Ocean's Eleven

Performer: Original Soundtrack
Engineer: Jim Schultz; Hugo Nicolson; Joe Chiccarelli; Mike Olson
Producer: David Holmes
Distributor: WEA (Distributor)

Notes: Original score by David Holmes. Personnel: Chris Dawkins (guitar); Steve Tavaglione (flute, saxophone, EWI); Ron King (trumpet); Stephen Hilton (keyboards, programming); Jim Watson, Scott Kinsey (keyboards); Brad Dutz (vibraphone, percussion); Dave Carpenter, Robert Hurst (double bass, electric bass); Zach Danziger (drums, percussion); Hugoth Nicolson (percussion). Recording information: The Studio At The Sunset Marquis, West Hollywood, CA. Photographer: Bob Marshak. Arrangers: David Holmes; Lucien Cailliet. While the 1998 crime caper OUT OF SIGHT was the first film to bring together a suave George Clooney character, the maverick vision of director Steven Soderbergh, and the lively compositions of Irish electronica artist David Holmes, the 2001 remake of OCEAN'S ELEVEN perfected--and popularized--the collective aesthetic of those elements. The soundtrack to the hugely successful heist flick deftly blends snippets of ELEVEN's dialogue and vintage pop tracks--most notably Percy Faith's swooning, elevator-ready "Theme for Young Lovers" and an energetic remix of Elvis Presley's "A Little Less Conversation"--with Holmes's groove-oriented, 1970s-inspired originals, resulting in an album that successfully captures the mischievous verve of the movie, particularly on the cool, calculated, and exceptionally funky "Boobytrapping." Steven Soderbergh's re-imagining of the Rat Pack Vegas caper Ocean's 11 features an appropriately stylish soundtrack that mixes David Holmes' original score with a diverse range of additional songs. Like the film itself, Holmes' pieces are hip, but still have widespread appeal. Slinky, slightly edgy pieces such as "Boobytrapping," "Ruben's Inn," and "Gritty Shaker" are equally inspired by the tense cool of Lalo Schifrin and the street-smart style of Curtis Mayfield and Isaac Hayes' Superfly and Shaft soundtracks. Aside from a few breakbeats and the odd synth riff, Holmes downplays the overtly electronic element of his music, focusing instead on funky basslines, vibes, strings, wah-wah guitars, and lively percussion for a sleekly organic sound. On tracks like the dreamy, mysterious "Tess" and the organ-driven, psych-rock-inspired "69 Police," Holmes departs from the funk- and spy-influenced sound of the rest of the score, giving it some breadth as well as depth. The soundtrack's additional material complements Holmes' work, either by contrasting it, in the case of Percy Faith's so-square-it's-hip "A Song for Young Lovers" or DeBussy's languid "Claire de Lune," or reflecting it, as the ultra-hip hip-hop of Handsome Boy Modeling School's "The Projects" and Elvis Presley's sexy, tough-talking "A Little Less Conversation" do. Arthur Lyman Group's "Caravan" and Quincy Jones' "Blues in the Night" also trace back the vintage influences on Holmes' work and capture the film's witty, dynamic feel. While it's not quite as immediate as the Snatch soundtrack or as groundbreaking as the Dust Brothers' Fight Club score, Ocean's 11 is a tight, kinetic collection of film music that's just as enjoyable outside of the movie's context. ~ Heather Phares

Uncut (1/03, p.97) - Included in Uncut's "100 Best Albums of the Year" Mojo (Publisher) (2/02, p.90) - "...Masterfully assured skittering lounge-funk..." NME (Magazine) (2/9/02, p.37) - 7 out of 10 - "...Holmes' propensity for crate-digging is well-documented and this score simmers with dusty-fingered enthusiasm..."

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