The Ultimate Guide to The Continental Soundtrack: Unveiling Every Song & Its Perfect Placement

Warning! This article contains spoilers for The Continental.

Summary

The Continental possesses a unique visual flair and a richly layered soundtrack that effectively captures the spirit of 1970s New York City, infused with disco vibes.

The carefully handpicked songs in The Continental's diverse soundtrack masterfully enhance individual scenes, allowing the audience to experience the intended emotions.

Key moments in the series are accompanied by songs like "I Feel Love" and "La Grange", while transitions and the overall tone are set by songs like "Yes Sir, I Can Boogie" and "The Boss".

With a soundtrack featuring songs from the 70s and previous eras, The Continental effectively sells its past setting. In this prequel, titled The Continental, the story is set in the 1970s and explores the origin of Winston Scott and his brother Frankie. In the original John Wick films, Ian McShane portrayed Winston as the manager of the New York Continental, while Colin Woodell portrays a younger version of Winston in this prequel series.

Given that The Continental is set in the 1970s, it boasts a distinct visual style that sets it apart from the John Wick films. This deliberate choice aims to immerse viewers in the earlier period of the story. Alongside meticulously themed sets, seamless CGI, vintage cars, authentic props, and era-appropriate outfits, the show also features a dynamic soundtrack that enhances the overall disco-infused ambiance of New York City. Consequently, we present you with a comprehensive list of songs in The Continental's diverse soundtrack and their respective moments of prominence throughout the episodes.

The Continental: "Brothers In Arms - Night 1"

"I Feel Love" by Donna Summer is the first song heard in The Continental episode 1. It plays at the New Year's Eve party held at the titular hotel. As Frankie initiates his heist, a tracking shot follows him from downstairs to upstairs, passing through the vibrant party and ultimately leaving the hotel. Throughout this sequence, the iconic disco tune perfectly captures the essence of 1970s New York.

The song "Samba Pa Ti" by Santana plays in the background as Winston is introduced in The Continental's story. After using his affair with a business partner to strike a deal with her investor husband, Winston and his lover reunite in their hotel room in London. The scene is set with the romantic tone of "Samba Pa Ti" before Winston is taken by Cormac's goons.

After Winston is captured by Cormac's henchmen, his journey to New York is depicted through establishing shots of the city's skyline. The song "Strange" by Wire accompanies these shots. The choice of "Strange" is quite fitting, as the lyrics mention strange occurrences in the world, reflecting Winston's feelings of being dragged back into a world he had left behind.

The song "Chicken Strut" by The Meters accompanies the scene where Winston is escorted into the Continental after being kidnapped. Not only does it capture the funk-infused groove of the 1970s, but it humorously applies to Winston's situation. The song plays as he is forced to "strut" through The Continental up to Mel Gibson's Cormac.

After Winston's interrogation by Cormac, the song "If You Leave Me Now" by Chicago can be heard briefly. Although not a main part of The Continental's soundtrack, this iconic soft rock song serves as a transition between Winston's exit from the hotel and the introduction of Detective KD and Mayhew, as the exterior of The Continental is shown.

The characters KD and Mayhew are introduced in The Continental through a passionate love scene. Following this, KD departs from Mayhew's apartment to go to work, while in the background, a radio plays the 1960s song "Crimson and Clover" by Tommy James & The Shondells. The lyrics of this song emphasize the connection between the two characters from The Continental.

Meanwhile, after leaving Mayhew's apartment, KD starts surveilling a black-market transaction involving Lou, Miles, and a representative of The Continental. As the buyer escapes the scene injured, KD captures photographs of his vehicle and proceeds to follow him back to The Continental. Throughout KD's surveillance, the song "Dirt" by The Stooges provides the musical backdrop.

After Winston is given a mission to find his brother Frankie by Cormac, he heads to Uncle Charlie's place, a childhood friend of the brothers. Uncle Charlie equips Winston with a gun and a car, instructing him to go to a dojo in Chinatown, which serves as a cover for Lou and Miles' illegal firearms operation. The scene unfolds as Winston drives off in the car, taking us through the streets of New York in The Continental episode 1, enhanced by the energetic melody of ZZ Top's "La Grange."

Upon reaching Chinatown, Winston arrives to the accompaniment of another iconic track from the early 1970s, "Roundabout" by Yes. The music sets the tone as Winston exits the car and walks into the dojo. The song gradually fades out shortly after Winston engages in conversation with Lou.

The introduction of the villainous character, the Adjudicator, takes place in the following scene of "Yes Sir, I Can Boogie" by Baccara. During the interrogation of the man Frankie collaborated with in the opening of The Continental episode 1, the Adjudicator and her associate engage in a violent confrontation. The transition between scenes is marked by the playing of "Yes Sir, I Can Boogie."

Following the Adjudicator's scene, there is a subsequent one in The Continental where KD, a detective, is seen investigating the hotel. As KD enters the premises, the song "The Boss" by James Brown begins playing. This song effectively captures the opulent and lavish atmosphere of The Continental, with its lyrics about asserting authority and having abundant wealth aligning perfectly with the sophisticated and smooth rhythm.

In The Continental episode 1's climactic scene, Winston arrives at Charlie's with Frankie and Yen. The sound of "Daddy Cool" fills the air as Charlie and his companions engage in a card game. However, the atmosphere quickly shifts to a more serious tone, with "Daddy Cool" serving merely as background music. Soon after, Frankie and Yen engage in a heartfelt conversation.

In a departure from the soundtrack, The Continental episode 1's third act primarily employs orchestral score. The first episode concludes with "Children of the Grave" by Black Sabbath playing during the end credits as Winston makes his way back to Lou and Miles' dojo. The lyrics of this song resonate with Winston's character, as they speak of fighting until victory is achieved, fueled by hatred in the heart. Winston pledges his determination for revenge against Cormac in the closing moments of The Continental episode 1.