Customer Reviews

Past, Present And Future

5 star:		(44)
4 star:		(4)
3 star:		(3)
2 star:		(0)
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that an album like Al Stewart's Past Present and Future could ever have been produced? I can imagine the look on the face of Al Stewart's record producer when he told him about his idea for a "concept album". Perhaps something like "Ill start with a song about retired British navy officers, follow it up with a song about President Warren G. Harding, Then, after a song about Soho in London, one about a night of Nazi terror followed by a British take-off of Don MacLean's "American Pie". Oh, and did I tell you I also have one about a Red Army soldier's experience in World War II and a song about the supposed prophet of the future, Nostradamus." Somehow I cannot see a record like this being made today. But, this was England in 1973 and, fortunately, some producer said something like "uh, sure Al, go ahead mate". When I first heard this album, in England in 1973/1974 I probably said something like "Nostradamus? Wow man" and played the album over and over again. I have listened to this CD quite a bit recently and am happy to note that my current reaction is not much different from my college age response.

Past, Present and Future is a memorable album in many respects. Stewart is an accomplished songwriter and every one of these tracks is well written, some are, and remain, brilliant. His voice works well for the music and he put together a set of studio musicians that provided excellent backing and a strong rhythm section.

Stewart is at his best in Roads to Moscow. He sings it as a ballad with an excellent orchestral arrangement that creates a very Russian mood. As he sings the tale of a Red Army solider from the 1st days of the Germany invasion through the triumphant entry into Berlin he provides an extraordinary of the war itself. The fact that the soldier soon finds himself on a train to the Gulag creates a powerful end point for the song. In the liner notes that accompany this CD Stewart indicated that he was a student of Russian history. Stewart's knowledge shows quite clearly without its being intrusive. His Post World War II Blues is also particularly good even if one can see quite clearly its American Pie influence. The only song that has not stood up to the test of time is the closing track, Nostradamus. The lyrics are still fun but seem quite dated in retrospect. I guess know that my younger days are long past I don't have too many of those "far out, man" moments any more.

Ultimately, this album is well worth a listen. Stewart is not as well known or remembered as he should be perhaps and Past Present and Future finds him at his best.

I first heard this album on the Janus Label back in 1974. This was a time when it was considered "progressive rock" and was music for "people in the know". His music could not be played on traditional stations due to their length and frankly, the rest of the world had just not matured enough to hear it. It is one of the greatest albums ever recorded. Artisticly pure right down to the cover. Whether Janus, Arista, Rhino or an old Eight Track it is still artistically viable. Now, thirty years later it is still going strong and validates everything anyone has ever said about it. "Roads to Moscow" is legend. The other works are interesting and memorable. I strongly recommend this album for anyone uninitiated to any of Al Stewart's work. Most will respond "Year of the Cat" but this and "Modern Times" best implies the genius of the artist.

This is the first album that I heard by Al Stewart. I was working on the air at an FM station when it was released. The program manager asked me to listen to the album and report what I thought. My assessment went something like this:

This album is GREAT. "Roads to Moscow" may be the best guitar work since Santana's "Abraxas". His lyrics make sense, too. I've never felt like I was a part of a song before. When I listened to "Terminal Eyes" under the headphones I picked up some very intense but subtle mixing. "Nostradamus" makes me want to re-read "The Centuries" again. "Soho" is strong and gritty. I feel like going downtown and hanging out in some smokie clubs just for the atmosphere. The whole album is worth playing.

Since we still played "In-a-gadda-da-vida", he listened to me and put the whole album on the play list regardless of how long the songs were. All the jocks picked favorites and played them. Our listeners started requesting Al Stewart. This is truly an album that is still fresh, meaningful, and enjoyable in a new millenium.

"Time Passages" is good; "Year of the Cat" uniformly excellent; but "Past, Present & Future" is THE BEST album by Al Stewart. Every song tells a wonderful story, and the music is just fantastic.

Others have corrected the gentleman who claimed "Roads to Moscow" was based on the experiences of a soldier in Napoleon's "Grande Armee" of 1812; sorry, but no. The original liner notes made clear that the album tells the story of the 20th Century, and the lyrics (Gen. Heinz Guderian was commander of Hitler's Army Group Center in 1941!--and the final approach to Berlin--not Paris!!) makes one wonder whether that gentleman even listened to the song!

More importantly,for those too young to remember, this album came out shortly after two major works by famed Russian author Alexander Solzhenitsyn: A Day in the Life of Ivan Denisovich, and The Gulag Archipelago. "Roads to Moscow" is actually a tribute to Solzhenitsyn, whose real-life experiences as a Red Army Soldier during WWII was more or less what the "unnamed soldier" tells about. This is because Stalin's policy towards Soviet POW's was extremely harsh; even those held only a short time were suspected of being either collaborators, or else "poisoned" by their "exposure" to "bourgieous capitalism", thus requiring "reeducation" in Siberia . . .!

Solzhenitsyn was a victim of just such treatment. Point is . . .the song is even better when you understand the real context and the real tribute.

In any event--this is THE ONE!!!

I bought this album after hearing "Roads to Moscow" on the radio in 1990. Not only do I agree that it is one of the best songs ever written, but the rest of the album is also very strong. It took awhile to get used to "Old Admirals", and "Post World War II Blues", but the strength of "Soho (Needless To Say)", "Roads to Moscow", and "Nostradamus" keep you coming back. I also just wanted to say that Al Stewart's lyrics got me more interested in learning about history that even my most inspirational teachers in high school and college. Do you know what happened on June 30th, 1934? I do.

I just got online and I'm surprised how many people love this album. I thought I was the only one who even knew of it. I found it in an old box of tapes of my brother's, and I was just taken away by it. Since then, through twenty years, it's been my own private masterpiece, which I've foisted on writers, history enthusiasts, and guitarists alike.

It starts off with "Old Admirals," a great paean to the golden age of sail, chronicling one sailor's rise through the British Navy:

I can well recall the first time I ever put to sea,
It was on the old "Calcutta" in 1853.
I was just a lad of fourteen years, a midshipman to be,
To make my way in sailing ships of the Royal Navy.

And in typical Al Stewart style, he finds the emotional core that others would miss, and has this verse after WWII.

But the war, it ran its course, they could find no use for me.
And I live in the country now, grandchildren on my knee.
And sometimes think, in all this world, the saddest thing to be -
Old admirals who feel the wind and never put to sea.

"Warren Harding" and "Soho" are upbeat romps, leading to the rollicking "Post World War Two Blues," and then we get to "Roads of Moscow." Not only is the orchestration haunting, but listen to these lyrics:

They crossed over the border the hour before dawn,
Moving in lines through the day.
Most of our planes were destroyed on the ground where they lay.
Waiting for orders we held in the wood - word from the front never came.
By evening the sound of the gunfire was miles away.

Ah, softly we move through the shadows, slip away through the trees,
Crossing their lines in the mists, in the fields, on our hands and our knees,
And all that I ever was able to see -
The fire in the air glowing red silhouetting the smoke on the breeze.

Along with Dylan, Tom Waits, and Leonard Cohen, Al Stewart excels in nailing authentic detail and drama, creating compelling movies with his lyrics.

The album then goes through the trance-like beat of "Terminal Eyes," and finally ends on "Nostradamus," which even beyond its spellbinding lyrics is an acoustic guitar stunner.

So thanks to everyone for chiming in behind this album, and for those who wish to know more about the songs, you can find the history behind them on Al Stewart's site.

Al Stewart, Scottish "folkie" whose musical interpretations of history have provided me with years of pleasure. Most of which have come from this album. The key track on this album (and I think most fans would agree) is Roads to Moscow, whose lyrics, guitar work and string arrangements fill your ears with sounds that are as I said, almost perfect. The next highlight would be Nostradamus. This song is entrancing, and exciting to listen to due to the inventive use of panning. Other highlights are Soho (needless to say), and Post WWII Blues. However, not to discredit the ingenious work in Old Admirals, a thought provoking song about a man who becomes an Admiral in the Queen's Navy and when the century turns, and technology progresses, he is cast aside as outdated. Stewart is easily the best, yet most underrated songwriter of our time. Personally, I would recommend this album to anyone, although (unfortunately) not just anyone would enjoy it as much I have.

Prior to getting this album, YOTC had been a sentimental fave of mine, getting consistent play on the old turntable, but I had never heard anything else by Al Stewart. I found an old vinyl PP&F at a Goodwill and picked it up for 99 cents. What the hell, right - if I get even 1 decent track out of it...

What I heard simply blew me away. This album is a classic by any definition of the term: lyrically, musically, conceptually. "Roads to Moscow" is quite likely the most erudite rock/pop/folk tune ever recorded. The plea of "Oh call me back, call me back" from the aging admiral in "Old Admirals" is gut wrenching. And I can't say enough about the power of words set to music in "The Last Day of June, 1934". There isn't a weak spot on this album.

Needless to say, I now have this on CD, and with over 250 in the collection, this one may be the crown jewel. I now have the rest of Al's catalog, and for sheer excellence among all of Al's work this one is perhaps matched only by 1995's Between the Wars.

Best .99 I ever spent - unbelievable that something this good ended up at a Goodwill to begin with. Give it five stars plus.

I remember a Rolling Stone interview with Al Stewart in which they mentioned how a dopey record company executive having been presented with the tapes of this album, reportedly wrote "We want NO past, present or future albums of Al Stewart." What a shocking absence of good taste! This album is a gem, great music and much more intelligent lyrics than 99.9% of rock music from that time onward. The orchestration is gorgeous and fitting, but not constant or overbearing. Some songs are jazzy such as Soho Needless to say - with Al's machine gun stacatto vocal delivery. One of the most amazing songs is The last day of June 1934. While Al sings "a bottle green Bentley in the driving rain slips and skids around a corner and pulls straight again", Tim Renwick plays a chopppy electric guitar riff that matches the lyrics perfectly. Also in this song, Al sings a line from the viewpoint of Hitler's conscience "You don't own me I'm strong now I'm strong, stronger than your law." I can't think of another artist who dared to do such a thing.
Roads to Moscow with it's Spanish guitar lead and Russian sound deals with the post-war internment by Stalin of Soviet soldiers who had been prisoners of the Nazis. But the absolute highpoint is Nostradamus. It's one of the most daring, long and fabulous recordings of Stewart. I bought this on LP after hearing Nostradamus on the radio Al's guitar playing, and the great work of Tim Renwick and the other guitarists as well as myriad other cream of the crop British studio musicians - well, you just can't go wrong. I would recommend this cd to anyone who loves Stewart - just make sure to listen to it 4 or 5 times - you'll be hooked.

To be honest, I don't know what exactly led to my buying this CD. I do know that I'd read a lot about Al and his music online, and that probably intrigued me enough to buy the CD. I was very certain that I'd like it but that turned out to be the understatement of the century. What a beautifully crafted work of music! The music is put together with all the nuances and attention to minute details normally found only in progressive rock (Yes, Kansas, Rush, etc) or classical, the lyrics are very evocative, and of course there's Al's unique voice. Make some quiet time for yourself, put the disc in and slip some headphones on, close your eyes and let yourself be immersed in the tapestries - you'll find yourself living the life of Admiral Sir John Fisher, or that of a carefree unnamed Frenchman or Briton in the early 1930s, or perhaps feel the despair (and determination) of a Russian private soldier falling back towards Moscow before the advance of the seemingly unstoppable Wehrmacht in the summer of 1941.