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Trading Snakeoil for Wolftickets

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Album Review

If Gary Jules' debut album was a superb collection of songs (a few of them dating back to his late teenage years), Trading Snakeoil for Wolftickets is a stunning, focused follow-up. Reflective and melancholy, dusk-colored and dreamlike, it finds supreme repose through songs of somber experience. Composed in the concentrated two-year span after being unceremoniously dropped from A&M and recorded essentially on his own, the album is a wellspring of songcraft that charts a course through tangled emotions. Jules' voice betrays many things — hurt, disappointment, and uncertainty, but also, importantly, recognition — and the songs find a range of moods, from the joyous, late-night-with-loose-change-in-my-pockets ode "DTLA" to the breathtaking resignation of "No Poetry" and "Something Else." On the surface, little seems to have changed about the music. It is still a fragile but lush wish: the cymbals whisper, and acoustic guitars pick out the delicate melodies while waiting for the occasional, flirtatious reply of soft electric runs. But in every way, Jules has grown as an artist. Trading Snakeoil for Wolftickets plays out like a song cycle. It documents Jules' convoluted relationship with Los Angeles, an adopted home that retains an unrelenting hold over the songwriter, and the music is imbued with the city's spirit. You could even say that Hollywood acts as a character of sorts on the album, both a protagonist and antagonist, sometimes standing at the center of songs, sometimes fading into soft focus behind Jules' stories, but always, in some way, casting a shadow. The album moves through vaguely cynical expressions of dejection, toward acceptance, before finally inhabiting a humble, restive place, a personal journey that culminates in "Umbilical Town," on which Jules lingers in the past for a few brief moments before letting go of it all. And in the stark ghostliness of Tears for Fears' "Mad World," hauntingly rearranged as a piano ballad, he comes up with a performance that more than matches the work of Cat Stevens in terms of solemn, profound beauty, isolation, and depth of searching. Trading Snakeoil for Wolftickets takes on a shimmering glow. Gracious and redemptive, it is a rapt, quiescent masterwork.

Customer Reviews

Thanks to the Gears of War ad, I discovered this song!

The part of the ad got to me is when the Marine comes out into the open and faces these lights that turns out to be some huge monster rearing it's head to the words "No tomorrow, no tomorrow...." Very fitting for that particular scene. I don't think they could not have chosen a better song for the ad. I have never heard the Tears for Fears version, but I LOOOOVE this song, and don't reeally care HOW old it is. In my head, it's a classic!

Mad World not that New

Ok the version of Mad World here is good and sure it's used for Gears of War add. Originaly this version is from Donny Darco movie. If you want to hear the original version though check out Tears for Fears and then purchase the version you like most. Or get both and listen to them based on you're mood.

I bought it for Mad World, but..

I thought it was strange that the song, Mad World, suddenly popped up in the Top Ten list on the main page- maybe it was just released on the iTunes store or maybe it was featured on the Xbox 360 game, Gears of War. Anyway, the album is pretty good itself. But Mad World would be my favorite of the whole bunch. And yes, I partly bought it because it was in the Gears of War commercial. Still, I've always liked the song anyway.

Biography

Born: November 17, 1967 in San Diego, CA

Genre: Soundtrack

Years Active: '90s, '00s, '10s

A talented and versatile film composer, singer, songwriter, and producer, San Diego native Michael Andrews began his professional music career in the early '90s as the frontman and co-founder of the West Coast alt-pop band the Origin. The group issued a pair of major-label outings in 1990 (Origin) and 1992 (Bend) before going their separate ways, and in 1993 Andrews joined the genre-defying acid jazz outfit Greyboy Allstars (he performed under the moniker Elgin Park), with whom he would score his...
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Trading Snakeoil for Wolftickets, Michael Andrews
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