32 Classic Songs Featured In Goodfellas

Music means a lot in Martin Scorsese's films. He uses a ton of classic songs in Goodfellas and he uses them perfectly. Sometimes the songs add to the mood, and sometimes they directly contrast what is happening on the screen, but in all ways, they help make a great film one of the best of all time. 

There is so much good music in Goodfellas it can be overwhelming. You really have to listen for some of the buried gems, like "Sincerely" by The Moonglows, which plays at the cookout hosted by Paulie early in the movie. It's a brilliant song. 

Martin Scorcese is, without a doubt, one of the best filmmakers of all time with a slew of legendary movies. One thing most have in common is his uncanny use of music to add to the drama, Goodfellas just happens to be among the very best. 

When Henry gets out of jail, Paulie holds a party for him. It's a celebratory affair, but underneath, of course, is the ominous dread that comes with Paulie warning Hanry not to sell drugs outside of prison. Tony Bennett sings the apropos "Boulevard of Broken Dreams" as the party goes on. 

Young Henry Hill learns pretty quickly just how ruthless his new mob friends can be when he lets slip that his father isn't happy about him working at the cab stand after a letter from the school reveals Henry hasn't been going. Paulie and the other guys from the cab stand take it out on the mailman and convince him not to deliver any more letter to Henry's house. "Hearts of Stone" by Otis Williams and the Charms adds some real charm to the scene. 

During the whirlwind romance between Henry and Karen, one of the dates features a show by Bobby Vinton where he performs one of his biggest hits, "Roses Are Red." Karen can't help but be overwhelmed as Vinton sends champagne to the new couple. 

"Wives and Lovers" by Jack Jones is the song playing at another pivotal moment in Henry's life when Morrie pitches the idea of the Lufthansa Heist. During a dinner party with Morrie and his wife at the Hill's house, the song plays on the new stereo bought to celebrate Henry's coming home from prison. 

Another one of the most classic scenes in Scorsese's Goodfellas features another deep track, "This World We Love In (Il Cielo In Una Stanza)" by Mina. It's the famous scene when Henry introduces all the gangsters at his restaurant and the music is just barely audible under the din, but once again it sets the mood perfectly. 

Another deep track Martin Scorsese pulls out in Goodfellas is "Life Is But a Dream" by The Harptones. It was never a big hit, but it's an amazing song and perfect for the wedding of Henry and Karen. The scene also has one of the great cameos of the movie with Scorsese's mother, Catherine, playing Tommy's mother and lecturing him at the wedding about settling down. 

"Playboy" by The Marvelettes is another great one you might miss if you're not paying attention, as it quietly plays in the car as Henry and Tommy sit outside Henry's restaurant which slowly is engulfed in flames as they look to collect the insurance money on the place. 

Even when the music isn't pivotal to the scene, Martin Scorsese still takes care to make sure it sounds good and fits the mood. Take It's Not for Me to Say" by Johnny Mathis, which plays quietly in the background of Henry's first awkward date with Karen. It features the perfect lyric, 

One of the most pivotal moments in Henry's life comes to the tune of "Speedoo" by The Cadillacs, a fantastic early rock n' roll song. It's to the sound of this song that Henry first meets Jimmy at the underground casino run by Paulie. His life would never be the same. 

Henry's description of prison for wise guys sounds a lot like a vacation. There's lobster, and steak, and very thinly sliced garlic by Paulie. What better way to evoke feelings of time off than "Beyond the Sea" by Bobby Darin? 

When Henry sets his first mistress Janice up in an apartment, they have a party to celebrate and there is no better music for a party than the indomitable Aretha Franklin singing her song "Baby I Love You." Poor Karen.  

Reality sets in for Karen when she attends a party with all the other mob wives. As they mingle and test makeup with each other, the sounds of a classic girl group, The  Shangri-Las' song "Leader of the Pack" fits the all-women scene perfectly.

It's a good Christmas for Henry and Karen after the heist. Henry buys an impressive white tree and showers his wife and kids with gifts, all to the tune of "Bells of St. Marys" by The Drifters.

Christmas is supposed to be the best time of the year, but at the Christmas party celebrating the heist, Jimmy is not in the best mood. It doesn't help when Morrie begs for his cut, as Darlene Love croons "Christmas (Baby Please Come Home)" under the tense conversation. 

There is a very brief moment of levity after the crew pulls off the Lufthansa Heist that is ushered in with the Phil Spector-produced Ronette's version of "Frosty The Snowman". It's short-lived though, as everyone starts showing up with expensive items they purchased with the money and Jimmy isn't happy. 

The opening of the movie is very different from the end in tone. Instead of the angry punk takedown of the ‘50s, audiences are treated to a classic big band number by the great Tony Bennett, “Rags To Riches”. The music serves to immediately put us in a time and place, with the same hopeful optimism that young Henry has when he discovers Paulie’s cab stand and sees Sopranos star Tony Sirico (as Tony "Stacks") getting out of a nice car. 

As the credits roll at the end of the movie, Sid Vicious belts out his punk version of the Frank Sinatra classic “My Way.” It’s the perfect end of the movie, the serene ‘50s of Henry’s youth are long gone, and the ‘70s are a much more chaotic and edgier time for the gangster, ending with him ratting on all his friends, and while Henry did it “his way”, it wasn’t the way he expected when he got into the life. 

Henry meets up with Sandy (Debi Mazer) at her place and things seem to slow down a little bit as they prepare the package to go to Pittsburgh. Even as he fights with Sandy some, it’s the calmest part of his day, reflected by the blues legend Muddy Waters belting out his classic “Mannish Boy”–a song he also sang live in another Scorsese-helmed film, “The Last Waltz.”

The paranoia and chaos continue with the crunchy opening riff of George Harrison’s “What is Life” as Henry continues his hectic day, just before he’s eventually busted. It continues to help build the desperation Henry is feeling. 

This live version of “Magic Bus” by The Who is a long, drawn-out take on one of the band’s earliest hits. It also shows up in the helicopter scene, and like the other mishmash of jumpy songs, this one fits right in as Henry barely avoids an accident. 

This underrated and somewhat obscure gem by Mick Jagger appears only for a little bit as Henry is on his way to the hospital to pick up his brother as he tears around town in his state of paranoia. The jumping back and forth between songs in this classic scene ups the frantic nature 10-fold and it works brilliantly. 

The paranoia continues for Henry as he, now with Karen in the car, with the helicopter following them as “Monkey Man” plays. Henry speeds off to Karen’s mother’s house to hide the guns. Karen is agitated and Henry looks so bad a doctor gives him something to calm him down. It’s the peak of Henry’s downward spiral. 

“Jump Into The Fire” by the late, great Harry Nilsson is another example of picking the exact right song for a scene in which Henry is on edge, burning the candle at both ends and hardly keeping his life or his work together. He’s strung out and paranoid as he runs all over town balancing his illegal activities, all while being convinced a helicopter is following him.

One of the greatest songs of all time, “Gimme Shelter” by The Rolling Stones is one of a couple of Stones songs that Scorsese mixes into the Goodfellas soundtrack to great effect. It shows up as Henry is explaining his new Pittsburgh connection with help from Debi Mazar's character, Sandy, and selling something he shouldn’t be selling. Paulie (Paul Sorvino) would not be happy if he found out, which he explains to Henry as the song starts. 

"Can't We Be Sweethearts" by The Cleftones is a doo-wop classic that evokes the ‘50s perfectly in the early scenes of the movie. Young Henry is just figuring out his way in the underworld and his father is not pleased about it at all, taking his belt to Henry after the budding gangster misses a little too much school. 

1961’s “Look in My Eyes” by The Chantels brings a laid-back and classic sound to the Air France heist, which conveys the laid-back way Henry’s first big heist was pulled off. Smooth and easy. 

There is something about Donovan that can add such a deep air of forbidding. David Fincher used Donovan to great effect in Zodiac, and in Goodfellas, it plays as Tommy (Joe Pesci) takes out a LOT of aggression on Billy Batts (Frank Vincent) while Donovan’s “Atlantis” raises the tension even more. 

The late 1960s weren’t exactly the Summer of Love for Henry and his crew, but Martin Scorsese still managed to slip in a flower-power anthem with Cream’s “Sunshine of Your Love." It comes much later in the movie’s timeline than the ‘60s, but it’s a pivotal moment in the film as Jimmy, played by Scorsese regular Robert De Niro, decides he’s going to whack Morrie (Chuck Low) and the rest of the crew he assembled for the Lufthansa Heist. 

Martin Scorsese didn’t just scratch the surface of late ‘50s and early ‘60s rock n’ roll, he dug deep. “Chariot” by Italian singer Betty Curtis is a perfect example. There are more famous versions of the song, but this one fits the scene when Karen confronts Henry after he stands her up on their double date.

Scorsese makes liberal use of that classic Phil Spector “Wall of Sound” sound throughout Goodfellas. In what is, if not the most famous scene in the movie, it's right up there as Henry (Ray Liotta) and Karen (Lorraine Bracco) make their way into the Copa in that amazing Steadicam shot that uses “Then He Kissed Me” by The Crystals. A perfect song for a perfect date. 

When most people think of “Layla” by Derek & The Dominos (Eric Clapton & co.) they think of that monster riff that opens the song. Instead of using that, Scorsese uses the epic outro of the piano and dueling guitar solo by Clapton and Duane Allman as bodies from the Lufthansa Heist start showing up all over the place from dumpsters to meat lockers. It’s the best use of music in any movie, ever, and it’s one of those movie songs that make me think about a specific scene.