Memory Against Forgetting opens with its emblematic title track, which borrows its central motif from the "You don't know your past, you don't know your future" truism, that invincible and sometimes self/importantly annoying motto of the socially aware. A moving paean to the rebirth of activism during that unforgettable week in Seattle back in late 1999, it's a fitting introduction to Neill's strong, politically charged and, alas, criminally neglected body of work, equally reliant on the powers of punk, folk, Americana and Celtic music. Reclaiming tradition and social consciousness as weapons of resistance and tools for significant societal change, Neill appeals to our desire for collective experience, spinning touching and uplifting stories of hope, dignity and progressive politics. He shows his commitment to community values with a sympathetic look at the unsung underdog heroes and martyrs of everyday life: street buskers, homeless people, the unemployed, human rights advocates, friends lost to religious fanaticism. Be it through raucous rockers (the excellent "Disorder"), fragile acoustic ballads ("Codfisher"), ragged country, passionate bursts of punk fury or soulful touches of Irish folk, Neill's narrative talent and concern for real people's struggles stand out. The haunting timbres provided by fiddle players Johnny Cunningham and Sligo master Kevin Burke evoke an epic feel that fits perfectly with the implicit grandiosity of this emotional material, delivered with a raspy, affectionate voice that recalls Life's Rich Pageant-era Michael Stipe. Interestingly, as Memory Against Forgetting revisits songs culled from Casey Neill's ten-year trajectory as a recording artist, more contemporary flavors have been added to the traditional folksy, guitar-based approach: the title track gains a dirty programmed beat, while "Sisters Of The Road" acquires a subtle synth accent. The album's thirteen tracks, drawn from live shows, obscure compilations and out-of-print material, also illustrate how Neill's art benefited from his going electric following 1999's Skree. However, some of the songs remain undoctored -- pictures of a past that's better left as-is, scattered in a gallery of lively, jumbled reminiscences. The results are so evocative, you'll be tempted to steep further in these memories, the better to share Casey Neill's particular blend of personal and historical experience.