two songs that involve Jim Gordon on drums, right? Layla and Jump into 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, there's a book that's about the making of Goodfellas and in that book there's a list of song titles that Scorsese 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 Nilsson is not on this list. But some of the songs that are on this list that were not used include With a Little Help for 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 wanna 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 druggy rock. That's True Blue. True Blue? Never been a millionaire. And I tell you, Mama, I don't care. Never gonna own a race. Whoa. Yeah, 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 it's morning woods plan. Oh no, you're right, you're right. Okay, all right. Anyways, okay, Gasoline Alley by Rod Stewart. Only the Good Die Young by Billy Joel. Oh, great one. The things that you might have done Only the Good Die Young. 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, and it would have had this whole blow up shine culturally to it, that it doesn't really have, you know? Yeah. Ready to launch your business? Get started with the commerce platform made for entrepreneurs. Shopify is specially designed to help you start, run, and grow your business with easy customizable themes that let you build your brand, marketing tools that get your products out there, integrated shipping solutions that actually save you time, from startups to scale ups, online, in person, and on the go. Shopify is made for entrepreneurs like you. Sign up for your $1 a month trial at Shopify.com slash setup. Now, not to get like too like, too much professor Lundy about this at all, but do you notice that, It's Dr. Lundy 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 to the Rolling Stones. We jumped from do-wop and girl group stuff, to rock and roll 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 with 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, nothing. It's the aftermath. It's the aftermath. Yeah, yeah. It's just like, it's dead. Everything's dead. It's Heinz ketchup on egg noodles, dead. I was gonna say, I was gonna try this. You notice that DeNiro's, that Jimmy puts ketchup on his pasta? And he shakes it. He shakes it. My buddy Dave Walsh from Clinton used to do that. He used to just fucking shake it. Oh my God. 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 ya. Yeah, I know. I know. I'm getting for like the $9 at Whole Foods, but who wants to do that? So there's some interesting music, 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 Youngman is, some club. I think so. And they cut from the club and Henny on stage doing his thing. Take my wife, that whole bit, you know what I mean? Right. And he keeps going. They cut through the airport where they're stealing, you know, they're robbing the airport. The first time. And he still do his bit. I said try to catch him. Dr. Welter is here. Wonderful job to give a guy six months of live. Couldn't pay the bill, give another six months. While they're showing them walking, you still hear it. It's so good. It's so fucking good. It's one of those things I'm like, did Scorsese fall into that? Did he invent that? Or who did he steal it from? I want to know where that came from. Cause it's so simple, but it's so brilliant. It's just great. It's just great. His cinematic language is just unmatched. It's really this like the syntax, the punctuation, the everything. He's just, it's like someone's talking to you with all the senses, you know? Yeah. I mean, it was, I was reading about, talk about punctuation, the opening scene, you know, when they're, after they opened the trunk of the car and they stab bats and then they, they slam the trunk and rags to riches starts. They had a fight in the edit over and over again to get that. So it, the trunk slams on the downbeat. The trunk slams on the downbeat. The trunk slams on the downbeat. The trunk slams on the downbeat. The trunk slams on the downbeat. 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, on the one or whatever, but it's like that. They, and he wanted the down beat 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's just, 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 just, we can pull this one of these out of every movie I feel like out of 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 Dylan movie, until probably 10 years after I saw Goodfellas. Yeah. Same. Yeah. So it took me a full decade to develop my hatred of Donovan. Okay. And I fucking hate- Is your hatred of Donovan like vicariously through Bob Dylan? Because Bob Dylan hates Donovan. Really? Well, you can kind of tell in that movie. And he's just such a twit and he's, he's, I was, 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 like 20 years of Goodfellas for me to finally be like, I love Donovan. When you're in love, in love only you're gone. Just because of Atlantis. Atlantis. Yeah. It's so good. The counterpoint between that song and its hippie-dippy bullshit and the violence that's going on. Totally. You know who stole that completely? Is Gus Van Zant in Goodwill Hunting. Come on. It's me. It's me, Will. Remember, we went to kindergarten together. We're down the street, there's a long, long place. When they're tooling on the kid in South Boston in the beginning of the film and Jerry Rafferty's Baker Street is playing. Yep. Yep. Absolutely. It's the same thing. It's just slow motion, all of it. I don't know, I think they do like a bit of slow motion in the scene where they're beating on Billy Bats. Maybe not. There might be. I always get that scene. That scene is very similar to that scene in Casino where the pressure stabs the guy with the neck with a pen. It's a very similar kind of life. It is very similar. Look out. Look out. Look out. The good fellow scene though with Atlantis is one of those great, like you put it, counterpoints. That song is not at all what you'd expect for that moment of violence. And 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. Why it's so important because if you were in a bar and a fight broke out, the fucking jukebox doesn't care what song's playing. Exactly. 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 Frankie Valley, Frankie Valley ballad was playing in the background. Yeah. He seemed to just say, fuck it with this movie. I'm going to do whatever creative impulse I want to do with this movie and detractors be damned or whatever. Right. Yeah. It's his, I think it's his most personal movie, I think. I wouldn't be surprised knowing his upbringing. 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. I'm trying to think of another one that is more personal is kind of later, maybe the Irishman. That's very personal, I feel like, because of how the age 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 score. Yeah. Which is a reason we have to cover Irishman. And that was something too, which in the beginning, you don't like Irishman as much as I do, do you? No, 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 movies are the ones that, you know, it's like, it's like Glenn says in Raising Arizona, it's a way home or you only get it on the way home. I love that. OK, more, more life imitating art. Bobby Vinton at the Copa. OK. 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 as old man would have been at, in that era when they were doing it. No way. What else did, what did he, what else did he do? I don't think he did anything. I think he was just sitting around his whole entire life being like, OK, I'm on the bench here. We need a phone call. I'm ready, Mr. Squishassie. Here we go. Oh my God. Roses are red. Is that the song he does not sing? Roses. And he holds out his hand to, that 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 Squishassie 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 do-wop. It's girl groups. It's like, you know, big strings, arrangements. It's roses are red. It's. Then he kissed me leader of the pack, you know, like he's sure the boy I love. All these, the Ronettes, 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. It's Mick Jagger. About rape and murder. You know what I mean? Mick Jagger 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, where the, the, the character arc of Henry Hill is going. Hmm. Yeah. I think that's accurate. I think that's accurate. I think this is, um, I don't own this soundtrack. I don't think it's important. It exists. It exists. I mean, it came out back in 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 was just wild. I looked at the soundtrack. You know what? Psalm was not on the soundtrack. The physical CD that came out was jumping to 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 were the one who told me this, that my way, they wanted the Sinatra version of it for the closing credits. Oh, 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. Yeah. 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, would it was the plan to have the Sinatra thing playing while Tommy shooting? Yeah. No, because that would have, that would have taken us back in time. We need the, we need to be moving forward. The music's moving forward as the characters are moving forward. You need to have the 1977, 78, 79, whatever it is version of that song, the punk version. It's the best credits to it. It's just the shooting to it's just fucking. It's so good. It is great. It's so good. All right. All right. Let's talk about some movies we're going to do next. 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 then, you know, put them together. Um, 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 good fellas. I want to, I want to, I don't want to go so big. I don't want to burn out on all the huge ones. Yeah. Early on, we 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 Guy from Rights of Spring, but I watched Rachel getting married the other night. Yeah. Yeah. I watched it the other day too. And the soundtrack is, it's, uh, it's actually incidental. Yeah. There are no songs mixed into it, but it's about a family in the music business. And you, 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 would 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. What, I don't know, what are some of the choices you've been thinking about? I mentioned this to you earlier. I mentioned Transpawning earlier. I really watched Transpawning recently and I really think that that is sort of like the consummate example of using songs in your movie to sort of communicate whatever your, whatever's going on thematically and narratively in the film. So that springs to mind right away. Yeah. There's so many places that we can go with this. I mean, yeah. OK, we could, 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. Great idea. Well, yeah, man, this was fun. This is good. Absolutely. Let's, I'm going to go get my shine box, right? Is that what we're doing? Is that the way? Yeah. 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 fuck off? You want fuck off? You want some? Yeah. Now we can go. Yeah. Yeah. Yeah. Yeah. All right. Hope you guys dug that. That was our first episode of this film should be played loud. You can watch and listen to all episodes by becoming an all access member of Disgraceland on Patreon. Go to DisgracelandPod.com to sign up. And if you sign up now for a limited time, you can receive 20% off your monthly or yearly membership by using code disco at checkout. Disgraceland, all access members also receive ad free listening to all Disgraceland and Hollywood land episodes and access to the disco community in the Patreon chat. Again, go to DisgracelandPod.com to sign up now and get 20% off with code disco. D I S G O. Thanks for your support, guys.