LEE ABRAHAM

LEE ABRAHAM is the thinking heart of a big group that is GALAHAD; LEE ABRAHAM had disappointed me a little, yes I can say it, with his penultimate album too consensual, good but lacking that something that makes you travel, which makes you leave quickly and high in the progressive spheres.

Here this something is present from the title immense drawer of 30 minutes: we have everything, everything you need to travel for free and intensively; this title is in the pure neo-progressive tradition with slightly seventies atmospheres at one point, downright eighties atmospheres thereafter and purely 21st century atmospheres for the rest; breaks, a set of keyboards and guitars to melt, the voices of Marc Atkinson and Peter Jones to make the sound good in the neo vein, crossover and progressive period. The good side of this album is also that the other titles are not vulgar songs going everywhere, there is intensity, emotion, breaks and a very current sound; as for 'The Hands of Time' and its 8 minutes, a beautiful musical space to make you want to dive right back into the replay key. So yes from time to time, a quick chronicle to make you want to dive into it is not bad.

Lee Abraham is a british progressive rock multi instrumentalist with a respectable solo career for little more then 15 years, but aswell he was part in Galahad line-up 4 years (2005-2009) on bass duties and backing vocals. Being fan of Dream Theater and Spock's Beard he embraced progressive rock/metal genre.

His solo career begun in 2002 with releasing his first album in 2003 Pictures in the hall, well recived by all prog circles. View from the bridge is the second offer (guest appearances apear Karl Groom and famous keyboard player Martin Orford) and is my fav album from his catalogue so far.

Third album saw the light in 2009 named simple Black and white. Well, this is a worthy album for sure, neo prog combined with some heavier sections closer to prog metal, it's obvious this direction because the engineer and mastering is no one else then Karl Groom (the guitar player from progressive metal band Threshold and a respected long time neo prog fan and composer of this genre).

A nice combination of neo prog with some prog metal elements thrown in in places specially on pieces like Face the crowd or Black. There are lots of instrumental sections well played, well composed, with very nice guitar parts, my fav being for sure Black, a 14 min pure dellight, the duelings between keyboards and guitars are exemplary. Lots of well known musicians help Abraham on this one, the omni present Gerald Mulligan on drums from Credo fame (another overlooked neo prog band) who will be present on every Lee Abraham solo album from now on, Dean Baker on keyboards from Galahad, Gary Chandler on vocals from Jadis, John Mitchell on guitar from Jadis and Arena and more top notch musicians involved and of course Lee Abraham responsable for bass, guitar parts and keyboards.

All in all a very strong album, I like all albums he release across the years and this one is no diffrent, Black and white desearve attention, Lee Abraham is a gifted musicians always done a good job on every album. 3.5 stars for sure.

From the long 4 and a half minutes keyboard intro of the album, you get a first idea of what you are up against. Floydian - I take my time - intro, then at 4:40 the lead guitar appears and your first idea gets stronger. But then no, what is that? Is it a heavy riff? Oh yes it is and it's a damn good one! And then at 7 minutes or so here comes piano and vocals. The opening track of the album "Numb pt 1" has it all and gives the general idea of the album as a whole. There is melody, there is emotion, there is skilled playing, there is heaviness in small doses, and a really catchy chorus. The key word here though is emotion. Lee's playing style derives straight from the masters of emotional playing and of course I'm referring to Dave Gilmour and Andrew Latimer. Technically and sonically I'd say is closer to Latimer (those sustained notes!) but the way of thinking and the structure of the solos lean more towards the Gilmour side. (Ascend The Sky could easily be a b-side of a Division Bell single!) Anyway it's an excellent blend of the two (listen to the solo on "Realization"). The good thing is that both the album and Lee's playing are not stuck to the past, there are many more elements to be found (check out the 90s prog metal feeling on the closing part of "Numb pt II), and a more modern approach to instumentation and execution. Of course there is also a lot of personality in there, so we are talking only of influences and not sterile reproduction. The album is concept. The story is not unheard of before, but fits the music well and there is nothing offensive lyricswise. Vocalist Marc Atkinson does a really good job and so does Gerald Mulligan on drums. A song for song analysis is not needed here, but a special mention should be given to the last two tracks of the album. "No Going Back" is probably the heaviest track of the album but still the chorus is melodic, emotional and catchy. The guitar solo gives a nod to the Falling into Infinity era Petrucci. The last song "Awaken" is my personal favourite. Piano intro (deliberately?) reminding of High Hopes, the whole track is an ode to emotional songwriting and playing. Especially the excellent guitar solo that closes the song (and the album) epitomizes everything we mentioned so far. To conclude, this is a fine effort, not groundbreaking, but this was never the purpose. A 4,5 stars for my personal tastes, a solid four stars all things considered.

LEE ABRAHAM is a musician, basic bassist of the group GALAHAD; there he released his 9th studio album in which he played guitar, bass and keyboards. He worked with Karl GROOM and Martin ORFORD and listened to DREAM THEATER and SPOCK'S BEARD a lot for a while. The cover of the sleeve is from Robin ARMSTRONG of COSMOGRAF. During the covid confinement, he locked himself up to compose this album dealing at the text level with reasoned or abstract fear and the notion of death from this virus. A studio album with just his friend drummer from the group CREDO and five singers from the progressive current including some big names who have played the game of singing everything from a distance .. LEE ABRAHAM fell in my headphones with the CD "Distant Days" in 2014 and had seduced me by this very typical English prog metal sound. Hop let's take a closer look.

"The World is Falling Down" begins the album with an already confusing title, mix of prog with the synth and heavy prog for the riff, in short a thunderous intro which gives pep; then the very old school and edgy voice in line with a band from NWOBM. There comes a big riff and the muffled voice on a more structured solo and a very present bass; it unwinds the ears, it changes especially becoming almost a ballad towards the end; an innovative and astonishing title which recalls without problem GALAHAD just for the song. "Stay" arrives on a more pop-prog-rock variation, a little in the tradition of GENESIS "Abacab" era, piano and synth line for a rhyme based on the voice of Peter from TIGER MOTH TALES; a simple sequel that could become a hit if prog music could go on the radio. "Hearing the Call" comes in for the longest track on the album and a long crescendo bordering on neo-prog at ARENA here; its heavy, well-syncopated drums and keying synth all wound up by a catchy riff quite greasy; progressive rock flawlessly, without pure creation because feeling the different winks at various progressive structures of hands groups; it's long, it seems a bit overrated at times, still weighing down like the early metal-progressive bands before their time, I think of THRESHOLD or SHADOWLAND. The guitar solo that occurs is there divine, aerial and allows the return to the voice of Mark. "Misguided Pt 2" arrives as a musical and instrumental interlude on a track that can follow up with his 2014 CD; a nervous riff at the start, a space interlude on the synth to go far, very far from the Earth and this covid which never ceases to disturb the public performance space in addition to the physical inconvenience; the sumptuous finale on a return to the Andalusian guitar, full of charm, warmth then a charming and bewitching solo, full of emotion and warmth far from the starting riff, riff which returns for the last notes with a sound à la GALAHAD well prog metal. "Never Say Never" begins the second part of the album with piano intro, muted ROTHERY guitar accompanying Steve HOGARTH, well we could believe it, no it is Mark again who sings here on a title Marillionnesque you get it right, easy title, fresh, well in place to stay ahead but lacking drifts and other progressive drawers; a catch-all title that we hoped would be punchier! "Rise Again" follows with the smallest title but not the least interesting; a sweet ballad with everything you need to melt, the metronome side makes your head sway, the nostalgic synth and Mark's voice with backing vocals cause a blunt return in the past with his little solo that shows that Lee can excel in many areas. "Harmony / Synchronicity" title of the album to conclude with a more rhythmic, more playful track, the guitar flirting with the good old hard VAN HALEN; in fact this title starts with nervous AOR and fits well, a little prog FM rock there, it is well soaked, it is effective and still agreed also reminding the period MARILLION era Hogarth even to TWELFTH NIGHT, bringing back to sounds already heard; the guitar solo saves in my opinion the halfway point by offering a beautiful set in two stages, almost symphonic as Steve HACKETT did on the best solos of the late GENESIS period "Selling England", then the guitar s' wraps and brings closer to nirvana. Return to the more predictable chorus.

LEE ABRAHAM has just released a singular album with 5 different voices and in fact offering a rather disjointed album, mixing ballads jumbled up with nervous and punchy developments, which upsets the rest of the songs a little; a singular album with a lot of diverse orientations going from neo to prog metal, an album as confusing which is a little fishy by the distinction of the voices and seeming more to be a digest of several groups: on the one hand it can shock you, from the other can prevent you from falling into repetitive titles, it's up to you. One thing is certain, GALAHAD gave him lots of ideas.

Lee Abraham plays bass on Galahad's 'Empires Never Last' album - a personal favorite - and I was quite interested in listening to his solo career. His 2019 release 'Comatose' is considered a major release, so what better place to start?

My first impression was that 'Comatose' is a 'Wish You Were Here'-lover's thrash metal album. Most songs have slow-pace symphonic-ballad vocals parts, some emotive guitar leads on symphonic carpets and metalesque instrumental sections. The classification of crossover prog is however well in place, because we're not exactly facing ground-braking ideas here. The key-word is harmony, professionalism and sounding recognizable. The vocals by Marc Atkinson are warm and professional - but again - by the book. Lee Abraham's guitars are well played, but I mainly like his harder riffs in which I can find some vague traces of originality. The production of the album is very well done.

The album, which on the tracklist is supposed to impress as a single long track, plays like a fairly normal succession of songs that one would expect on concept album. The album is about some-one who enters a coma, aks some philosophical questions, relives some of his memories (including being happy in the sun as a child) and wakes up (or not?). Sound familiar? The Visitor? The Human Equation? The Lamb Dies Down on Broadway? The difference with these albums is that - for instance - Arena's The Visitor uses the concept to explore a wide pallet of emotions and themes, whereas on 'Comatose' I can mainly find that one later day Pink Floyd emotive sympo- vibe.

I've been fairly critical of lack of originality here, but I would like say that is one my personal traits. Who is to say listeners of Pink Floyd, symphonic metal and crossover prog won't like this album just fine? To me the progressive genre is about finding spots that weren't yet discover on the map of music, or re-arranging them in a original fashion. Or perhaps performing them in some mind-blowing or personal way.

This album is however made by and for people who obviously love some symphonic rock traditions and are happy to invite yet another well-made work into their music collection. For me its good, but in no way essential. I must say its way more likely I will return to the 2019's Cosmograf release I recently reviewed (which I also gave this rating).

Wow! What a scintillating listen that was! I own three albums by Lee Abraham as well as his recent Galahad material and knew full well that this was quite the talented artist , showing delightful elegance on the terrific ''The Seasons Turn'', in particular the title track that first got me hooked , elated that Marc Atkinson was the main vocalist, he being one of the finest voices in music, period. Riversea have two masterpieces that I hold very dear, so when he grabs the microphone on this superb recording, I just know this will be killer! It is! The radiant choir mellotron makes numerous appearances, making this a symphonic masterpiece, from beginning to end. There is very little space between songs , making this more of a continuous suite, much to our listening pleasure. The theme is what makes this interesting , based on a person in an accident becoming comatose. Take that on your pink chin, Roger Waters!

In a faintly disguised nod to the Floyd, ''Numb part1'' sends this opus on it's way with immediate impact and intense intrigue as the life monitor beeps ever so creepily. Brooding softness prevails, acoustic and electric guitar vying for some comfort zone , all very placid until the booming drums announce the choir mellotron , cresting and surging , splicing a liquid lead into the maelstrom , heightening the angst into near metalloid realms. Ambulance sirens, troubled piano and Marc begins singing in his inimitable style, a voice that needs no effect but here given a parallel ''dying treatment'' in the chorus, Lee ripping a sizzling solo to further entice. Absolutely divine. This bleeds (pardon the pun) right into « Realisation » , another jewel in the crown, a sophisticated prog ensemble work that shines ever so brightly, guided by a Spanish guitar motif that emotes magnificently, choir mellotron in tow. Laced with another whirlwind vocal performance, Marc's expressive voice is quite a thrill, as the extended electric solo just carves like a knife. Things keep moving along in utter melodic perfection , tones of Jim Kerr of Simple Minds appear on the rousing « Twisted Metal », Marc hushing voice whispering dark nothings , as the band plows mercilessly ahead, Gerald Mulligan putting on a brief drum clinic. This is a killer track that seems to flow naturally, expressing the human softness trying to survive within jagged wreckage. Marc bellows magnificently on the searing « Ascend the Sky » , with its luminous grandeur and majestic aura, a gospel-like choir pushing the wave along, stunningly tailored with a clangy, stinging country-style guitar tone a la Steve Cropper. « The Sun » offers a pastoral funeral for a friend that is the premise for this bucolic , acoustic guitar and flute ballad , sorrowfully sung , a huge melody of momentary release . Very English ,very impressive and meticulous , made eventful by a patented Atkinson vocal, a thing of soulful beauty. As a farewell treat we get a slick acoustic guitar solo that defies the odds. « Numb part 2 » just keeps the tension rolling undaunted, I daresay defiant as Lee and Marc weave their creative magic, delivering memorable performances , getting heavy as the chug through tough terrain, swirling into the maelstrom of sound and slicing ferociously through the torrential mellotron waves, at break neck cosmic speed, supremely controlled and utterly devastating. The hot and sweaty « No Going back » slams hard , armed with another whopping melody , bruising drum attack, choppy guitars , making ''you want to reach for the sky, no asking why'', Lee unslinging a seismic axe barrage of monster proportions, what more could you want? Absolute diamond. « Awaken » closes off this gargantuan effort, a dazzling display of melodic, emotive and inspired singing and playing, relentlessly beautiful in its presentation and messaging. Lee rips a solo for the ages, one of the dizziest displays this side of Steve Hackett.

Everything here is perfect, memorable, thrilling, inventive and explosive, chock full of massive melodies that stick in your mind and coated with endless mellotron waves, superb soloing and kick-ass drumming. And need I repeat, the finest vocals you could possibly imagine.

My favorite album of 2019, hands down.

5 numb skulls

A year after the brilliant The Seasons Turn, Lee Abraham returns with Colours, on which he still uses a prog blueprint, but in which he has examined his AOR influences with a nod to Toto, Asia and FM.

Also this time the same band with Gerald Mulligan (drums), Rob Arnold (piano), Alistair Begg (bass) and Lee on guitar and keys. Robin Armstrong, Marc Atkinson, Dec Burke, Simon Godfrey and Steve Overland take care of the honors for the vocals, while Gary Chandler is chartered for the closing hit The Mirror Falls.

On his previous albums Lee Abrahams always did a song for his AOR love, but this time it is exactly the other way around and the listener is treated to six AOR songs to end up with a song in prog style. Textually, the songs about love and relationships, both good and bad, but also how bad things take place in our modern life, which do not seem to have any effect on us at all. Because we just go on and ignore almost everything.

In addition to the aforementioned influences, Always Yours sung by Rob Arnold shows a strong Journey sound. Find Another Way is really written for Robin Armstrong, while closing track The Mirror Falls leans on IQ and is laced with guitar work à la Steve Lukather. Lee Abraham shows himself on Colours from another side and delivers a great album with a select group of artists.

Possibly not in the style everyone had expected of him, but perhaps that is the strength of Abraham. He sails his own course averse to public expectation with the strong Colours as a result.

This is not progressive rock. This is basically melodic rock, but not really rock, more pop. But not even powerpop. Middle of the road, enjoyable FM-poprock.

The guitarist Lee Abraham is known for his work with Galahad. But this has nothing to do with Galahad. This sounds more like modern melodic rock like Harem Scarem, Overland, Pride of Lions, but also like the oldies: Foreigner, Boston, Europe.

The problem with this is, that progrock-fans will bash it, and melodic rock-fans will regard as too mellow and midtempo. It's enjoyable though. The production is fresh and crisp, the vocalists involved are very good, and the songwriting is okay,

But this is not te kind of album to rock out to. You play it as backgroundmusic, what FM-rock was meant to. Maybe this will find its fans, but I guess not in the prog-community. For what is it, it's okay, not great, but okay.

Lee Abraham was completely unknown to me until recently when I came across the title song on youttube. I was curious so I tried it; that was one of the better decisions in 2016. What an awful song this is, absolutely briliant!! The instrumentation, with melancholic piano, flute (thanks mr. Orford for returning to the scene!), wide mellotron layers, absolute fabulous guitar solos that go on for several heavenly minutes and excellent vocal lines, this is a pure classic for me. Yet a obvious disadvantage of having such a overwhelming good and long epic at the start of an album is that the rest lies in the shadow of it. That is not the case, albeit that the other songs don't have the same thundering quality as the title song. They are more than decent, very enjoyable, a tad heavier now and then but nowhere near metal or the like. For those who appreciate IQ, Pendragon (the guitar soloing!!), Camel, Marillion, Abel Ganz, Magenta or Comedy of Errors, check this one out, you won't regret it a moment. Superb!!

Lee Abraham got on my radar as a replacement for the lamented bassist Neil Pepper on Galahad's latest releases, but I did not really get further involved until "The Seasons Turn" was announced, featuring a few musicians that I really love a great deal, such as the fabulous Marc Atkinson, owner of a uniquely expressive voice that is quite rare in Progland. His work with Riversea and Nine Stones Close are imminently fabulous monuments to expressive singing. Drummer Gerald Mulligan from Credo also lends his thumping talents to the mix, as well as lead singer Mark Colton. Add other luminaries such as Martin Orford (IQ), Robin Armstrong (Cosmograf), Dec Burke (Frost* and Darwin's Radio) and Simon Godfrey (Shineback) and you know the quality will be front and center. The Abraham band members are new to me as of today but certainly not tomorrow, as Alistair Begg on bass, Christopher Harrison on lead guitars and Rob Arnold on piano and keys are all first rate musicians.

To kick off an album with a 24 minute marathon tour de force is quite the gamble, but it seems apparent from the very first note that Abraham wanted to stamp this opus with some immediate prog brilliance, and this tremendous title track is an absolute corker! There is little doubt that Marc Atkinson's voice has a more feminine tinge (as opposed to some bluesier growl), not far behind the magnificent Steve Balsamo's wail, he of IO Earth and Kompendium fame. Everything here is sheer magic, as only emotionally charged and progressively structured music can be at times, especially when peppered by Rob Arnold's eloquent piano motifs, as well as the howling mellotron detonations carved by a honed prime electric guitar that slices through the haze. Epic and grandiose, this is a vigorous affair that takes no prisoners, somewhat akin to the very recent and muscular IQ work, in that it offers depth, panorama and altitude. When Marc Atkinson clutches the microphone, the sonic thrill begins in earnest, not just a glorified chops session but a bona fide epic masterpiece! While not complex in structure, the music is not commercial or even accessible to all, as it has an ethereal quality that emotes on a multitude of levels. The chorus seems like one may hear in some vivid dream, exploded onto a canvas of colors with bass blue, dark violet drums and golden guitar twirling the brush. Harrison rages, rants and rampages very correctly, elevating the piece to the most glorious heights with multiple solos throughout, though it must be stated that Atkinson really shines very brightly as a lead vocalist, proving to be among the very very best in Progland. Stick man Mulligan pounds the colossal finale into proper submission. No other word comes to mind than: WOW!

After such a volcanic experience, "Live for Today" serves as a definite refocus, a refreshing insight into the daily routine, a comforting disturbance (or a disturbing comfort, if you prefer) that is perfectly highlighted by Dec Burke's brittle lament, a sizzling guitar barrage that fizzles like hell-bent phosphorous, Alistair Begg foraging the low end with his moody and animated bass guitar, winking at Mulligan and his kit, a 7 minute ditty that is just the perfect segue to the previous megalith.

Marc Atkinson has a few different vocal tones, somewhat growlier (as in tired) on the next piece, the bouncy "Harbour Lights", a somewhat Genesisian tendency pervades the arrangement, with loads of keyboards, an expressive and boisterous guitar presence, while the rhythm section sets a strong foundation. Toss in some fortuitous flute work from Martin Orford and the brilliance illuminates the proceedings in a very demonstrative manner.

The more straight forward power balled "Say Your Name Aloud" features Credo's lead lung Mark Colton and he is no slouch either, a gifted vocalist that exudes charm and passion. This is the only outright 'commercial' moment here, a relatively simple piece with countrified guitar pickings, almost a British styled Eagles like song. It serves nicely as respite but we progheads prefer, as ELP would once put it, 'The Endless Enigma" of unending prog adventure.

The sensation returns with another masterful extravaganza, the 16 minute "The Unknown" which now features Shineback's Simon Godfrey on lead vocals, in what should be best described as a modern neo-prog epic that speaks to the 21st century fan, a longing to be free, to be stimulated and to find some kind of musical release, as our world continues to veer towards insanity. Between idiot politicians, severe weather dislocations, social apathy, terrorism, disappearing airplanes, GMOs, increasing wealth gap and Brussels dysfunctionality, there is really little respite. The snarling guitar barrage underlines the frustrations, the barely expressed rage, the pharma-fueled apathy and the flickering glimmer of some kind of future salvation. Yeah, right! The bullish song slithers along, undeterred by any pretense, content to hurl guitar sparks into the gun powder room, and the rest be damned! The drum beat is tectonic, the keyboard arsenal finds itself unleashing all its weapons of ivory and the finale is pure bombast! The piece ends on a very elongated and spooky cosmic sound that bodes little good fortune for the future. Let us pray?.

Some of the most vivid artwork ever, a sensational package that deserves to be heard, appreciated and adulated. The two epics opening and closing the album are simply fabulous works of genius.

4 veering terms