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Ocean's Eleven (Bande Originale du Film)

3.5 étoiles sur 5 2 commentaires client

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Page Artiste David Holmes


Produits fréquemment achetés ensemble

  • Ocean's Eleven (Bande Originale du Film)
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Détails sur le produit

  • CD (24 janvier 2002)
  • Nombre de disques: 1
  • Label: Warner Bros
  • ASIN : B00005RTFG
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 63.124 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Thème for young lovers - Percy Faith and His Orchestra
  2. Boobytrapping
  3. The projects pjays - Del the Funkyhomosapien
  4. The plans
  5. Papa loves mambo - Perry Como
  6. Ruben s in
  7. Lyman zerga
  8. Caravan - Arthur Lyman
  9. Gritty shaker
  10. Planting the seed
  11. Pickpockets
  12. Dream dream dream - Percy Faith and His Orchestra
  13. Stealing the pinch
  14. Blues in the night - Quincy Jones
  15. Tess
  16. Hookers
  17. Dollar 160 million chinese man
  18. 69 police
  19. Clair de lune - Philadelphia Orchestra (the)
  20. Thème for young lovers - Percy Faith and His Orchestra

Descriptions du produit

Description du produit

"La B.S.O. de ""Ocean's eleven"" incluye clásicos de Elvis Presley, Quincy Jones y Perry Como, además de numerosos temas inéditos compuestos por David Holmes. El afamado DJ de Manchester ha sido el encargado de mover los cuerpos de millones de personas durante los últimos años. Tras remezclar los éxitos de Manic Street Preachers y Primal Scream, ha compuesto paisajes musicales inspirados en los '60 con toques de Techno-Funk actuales."

Amazon.fr

Film au casting impressionnant (G.Clooney, B.Pitt, J.Roberts), Ocean's Eleven se devait d'avoir une bande originale à la hauteur de ses prétentions. Et c'est chose faite, en divisant le disque en deux parties bien distinctes. La première est constituée de chansons dont l'indémodable "Caravan" d'Arthur Lyman ou "Papa Loves Mambo" d'un Perry Como toujours d'actualité. Pour la seconde partie, Steven Soderberh a fait appel au DJ David Holmes, bidouilleur de génie réputé dans l'underground new-yorkais. Et le compositeur se jette dans une fusion des époques, mariant le son des années soixante avec la technique du troisième millénaire. Jouissive, sa musique mêle avec un goût subtil, un rien provocateur, l'électronique au rétro bien trempé. Cela donne une teinte décalée, inexplicable mais ô combien savoureuse. Il suffit de se replonger dans "Bow Down To The Exit Sign", et l'envie d'un bon cambriolage se fait sentir. Une B.O.F aussi atypique qu'envoûtante. --Didier Leprêtre


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Commentaires en ligne

3.5 étoiles sur 5
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Format: CD
Voilà une B.O. qui remet au goût du jour l'alliance entre un jazz élégant et un funk racé, félin, malin. Beaucoup de classe et aucune faute de goût dans la sélection opérée ainsi que dans les morceaux, composés pour l'occasion par David Holmes, qui collent à l'assurance bronzée et bien habillée du gang de Daniel Ocean et insufflent à Ocean's Eleven la caution "culte" ainsi que la respectabilité que ce film mérite amplement.
Impossible de ne pas penser aux seigneurs de la blaxploitation quand on écoute "Boobytrapping", "Ruben's In" ou "Lyman Zerga", tellement le groove gangsta urbain est présent. La différence principale réside dans l'excellente adaptation du genre à la production moderne, qui accroît encore la puissance enveloppante du funk. A noter également l'excellente prestation old school et roublarde de Handsome Boy avec "The Projects".
Evidemment à ne pas manquer, la résurrection de 2002 par Elvis Presley, "A Little Less Conversation".
Si vous avez aimé le glamour et le clinquant de Vegas, le banditisme futé de l'équipée menée par Clooney, alors il n'y aucun moyen que vous ne puissiez succomber au véritable hold-up opéré par le jazz-funk ravageur de la B.O.
Seul bémol : peut-être trop de séquences parlote tirées du film.
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Format: CD Achat vérifié
Après avoir vu le film ,écouter la bande son musicale nous plonge à nouveau dans leur univers.c est continuer à partager encore un peu avec cette originale équipée
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9f93103c) étoiles sur 5 91 commentaires
48 internautes sur 48 ont trouvé ce commentaire utile 
HASH(0x9f773be8) étoiles sur 5 Disappointing? 28 juillet 2003
Par D. Hansen - Publié sur Amazon.com
Format: CD
I picked up this album looking to add the cool filler tracks used in the movie's score (you know the jazzy upbeat riffs) into my MP3 player mixes. You get those (and the Elvis "A Little Less Conversation" track) but there were two things that ruined this soundtrack for me.
1. Almost all of the tracks contain dialogue voice overs from the movie, even the catchy tracks I was looking for weren't just music, they all contained dialogue to get in the way of the music.
2. Even the Elvis song I wanted to get a copy of was faded out before it was over (something that happens to all of the tracks here) and blended into the next track on the CD.
I guess if my description fits what you're looking for then pick this up. If you are looking for the same thing I was then I might suggest listening to this at the library or someplace else before spending your money on this.
73 internautes sur 85 ont trouvé ce commentaire utile 
HASH(0x9f77afc0) étoiles sur 5 Too Much Movie Dialog 7 avril 2004
Par Sir Charles Panther - Publié sur Amazon.com
Format: CD Achat vérifié
This confusing, contradictory mishmash of musical styles and movie dialog is a disappointment. It strikes me there's some production inside joke or theme going on here, yet we consumers aren't allowed in. Some of the music is quite good, but the album's pace and structure defeats that. Most frustrating is the constant presence of movie dialog, intro'ing songs, concluding songs, smack in the middle. It's unbelievably intrusive, highly annoying, and ruins what would otherwise be a fine soundtrack release.
All tracks segue, which most often does not work well.
This first track sets the dialog tone right away, nine seconds in, with Daniel Ocean's parole hearing sliding right in over Percy Faith's "Theme For Young Lovers." The theme has no chance to even begin to become one, dim and tinny in the background of George Clooney being very, very cool. You'll find the same on Track 4, "The Plans." It's more talk from the boys, with some good jazz relegated to the background. If I wanted movie dialog, I'd play the DVD and capture my favorite bits on my own.
Track 2, "Boobytrapping" moves into what we're looking for, good supporting music from the film, just the music alone. But the last 25 seconds is more intrusive film dialog.
Then we get right on into it, with the ridiculously out of place "The Projects (PJays)" at Track 3. It's a stupid knockoff rap about livin' in da projects. Sure, it was in the film, but it's got nothing to do with the rest of the tracks on this CD, thematically, conceptually, or musically. Why is it even included? The cynic in me reasons that it makes an unadulterated (no movie dialog to be found) appearance here as part of the contract for permission to use the song in the film. But this track does segue to "The Plans," which is nothing but film dialog, with some lame rhythm and wallowing guitar in the background.
This is followed by Perry Como schmoozing his way through the lounge-ariffic, Caucasian-ified "Papa Loves Mambo." This is the first real throwback tune to the original Ocean's Eleven cast, their time, their milieu, the whole vibe. The recording is clear, but it's tinny and hollow, with mediocre channel separation. This is good, campy background music for your next martini luau.
Track 6, "Ruben's In," gives us 30 seconds of dialog right off, then we finally get to the song itself, a good horn tune, with the arrangements highly reminiscent of AWB's "Pick Up the Pieces." The texture and the rhythm is also evocative of a James Brown band jam.
Track 8, "Caravan," has an interesting intro that's almost Christmas-y, with lots of sleigh bells. Then it transitions into a true Vegas lounge-y jam for a bit before dropping back into the mystical desert Yuletide arrangement. It alternates between the two throughout, back and forth, and it gets to be a bit annoying.
Track 9, "Gritty Shaker," is good, in keeping with the spirit and atmosphere of the film, and at times sneaking in a riff or two from the remixed "Little Less Conversation" at Track 12. There's a good organ bridge, taking us back to the original "Ocean's Eleven," and other cool-crime contemporaries.
More short knockoff incidental music come at Tracks 10 and 11, with more movie dialog intruding throughout.
Note Track 12, the reworked "Little Less Conversation." This is the only Elvis recording the estate has allowed to be officially remixed and released as an Elvis recording. Sadly, it's all of only 1:42, compared to the longer, better version of on the Elvis #1 hits CD.
Quincy Jones' "Blues In The Night" at Track 15 is poisoned by a needless dialog intro. This is a good traditional arrangement, way heavy on the horns and a bit weak down in the bass end.
I do like the track 16, "Tess" a very slow and sleek, dark and sultry riff on "Clair de Lune." A bit more remixing, the addition of some texture and some modulations, and this would be a really nice extended chill piece. It's too short at only 3:22.
Track 12 is revisited as an instrumental, at #18, "$160 million Chinese Man." There are some good sax-centered horn bits, giving us a mix of the Elvis-Vegas cool and cool-crime heist themes. Unfortunately, at only 2:15, you get more needless movie dialog, ruining an otherwise excellent stand-alone piece of film music.
The dialog idiocy continues at track 19, "69 Police." A good song is building and maturing into a smooth chill piece, when we get more movie dialog, over 40 seconds of a smarmy Matt Damon ordering Andy Garcia around during the final stages of the heist.
You'll remember Track 20, "Clair de Lune," as the final scene in which all of our too-cool robbers hang at the Mirage fountain and marvel at what Vegas has become before going their own silent, separate, and successful ways. This traditional arrangement from the Philadelphia Orchestra is amazingly free of any dialog.
The CD concludes with more idiotic movie dialog over the same "Theme for Young Lovers" from Track 1, amazingly mixed so that you really can't make out either one clearly. At least it's consistent with the opener.
To conclude, this is a soundtrack release trying to be too cool, giving more than is needed or wanted. The producers should have done what the soundtrack folks for "Casino," "Natural Born Killers," and others did, let the tunes stand on their own. In this age of digital media, if I want movie dialog mixed in with my music, I'll do it myself, and I'll do a better and more personally meaningful job than this album offers. If you don't mind the constantly intrusive dialog, go ahead and get this. But if you're more of an audiophile than a cinephile, this album will grate on you, as it did on me.
32 internautes sur 36 ont trouvé ce commentaire utile 
HASH(0x9f77a21c) étoiles sur 5 Good despite (or because of) the dialogue 22 janvier 2002
Par Jeff Lash - Publié sur Amazon.com
Format: CD
I loved the movie, largely due to the great scoring, and was excited to hear the soundtrack, despite the other (not-so-kind)reviews I read here.
Yes, there is dialogue on the CD, but most tracks do not have movie excerpts, and, on those that do, the dialogue is usually only at the beginning or the end of the track, and is not more than 20 seconds long. At first I didn't like the dialogue, but the more I listen to it, the more I like it.
David Holmes' scoring is incredible; he creates gritty-cool lo-fi funk tracks that are rough yet at the same time incredibly cool. Most are acoustic-based with some electronic touches beautifully added as garnish.
There are also a number of other tunes from other artists -- Elvis, Handsome Boy Modeling School, Perry Como, Arthur Lyman, Quincy Jones, Percy Faith, and a beautiful rendition of "Clair de Lune" by the Philadelphia Orchestra. While I bought the soundtrack to hear David Holmes' scoring, the other tracks added to the experience and tied the soundtrack together and helped recreate the mood of the movie.
I still would have liked a bit more of the original David Holmes compositions, but what's on the disc is great, so I can't complain. It sufficiently recreates the hip slick feel of the movie while still leaving the listener with enough leeway to create his own mood.
15 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9f77d1a4) étoiles sur 5 Great Soundtrack to an awesome Movie 29 janvier 2002
Par E. Banson - Publié sur Amazon.com
Format: CD
Having enjoyed David Holmes' previous work with another Steven Soderbergh film, "Out of Sight," it was only obvious that he score the fail-proof "Ocean's Eleven." David Holmes is a shoo-in when it comes to scoring heist/caper films because his jazzy lo-fi grooves and delicious funk licks compliment the workings of a film of this nature, not too mention that he understands (and supports) Soderbergh's style: Cool, inventive, and never predictable.

Owning both the consumer version of the Soundtrack and the Academy Awards Promotional CD of this score (Given to Academy Members for "their consideration" to nominate the work promoted) it's clear that the Consumer Version available to the public doesn't sacrifice what I believe a soundtrack CD should do, recreate the film's tone and feel through music and audio cues. The dialogue in the CD actually grows on you after a few listens, and as a "keepsake souvenir" of this fine film, you won't be disappointed. But as a score lover or David Holmes fan, you might find screenwriter Ted Griffin's snippets quite distracting.
Now for the score itself (not the Consumer CD which I am rating here). Of course the dialogue is missing (and rightfully so) on the Promotional CD, yet after listening to such cues as "Ruben's In," or "The Plans," you begin to realize that David Holmes' score works on such great levels because it actually compliments the dialogue in the film, which many composers tend to put on the backburner. Not to mention Soderbergh and Holmes work well together because Soderbergh's image-rhythm cuts and compositions fit so coherently with Holmes' jazz and abstract funk styles, styles that are rather risky for scoring films. Holmes seems to favor thick bass lines and off-kilter percussions. This is why Holmes' score outshines many scores in 2001: his score is so functional, efficient and well-designed that it's so much a part of the movie drawing enough of your attention and supporting the scenes and dialogue when necessary. Holmes was able to accomplish this task with a nine piece jazz combo and not a soundstage orchestra.
Now back to the Consumer CD and the soundtrack on this CD as a whole. I still listen to the Consumer Version more so than the Promotional CD because the songs used in the film make it a more satisfying listen. How can anyone dislike the seldom-heard yet, in my opinion, the funkiest Elvis Song ever, "A Little Less Conversation" which, according to the press kit, is "Holmes' inspiration for this score?" Where else can you find a soundtrack that coherently fits Handsome Boy Modeling School, Elvis, Perry Como, Percy Faith and Claude DeBussy? It's as eclectic as a walk down the Vegas Strip.
Now the reason why I gave it only four stars is the quality of the recording is less than great. Intentional? Possibly. But nevertheless a tiny scratch on a great score.
The "Ocean's Eleven" CD available here is definitely one of the best Soundtracks of 2001. Great Score. Great Collection. Great Film.
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x9f77d81c) étoiles sur 5 Another great Soderbergh soundtrack! 16 décembre 2001
Par Un client - Publié sur Amazon.com
Format: CD
Steven Soderbergh has done it again! I loved the soundtrack to Out of Sight and this one is just as good and even longer. I love the way he includes dialogue from the film in the soundtrack, it reminds me of the movie and helps set the mood. The songs are mostly the background music from the movie - no lyrics, and fairly repetative, but the definately capture the mood of the film. There's a good mix of catchy, upbeat tunes and more mellow tracks. There are also a few good songs w/lyrics that span a range of genres from hip hop (Handsome Boy Modeling School) to rock and roll (Elvis's "A Little Less Conversation")to classical (Clair de Lune). If you loved the movie (and especially if you are a fan of Soderbergh in general) you should love this soundtrack.
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