Martin Scorsese has this thing with music. It isn’t just about picking a cool track to play over a car chase; it’s about the soul of the scene. When you think about The Departed soundtrack songs, you probably immediately hear that screeching bagpipe intro or the heavy, distorted riff of "I'm Shipping Up to Boston." It’s loud. It’s abrasive. It’s Southie. Honestly, the music in this movie does more heavy lifting for the character development than half the dialogue. It tells you exactly who these people are before they even open their mouths to lie to each other.
Music is the pulse of the film. Howard Shore handled the original score, which is great, don’t get me wrong, but the curated songs are what people actually remember. They create this weird, tension-filled atmosphere where you’re never quite sure if someone is about to get shot or just grab a beer.
The Dropkick Murphys and the Sound of South Boston
You can't talk about the film without mentioning the Dropkick Murphys. "I'm Shipping Up to Boston" is basically the unofficial anthem of the movie. It’s interesting because that song almost didn't happen in the way we know it—the lyrics were actually written by Woody Guthrie. Yeah, the "This Land Is Your Land" guy. The Murphys found the lyrics in his archives and blasted them with punk energy.
In the film, it serves as a recurring motif for Billy Costigan’s internal chaos. Every time that mandolin and accordion kick in, you feel the walls closing in on Leo DiCaprio’s character. It’s fast. It’s frantic. It mirrors his panic attacks. Scorsese uses it to anchor the movie in a specific place—the grit of Dorchester and Southie—making the setting feel like a character that’s actively trying to kill the protagonists.
Rolling Stones: The Scorsese Signature
It wouldn't be a Marty movie without the Rolling Stones. He’s obsessed with them. While Goodfellas and Casino famously used "Gimme Shelter," The Departed goes for "Gimme Shelter" yet again. Some critics back in 2006 thought it was a bit much. A repeat. But if you watch the opening montage where Frank Costello (Jack Nicholson) is introduced, it fits perfectly.
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Costello is a relic. He’s a guy who’s been around since the 60s and 70s, and he’s still the apex predator. "Gimme Shelter" represents that looming, apocalyptic dread that follows him. It’s not just a song; it’s a warning. The way the opening bass line creeps in over Nicholson's shadow sets the tone for the entire two-and-a-half-hour runtime. It tells the audience that no one is safe and the storm is already here.
Later, we get "Let It Loose" from Exile on Main St. It’s a deeper cut. It plays in the background of the bar where Billy is trying to prove his toughness. It’s soulful, messy, and kinda desperate—exactly how Billy feels while trying to infiltrate Costello’s inner circle.
The Weirdness of "Comfortably Numb"
One of the most debated choices among The Departed soundtrack songs is the version of "Comfortably Numb" used during the sex scene between Billy and Madolyn. It’s not the Pink Floyd original. It’s a live version by Roger Waters featuring Van Morrison and The Band, recorded at the Berlin Wall in 1990.
Why use a live version? It’s raw. The vocals are a little rough around the edges. There’s a specific kind of loneliness in Van Morrison’s voice that highlights the isolation of the two characters. They are both living lies—one as a mole, one as a therapist for a mole she doesn't know is a mole. It’s a "fake" version of a song about being numb, playing over a "fake" relationship. It’s meta in a way that only Scorsese really pulls off.
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Operatic Tension and Italian Roots
Even though it’s an Irish-American story, Scorsese sneaks in his Italian roots. During the scene where the deal with the Chinese mob goes south, we hear "Sextet from Lucia di Lammermoor" by Gaetano Donizetti.
This is classic Scorsese. He loves juxtaposing high art with low-life violence. The opera is soaring and tragic, while on screen, men are sweating in a dirty warehouse, frantically trying to avoid a police raid. It elevates the stakes. It turns a grimy crime scene into a grand tragedy. This isn't just a drug bust; it’s the beginning of the end for everyone involved.
Roy Buchanan and the Melancholy of the Departed
The ending. Man, that ending. As the credits roll and the camera pans across the balcony to the golden dome of the State House (and that infamous rat), we hear Roy Buchanan’s cover of "Sweet Dreams."
Roy Buchanan was a "guitarist's guitarist." He was incredibly talented but never quite hit the mainstream, and he had a tragic life, eventually dying in a jail cell. Using his music is a subtle nod to the "departed" souls of the film—the people who were talented, who had potential, but got chewed up by the system. The crying guitar notes provide a sense of finality that a standard pop song never could. It feels like a wake.
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Why the Soundtrack Works Better Than Most
Most soundtracks are just collections of hits. They’re marketing tools. The Departed is different because the songs feel like they were pulled from the characters' own record collections. Frank Costello probably does listen to the Stones. The guys at the bridge probably do blast the Dropkick Murphys.
There’s also the inclusion of "Baby Blue" by Badfinger. Most people associate that song with the finale of Breaking Bad now, but Scorsese used it years earlier. It plays when Billy is following Costello’s crew. It’s upbeat but has this underlying sadness to it. It catches the viewer off guard.
The Missing Pieces: Why Some Songs Didn't Make the Album
It’s a bit of a bummer, but the official CD release of the soundtrack didn’t include every song from the movie. Licensing music is a nightmare. This happens a lot with big directors. You’ll hear a track in the theater, go buy the album, and it’s nowhere to be found.
For example, "Well Well Well" by John Lennon and "Tweedle Dee & Tweedle Dum" by Bob Dylan are crucial to the movie’s grit, but they weren't on the initial soundtrack release. If you want the full experience, you basically have to build a custom playlist. It's the only way to capture the full narrative arc Scorsese intended.
Actionable Steps for the Ultimate Listen
If you’re looking to dive back into this world, don't just hit play on the first Spotify playlist you find. Do it right.
- Track Down the Live Versions: Make sure you find the Roger Waters 1990 Berlin version of "Comfortably Numb." The studio version doesn't have the same grit.
- Listen in Order: The sequence matters. Start with "Gimme Shelter" and end with Roy Buchanan. It maps the rise and fall of the characters.
- Watch the Lyrics: In Scorsese films, the lyrics often comment directly on the action. When you hear "I'm Shipping Up to Boston," look at the lyrics about "finding a wooden leg." It’s all about searching for something that’s missing—just like Billy and Colin are searching for their lost identities.
- Explore the Blues: Roy Buchanan’s discography is a goldmine if you like the "Sweet Dreams" vibe. Check out Buchanan and the Snakestretchers.
The music in The Departed isn't just background noise. It’s the connective tissue between the blood and the betrayal. It’s why we’re still talking about these scenes twenty years later. The songs make the violence feel operatic and the silence feel deafening. If you haven't sat down and really listened to the film lately, you're missing half the story.