A Smooth Operator

Soundtracks not often crack any critic’s top album lists. The content of the album typically contains background music for the movie and/or throwaway tracks from an artist’s dustbin. Occasionally an album will buck this trend and present a fresh way to look and listen to a movie. Such is the case with the movie soundtrack for Ocean’s Eleven.

This Ocean’s Eleven was released in 2001 and starred George Clooney, Brad Pitt, and Julia Roberts, to name a few. The movie was a hip update to the original that was released in 1960 and featured the likes of Frank Sinatra, Dean Martin, and Sammy Davis, Jr. The soundtrack for the update was produced by Northern Irish DJ, musician, and composer David Holmes. His musical acumen was clearly in fine form for this record.

#148 – Original Soundtrack to Ocean’s Eleven (Metascore = 86)

Most DJ’s listen to a plethora of music when preparing their music, trying to combine snippets or music tracks of songs together in a cohesive manner. With a soundtrack, a producer needs to be able to embrace the essence of the film while also reminding himself or herself that the music is secondary to what’s taking place on the screen. In some cases the music, dialogue and action of the movie mesh together effectively, which is really true about this soundtrack. Holmes to me has done an excellent job at embodying the essence not only of the movie but of Las Vegas.

When I started this soundtrack, I was immediately taken to the scene in the movie where Daniel Ocean (George Clooney) is at his parole hearing having to describe how and why he was sent to prison. The music sounds like he’s in an elevator, which feels appropriate given the nature of his character and the direction the plot goes once he leaves prison. From there, Holmes begins to meld elements of funk, jazz, rap, rock and blues together in a mix that just feels like Las Vegas. Throughout the record Holmes includes dialogue from the movie within the music, helping to further enhance the listening experience.

Also included on the soundtrack are current and classic tracks from a number of different artists. Each track appears to have been carefully chosen to embody not only Las Vegas but the feel of the movie. “Papa Loves Mambo”, performed here by Perry Como, which to me fits perfectly with the gambling scene (whether it be in Vegas, Atlantic City, or any other gambling haven). Not of place, though a little kitschy, is Elvis’ “A Little Less Conversation”. Quincy Jones’ “Blues in the Night” is my favorite artist track from this record. The song feels like it’s tastefully embellished with that Vegas glamour while slinky in its own way.

Based on the feel of this album from beginning to end, I do not have a hard time understanding why this album was critically hailed. The music fits the movie perfectly while also being a pleasurable piece to hear without the movie. The soundtrack could easily stand on its own.