Martin Scorsese remains, at nearly 77 years of age, among the most vibrant, propulsive and gripping filmmakers working. He doesn't just tell you a story with his movies; he grabs you by the neck and throws you in, and as his latest film The Irishman shows, he's still got it. I don't know anything about his private life or what kind of weird mysticism he practices to stay so creative and energetic -- it could still be 1970s-style sex and drugs, or it could just be recharging in a donut pool floatie -- but one thing is clear: Marty's cinematic virility is thanks, at least in part, to the restorative power of rock and roll!
Over the course of Scorsese's long career, plenty of the songs that define his best-loved films' most memorable scenes have become what we today call classic rock. The backbeat drummin' and wailin' guitars the likes of which you'll hear on New York's Q104.3 (which we have no doubt is Marty's go-to in the shower) are the the soundtrack to Scorsese's cinematic oeuvre.
Well, that's not entirely true. There's actually precious little rock in The Irishman. Raging Bull is mostly opera, Taxi Driver has an amazing jazz-orchestral score by Bernard Herrmann (the great composer's final work) and Kundun ("I liked it!") features a symphonic swirl from modern composer Philip Glass. Mr. Scorsese contains multitudes.
But, hey, when you think of a Scorsese needle drop, you think of The Stones! To that end, here are the 20 best uses of classic rock in Scorsese's non-documentary movies, and that's classic rock as defined by me, so take it outside if you don't like Chicago blues or Motown girl groups; they are classic rock sometimes! Also, I'm sorry Donovan's "Atlantis" didn't make the cut. Don't like it, go get your shine box!!