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██▌ Artist...: Rick Miller ░▐██▌
░▐██ Album....: One of the Many ░██▌░
▓▐██ Year.....: 2024 ▓▐██▓
▓▐██ Rel. Date: 2026-11-01 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Progressive Promotion Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Atrophy 8:20
2. Time Goes On 3:52
3. The Lost Years 8:29
4. She of the Darkness 3:58
5. One of the Many 4:54
6. Perchance to Dream 13:09
7. Wonderlust 6:45
8. Another Time 4:34
54:01
Here is a consistently focused artist that just keeps on giving every
year sterling musical adventures, that pay homage to the early glory
years of Progressive rock. Yes, there is an obvious Floyd reference, as
well as the Moody Blues and early Alan Parsons Project, in that the
proposed material is smooth as the finest silk, and contrary to some
pundits who may state that his craft is just the same composition over
and over again, I must state that this would be a grossly unfair and a
rather cheap characterization. Because upon closer scrutiny among the 13
Rick Miller albums I have in my collection, there are endless examples
of variation, alteration, and progression. He does his thing and its
extremely entertaining, especially if, like me, you enjoy adventurous
mind music that takes you somewhere that is way more interesting that
the daily and impertinent media sludge we are subjected too, for way too
long. Plus, I admire petulant rebels who refuse to bend over and spread
'em!
A shimmering introduction with the 8 minute + "Atrophy", a velvety
concoction that possesses all the Miller trademarks, a leisurely
developing melody with soothing keys, bumping bass and percussive pace,
with a series of glittering guitar interventions, while Rick' hushed and
gentle voice, tells the tale, "As time slips through my hand". A slight
Egyptian sonority adds the needed mystery, various voice effects thrown
in theatrically, and capped off by a blazing solo from the Barry
Haggarty guitar, as the arrangement glides higher into the stratosphere.
Change of pace on the measured "Time Goes On", as Rick settle down on
his piano, guitars twanging in the sound corridors, hushed voice, and a
quivering lead axe blast, as the acoustic guitar proposes a crystalline
contrast, a most pleasant little composition.
Speaking of contrast, the tortuously volatile "The Lost Years" is
garnished with celestial female vocals and a raucous (rock) rhythm
guitar riff that would make the stoned Keith smile, rapid shifts of tone
and finally, another extended bluesy Haggarty rant, all kinds of
mini-transitions as to prepare for a mid-section that adds
cinematographic grandeur, a trait that Miller has perfected over the
decades. When Rick states "I am your knight in white satin", I cannot
help but grin at the overt hint. This is perhaps one of his finest
compositions yet, a classic Miller track that has all the condiments to
excite the taste receptors, including a rather dreamy yet solemn outro.
A breathtaking instrumental "She of the Darkness", is the proud owner of
a heartbreakingly gorgeous melody played on the flute by Giulia
Cacciavillani, shrouded with dense orchestrations, a pastoral acoustic
guitar from Kane Miller and an elegant piano accompaniment. Simply
magnificent.
The title track reverts back to familiar territory, a flowing lilt that
does have a Floydian feel , what with the gentle rhythmic pulse, the
voice effects, the bluesy guitar flourishes and Rick seizing the
microphone once again, less hushed and more immediate, as the main
melody will adhere to your senses from the very first spin, as if this
was 'One of the Many' times his material had offered up such pleasures.
The daunting lyrics are particularly clever 'The truth gets torn to tiny
bits, so we can reach a million hits'. My everyday thoughts precisely,
as bold-faced media lying has become the new messiah.
The grand epic is up next with "Perchance to Dream" a colossal 13 minute
+ effort, the appropriate platform to stretch out the arrangements and
literally shoot for the stars. The flute, piano and voice combo settle
once again the score (excuse the pun), adding lush choir vocals, a
current fixation of mine. Again, the lyrics are highly expressive, with
the current trend of disbelief firmly stated. "You place your trust each
day in the machine, you want to believe, but life is not what it seems.
I don't care if I ever see another day of reality. Look back through the
years, I once dried your tears". Gulp! Yes, I have become uncomfortably
numb! I long for the gentler, perhaps even na∩ve days of my youth. A
series of profound guitar solos underpin the sorrow of the burgeoning
importance of the negative narrative, banishing the goodness to the sin
bin. A masterful performance once again. The siren is calling on
"Wonderlust", a beckoning to some kind of finality, a revelation or
simply just an end and perhaps an eventual rebirth. Sorrowful choir,
acoustic guitar, and a stark cello surge from Artem Litovchenko and
Mateusz Swoboda conspire to illustrate the dread, sliced wide open by
razor sharp electric guitar surgery, amid all the Gothic Valhalla
intensity.
The final track acts as a bonus track (the brooding lyrics introduced
after the musical credits), asking 'how long does a lifetime last'and
referring a moody 'Days of future past'. It is the natural finality that
as we veer towards the golden years, nostalgia kicks in. We will ALL
eventually return to those pleasant moments in our past where we found
solace, love, understanding, compassion, and peace. Old Souls, old
memories.
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