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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


Donnie Darko is a great movie..and Gears Of War is great (yaychainsaws) but please..listen to the other really is a good album

more than just one song!

this is a wonderful album even without mad world...however most people do not realize that gary jules did not write mad world, it is based off an 80s song. just listen to No Poetry or Pills if you really want to hear his lyrical genius.


I hate idiotic, ignorant people who keep saying oooo look at mad world it really shows his talent. I agree mad world is a good song but GARY JULES DID NOT WRITE IT, Tears For Fears did in the 80's. They were a British punk emo band. Also other people covered it before Jules so his work on that song is quite good but far from showing his true talent.


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...
Full Bio
Trading Snakeoil for Wolftickets, Michael Andrews
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