當他在Donnie Darko soundtrack上發(fā)行了令人驚嘆迷惑的"Mad World"時， 財富開始向他微笑。 這首歌在歐洲非常流行，并且最終傳唱全球使JULES能夠在美國發(fā)展 。諷刺的是， Trading Snakeoil for Wolftickets在2004年用同多年前曾使他失敗的同樣風格發(fā)行了。
他的風格是典型的soft rock(比較輕柔的搖滾樂)，跟Paul Simon一樣，擅長發(fā)掘人們情感的細枝末節(jié)，不激亢不沖動，嗓音很soulful很柔和，有著歲月沉淀的深度和味道。
by Stanton SwihartIf 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 albu"/>
專輯簡介：
當Trading Snakeoil for Wolftickets在2001年發(fā)行，它已有了他個人的清晰印記。Jules沙啞感性的嗓音，是對他慵懶工作的專集最好的褒獎，同時，他的唱片也開始有了更多>
當Trading Snakeoil for Wolftickets在2001年發(fā)行，它已有了他個人的清晰印記。Jules沙啞感性的嗓音，是對他慵懶工作的專集最好的褒獎，同時，他的唱片也開始有了廣泛的傳唱度
當他在Donnie Darko soundtrack上發(fā)行了令人驚嘆迷惑的"Mad World"時， 財富開始向他微笑。 這首歌在歐洲非常流行，并且最終傳唱全球使JULES能夠在美國發(fā)展 。諷刺的是， Trading Snakeoil for Wolftickets在2004年用同多年前曾使他失敗的同樣風格發(fā)行了。
他的風格是典型的soft rock(比較輕柔的搖滾樂)，跟Paul Simon一樣，擅長發(fā)掘人們情感的細枝末節(jié)，不激亢不沖動，嗓音很soulful很柔和，有著歲月沉淀的深度和味道。
by Stanton SwihartIf 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 albu
