Details
Track Listing
1. Sudden Love
2. Foghorn
3. Rain Falls Down in Amsterdam
4. Blue Heart
5. Goin' Gone
6. Memory of the Future
7. Sex With You
8. Chinatown
9. No Mans Land
10. When I'm Gone
11. Hills of Tuscany
Album Notes
Personnel: Eric Andersen (vocals, harmonica, guitar); Unni Askeland (vocals); Jonas Fjeld (acoustic, baritone & high-string guitars, piano, pump organ, keyboards, bass); Richard Thompson, Jon Gordon, Dag Arve Sandes, Steve Addabbo (electric guitar); Howie Epstein (slide guitar, bass, background vocals); Robert Aaron (flute, soprano, tenor & baritone saxophones, trumpet, Hammond B-3 organ, keyboards); Garth Hudson (tenor saxophone, accordion); Ingrid Kinden (piano); John Beasley, Benmont Tench (keyboards); Tony Garnier (acoustic & electric basses); Frode Larsen (acoustic bass); Rick Danko (bass, background vocals); Per Hillestad, Joe Ramosa (drums, percussion); Ismael Bruno (shaker, percussion); Sari Andersen, Eleanor Mills (background vocals).
Producers: Eric Andersen, Howie Epstein, Jonas Fjeld, Ingar Helgesen, Robert Aaron.
Engineers include: Steve Addabbo, Eugeni Kalachyov, Alex Kemp.
Inclues liner notes by David Fricke.
Andersen was one of the founding fathers of the '60s singer-songwriter movement, but if you're expecting Woodstock-tinged folkie nostalgia from MEMORY OF THE FUTURE, you'd best look elsewhere. It's not that Andersen has reinvented himself, it's just that much of his artistic progression in the '80s and '90s took place outside of the spotlight, so fans of "Thirsty Boots" and "Violets of Dawn" may be surprised to encounter the 1998 Andersen. On MEMORY, he comes across as more of a chansonnier, offering emotional, occasionally exotic tales of passion, mystery and danger in a deep, world-wise voice not unlike latter-day Leonard Cohen.
Andersen's lyrical talents have sharpened over the years, enabling him to tackle complex social statements (the neo-Nazi threat on "Rain Falls Down in Amsterdam") and observations of sensuality (the poetic "Sex With You") with equal aplomb. It doesn't hurt to have talented friends like Richard Thompson, Rick Danko and Garth Hudson helping out, but ultimately it's the strength of Andersen's passionate, literate vision that makes MEMORY OF THE FUTURE one of his finest recordings.
Industry Reviews
3 1/2 stars (out of 5) - ...It's a poetic quest, kind of like summoning the future. It's also what [Anderson] does best - and why he still matters.
...MEMORY is more adventurous than its predecessor; 1989's widely praised GHOSTS UPON THE ROAD. The best song, the title cut, breaks new stylistic grounds: Half Sade, half William Burroughs, it's jazzy, sleek, and menacing. - Rating: B
...the hope for salvation through love is frequently eclipsed by a pervasive, melancholic darkness that would be the nevy of Leonard Cohen...
Dirty Linen (06/01/1999)
...MEMORY is more adventurous than its predecessor; 1989's widely praised GHOSTS UPON THE ROAD. The best song, the title cut, breaks new stylistic grounds: Half Sade, half William Burroughs, it's jazzy, sleek, and menacing. - Rating: B
3 1/2 stars (out of 5) - ...It's a poetic quest, kind of like summoning the future. It's also what [Anderson] does best - and why he still matters.
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