Track Listing

1. Future
2. Waiting for the Miracle
3. Be for Real
4. Closing Time
5. Anthem
6. Democracy
7. Light as the Breeze
8. Always
9. Tacoma Trailer

Product Details

• Amazon Sales Rank: #88839 in Music
• Released on: 1992-11-24
• Number of discs: 1
• Format: Explicit Lyrics

Amazon.com essential recording
Leonard Cohen's deeply personal first LPs came out at a time when many of his peers were issuing furious, counterculture-inspired rants; he clearly had little interest in sticking with the pack at the time. So it makes a certain kind of contrary sense that Cohen would put out an offbeat topical collection two and a half decades later. The Future is an odd duck of an album; it's also brave, funny, and fascinating. "Give me back the Berlin Wall / Give me Stalin and St. Paul," Cohen petitions sardonically in the title track, adding, "I've seen the future, brother: it is murder." "Can't run no more with the lawless crowd / While the killers in high places say their prayers out loud," he intones in "Anthem." In "Democracy," he name-checks Tiananmen Square while surveying the United States ("The cradle of the best and of the worst"). Cohen has only improved with age as a vocalist; he sounds like a cross between Mark Knopfler and Barry White. While the polished production takes some getting used to, it's somehow suitable that cooing background vocals and programmed tracks temper these low-boil diatribes. This is, after all, The Future. --Steven Stolder

Customer Reviews

"There ain't no entertainment and the judgements are severe"
When the air turns cold and the daylight hours diminish, I think of when I became familiar with Leonard Cohen's the Future. One December, my mother, whose love of unconventional, eclectic music I inherited, used Christmas money from my grandparents to expand her CD collection, including the purchase of the Future, an album from which the two best songs of her adored Natural Born Killers soundtrack were taken. I gave the album a few trial listens, as I had always expanded my tastes by waltzing through Mom's tape and CD collection.

The Future, however, was much different from the Pink Floyd and Led Zeppelin I picked-up from her. To a high school student whose favorite bands were mostly FM radio staples, Cohen sounded dark, sober and distant. The Future's simplistic arrangements, slow pace and Cohen's gritty, tuneless voice made the Future a failure on the scale that I rated Led Zeppelin IV and Hot Rocks as classics. Yet, the brooding articulateness of the album was something I slowly found to be spell-binding. Lines such as "Things are going to slide/Slide in all directions/Won't be nothing/Nothing you can measure anymore/The blizzard, the blizzard of the world/Has crossed the threshold/And it has overturned/The order of the soul," had both an immediate impact and an abstraction and complexity about them that made the lyrics mysterious and affecting after several listens, even after memorization. Songs of love and of anger I had heard but the precise lyrics of Cohen, speaking of that disappointed feeling of one who loosens-up in celebration and struggles to find a hand to hold ("Closing Time"), of desperate patience ("Waiting for the Miracle") and intellectualized hope ("Deocracy") were fresh, exotic and intriguing to me. Even the slow-paced music began to engage me, with its sleekness, craftiness and exact appropriateness to the song. All in all, to a high school student whose favorite bands were mostly FM radio staples, Cohen was somebody bizarre and astonishing.

He was a musical persona more multifaceted and more vibrant than any other I had known, a writer of consciously futile protest mantras; a desperate romantic always embraced by love to the point of entanglement, a witty old man (three times my age) sitting lonesome at the edge of a bar waiting for someone to pour his wisdom and wry observations into. This was the person I saw as a listened to the Future, relentlessly - with headphones on the bus, driving to my part-time job, alone in my room - always surrounded by cold air, falling snow and the sense of wonderment only a poet can provide. The Future was my introduction to a more cerebral, more mature side of popular music. Even today, after absorbing the Velvet Underground and Nico, Astral Weeks and Blood On the Tracks, I have yet to hear an album that stimulates me in the way the Future does. I am thankful that I discovered Leonard Cohen's best album during that lush, white Pennsylvania winter at the age in which every new discovery in music seemed supernatural.

The most beautiful album ever made. No doubt about that.
You simply cannot fault this album. Some say it's a far cry from his earlier recordings but it has to be said that the wistful, sad, , incisive, cutting, dark, and romantic Mr Cohen is still alive and well. Majority of the songs on the album are over 5 minutes long, but you never seem to notice, in fact, I often wish they were longer! The rythmn and melody, accompanied by the deft, poetic story telling of Cohen, takes you on a ride that can be exhillarating (The Future, Closing Time), profoundly moving (Anthem, Tacoma Trailer, The Miracle) cutting and ry (Democracy), and incredibly sexy and erotic (Light as the Breeze, Be For Real). There simply has never been a more angelic song than Anthem. I still am moved by it after literally thousands of listenings, particularly the final instrumental break where the strings pluck and the vocals soar. Incredible. Classical music purists generally only consider the obvious greats as musical geniusses, (Beethoven, Mozart, Bach etc) but I put this question to you, Was musical genius confined only to previous centuries? With The Future, Leonard Cohen prooves that he is up there with the best of them. If he had written this album in the 1700s, it would be played today by The London Philharmonic, Sung by Pavarotti, performed in The Met, and Royal Albert Hall, it would be played at Royal funerals, and after hundreds of years, would still move people. I re-iterate this point, you cannot fault this album, and if there was a fault, it has to be said, "...there is a crack in everything, that's how the light gets in."

There's a blaze of light in almost every word
This record is an amazing achievement.. It would be a nightmare to pick "Cohen's Best record", since each one has its own strengths. ( Like a lot of people I own them all, most of them on twelve inch plastic frisbees, and I'm not sure I'd like to get involved in the debate over which one is the weakest.) But "The future" is an astonishing performance from someone who has been writing his own songs and recording them for over thirty years. There's none of the tiredness that characterises the recent productions of some of his contemporaries, and while you could, if you wanted to, trace the development of certain songs here back to earlier concerns, there's little in the earlier albums that prepares you for this one. If there's a leap from "Various Positions" to "I'm your man" then there's an equal leap to here. No one writes erotic songs with the subtlety, humour or blatant enjoyment of sex that Cohen does. And no one makes images the way he does either. If you want sly humour, poetry, biting social commentary, it's all here. Someone else might be able to write something as mesmeric and disturbing as the title song, or as lyrically beautiful as Anthem, but I doubt there's many people (anybody) who could do both on the one album and throw in a "closing time" and a 'Waiting for the Miracle" too. For a man with such a limited vocal range, his songs manage to be distinct. And not only that but the rhythms and arrangements that made "I'm your man" are used here to support the voice and give the words pride of place. This makes them even more compelling than usual. Like all Cohen's albums, this one repays endless listening. Muzak it ain't.

Lyrically he must be one of the most interesting songwriters of the twentieth century. (I'd claim the most interesting but I'm biased) He's always had the ability to make beautiful, memorable images, that seem to sum up profound insight and then write glibly with his tongue firmly in his cheek (or someone else's). This ability to work on several levels of meaning and seriousness is elevated to genius on "Closing time' which sounds at first like a joke, until you realise that like most of Cohen's jokes, this one song contains enough thought provoking lines to pack any other writer's life work. "I loved you for your beauty/that doesn't make a fool of me/you were in it for your beauty too/I loved you for your body/there's a voice that sounds like god to /declaring that your body's really you" Those of us who always said Cohen had a sense of humor are provided with ample evidence on this cd The old sardonic wit is still alive and kicking: I raise my glass to the awful truth/which you can't reveal to the ears of youth/except to say it isn't worth a dime" At the same time he writes adult love songs like no one else ever has or does, and he can be bitterly perceptive. The whole of "democracy' is a thought provoking attack on America, The future with its hideous opening images and mesmeric arrangements is successfully disturbing while anthem is simply beautiful. And the version of "always" is a good joke, that brings back great memories of Cohen concerts. The real problem with this record is that once you've heard it, everything else seems more than a little inane. It's a painful reminder that you cannot manufacture talent or produce masterpieces by following formulas.