LEE ABRAHAM

I am a lucky man (wink to Keith) of owning all of this underrated but hyper consistent artist's work, a bass and guitar man who can also compose with the best of them. Lee Abraham not only gallantly soldiers on with the esteemed Galahad, having replaced fretboard mainstay Roy Keyworth without the slightest bump in the road but he has furthermore released 10 outstanding and extremely highly rated albums, that critics have found unanimously appealing. Especially since 2019's magnificent masterpiece "Comatose", Abraham just keeps on giving steady chapters of undeniable quality. With "Origin of the Storm", our valiant knight has shined his armor brighter than an exploding supernova, as this new set is his finest yet, without the slightest hesitation or doubt. He is also a shrewd judge of talent as his selected and perennial collaborators are some of the finest the UK has to offer. Let us start with the vocals. Are there any finer singers anywhere than Marc Atkinson and Peter Jones? Do you think Clive Nolan needs any introduction? Gerald Mulligan on the drumkit is a phenomenal force of nature, having been a longtime partner in crime with Lee, as well as with stints in Credo and Sean Filkins. His interweaving concussions are in perfect symmetry with Lee's riffs, a technique that made Zeppelin famous, explicitly the legendary Bonham/Page synergy. Pianist Rob Arnold, bassists Alistair Martin and Ken Bryant keep things nice and tight, and Paul Drew adds some guitars. Besides the tremendous musicianship and pristine sound, the main quality of his style are unquestioningly, the penning of some of the most poignant melodies one can possibly dream of. This bewildering album has so many of them, the mind just boggles in subjugation. Secondly, the flow is uninterrupted and rapturous, constantly impressing images and inspirations that keep each track vibrant and heartfelt. Not a single second of impudent fluff or onerous regurgitation, the songs and the instrumental play are immediately impactful.

The instrumental title track has the honour of setting the tone for the set list, a crisp yet thoughtful romp that exudes an overt sense of positive anticipation, both imposing and deeply melodic, as Clive Nolan's keyboards coat the canvas with a myriad of colorations, leaving Lee to scatter his electric paintbrush with flamboyant strokes, the pulse unremitting. The immediate segue into the chugging rhythmic onslaught of "The Same Life" is an immediate steam-roller stunner, that bends into a theme so gorgeous, it just may shed a tear or two. With Pete Jones' powerfully convincing and seductive voice dominating the already off the charts main melody, the listener is frozen in time and space, outright hypnotized by the beauty of this superb track, the first of many glorious moments to come. The lyrics are highly evocative, as we all share this blue planet in common, a cry for ending all of our sorrowful tears. The acoustic guitar hands over the pathos to an ecstatic electric solo that serves only to add even more power to the arching finale, as we should all share the same feeling when listening to this marvel. Stunning. Peter then stamps the folky "Chalk Hill" with a haunting rendition of an emotional journey of melancholy, of a time when life was simple, children playing with giggling innocence, a place where time just stood still. Where are those days now, where have those memories gone? Everything about this piece reeks of nostalgia, for a moment in time that could be so carefree and devoid of negativity. A jewel of prog-folk in the spirit of Albion with sublime harmony vocals that really hit the spot. Another crushingly picturesque melody. "Isolation-Disconnection" harkens back to the more somber pieces of his past repertoire (think 2020's moody "Harmony/Synchronicity" album), expertly sung by a forlorn Mark Spencer (currently the bass player for Galahad). Nolan infuses some dark synth clouds before the brooding guitar onslaught is united with a menacing drum barrage, a broiling organ undertow. A clever departure from all the previous glinting luminosity, the subdued dejection of forcible sequestration, as well as its obvious consequence of negative thoughts and the fears of an ominous future were a time where the Covid pandemic disrupted everyone's lives, with no possible escape. The militant instrumental explosion has no antidote available, an uncompromising internment of sound that has only one purpose to disconnect completely from the world as we had previously known it. Lesson learned, let us not take anything for granted anymore. On the floating embrace of "Hole in the Sky", Atkinson delivers another one of his patented passionate performances, aided by Rob Arnold emoting on the ivories. Needless to stress the quality of the ornate melody, all elegance and intuition, as an acoustic guitar caresses the soul, followed by an electric flurry to underline the need to repair the damage done.

When Peter Jones croons, one listens with bated breath, as his convincing tone is perfectly adapted to the larger- than-life "When I Need a Friend", a profound song that cries out for attention, innocently agreeable to any ear that yearns for uncomplicated devotion, and the unconditionality that only true friendship can provide. Yes, there is a special kind of love that remains pure and eternal, the only one you could possibly depend on. Loneliness cannot prosper if all you need is a mate. Just one is enough. The Beatles and Joe Cocker now have a modern version of their famed message. What a performance!

The epic finale "Siren's Song" is not only the apotheosis of beauty on this disc, and not only of Abraham's extensive career but I daresay, in recent prog history, an anthem of surreal proportions and a surefire label of classic. Needless to repeat my personal admiration of Atkinson's unique set of pipes, here is a man who sings with such passion and integrity that I feel the need to get on my knees in adoration (listen, die and go to heaven) every time he grabs that darn microphone. His display here is lethally urgent, melting the most rabid and robust stone-cold heart into a puddle of glee. But its the details that really leap out, such as the inclusion of upbeat riffing that adds and elevates the power and not the metal, unexpected but most welcome, what with that slight touch of mellotron to hint at grandiose deliverance. A work of genius moment on a masterpiece album.

Unequivocally no contest in getting this on the podium for best album of 2024, even with the absurd competition of an incomparable prog vintage, this album is an exceptional bottle of wine that needs to be ceremoniously sipped, fondly swallowed and permitted to soothe the crowded mind. 5 Seeds of thunder

Lee Abraham has always produced some stellar prog/rock with a heavy accent on his guitar work. On this, his 10th solo album (in between Galahad gigs) he has added Clive Nolan (Arena, Pendragon) on keys, (whilst retaining stellar pianist Rob Arnold who adds the Richard Wright-type glue) to add a whole new depth to his compositions. This hits us immediately with the instrumental opening title track with sterling Nolan solos. Five of the 7 tracks all clock in over 8 minutes, and whilst the accent is on the instruments, the vocals are well handled by long time contributor Marc Atkinson (tracks 5,7) and the excellent Pete Jones (Camel, Tiger Moth Tales) who absolutely shines on the poignant When I Need A Friend and also sings on The Same Life and Chalk Hill. Galahad bassist Mark Spencer takes lead vox on the prog metal track Isolation/Disconnection. Last track Siren's Song is my personal favourite, opening with a strong melodic guitar joined by synths leading up to a breathless Atkinson delivery starting around the 3 min mark. A heavier repeated riff comes in at 6 mins supported by organ, before the now customary LA album climax with piano leading us onto one last solo from Mr Abraham. A busy musician (in between a daytime job working in a university), who is well entrenched in the UK prog community, it's always a joy following Lee's musical journey, and this is no exception.

The career of guitar-playing multi-instrumentalist Lee Abraham begins in 2003 with the release of his first solo album, "Pictures In The Hall". Two years later, he brings forth another album titled "View From The Bridge". In 2005, Abraham joins the neo-prog band Galahad as a bassist and two years after that, he impresses with his contributions to the magnificent album "Empires Never Last". In the subsequent years, Abraham's focus shifts almost entirely to his solo career, culminating in the release of his fourth album, "Distant Days", in 2014. It was during this phase of his career that everything seemed to be going exceptionally well, with the icing on the cake being his invitation in 2017 to become Galahad's new guitarist. Since then, he has released several wonderful albums with Galahad while continuing his solo work. How are you doing, Mr. Abraham?

Abraham's music showcases a passionate blend of heavy prog, AOR, classic rock and prog metal, characterized by strong melodies, dazzling solos and smooth tempo and mood changes. Particularly on "Distant Days", Abraham demonstrates himself to be an unselfish musician, using the list of guest musicians not only for his own benefit but also to allow them to shine. For example, the fiery opening track, Closing The Door, passionately sung by Dec Burke, features an intense guitar solo by Karl Groom. Despite having the opportunity to create a magnificent moment himself, Abraham lets the Threshold guitarist take this prog metal song to its deserving heights. The album is filled with well-placed cameos like this.

Abraham also exhibits strategic prowess when it comes to vocals, placing the right people in the right places. With names like Marc Atkinson, Steve Thorne, John Young and the aforementioned Dec Burke in his address book, there is no room for disappointment and it doesn't happen. Quality is guaranteed when these gentlemen start singing. With the ballad-like title track, Abraham proves vocally equal to his guests. His warm voice fits beautifully with the melancholic aura of the track. The guitar solo in this song is skillfully performed by Lee Abraham himself. It all comes together splendidly thanks to the well-timed drumming of Gerald Mulligan. His beats are priceless, which is why Abraham has included him in every song. His partner Alistair Begg also gets the opportunity to showcase his full range of instruments, including the Chapman Stick, fretted and fretless bass guitar.

One of the tracks that appeals to me the most is The Flame and I say this knowing that the epic gems of the album are yet to unfold. The Flame is a delightful song sung by John Young (Lifesigns) and features infectious guitar playing by Abraham and John Barry. The song is embellished with extensive harmonies throughout, greatly enhancing its exuberance. Following that, Abraham delivers exactly what the album needs with Misguided, an instrumental piece. The strength of this track lies in its sparkle rather than flashiness, making it a showcase in itself.

And then, the first epic unfolds. Corridors Of Power is a magnificent tour de force that opens with grandeur before Rob Arnold's piano and Marc Atkinson's distinctive voice bring it to a serene state. The song swells more and more, displaying a tingling blend of emo-prog and heavy guitar rock. It begs for more and more is indeed granted. However, before that, you need to savor the captivating eight-minute track Walk Away, which wouldn't have been out of place on his 2017 album "Colours". On "Distant Days", it also serves its purpose as an appetizer for what's to come.

Tomorrow Will Be Yesterday is a blissful prog metal feast that transports you away from the world for fifteen minutes. The Porcupine Tree-like atmosphere takes you through solemn and captivating landscapes where bombast regularly emerges and the keys create a haunting tension. Steve Thorne provides vocals for the track and he does so excellently with his refined expression. It's a beautiful conclusion that ends with an impressive display of rhythmic prog.

Hats off.

Orginally posted on www.progenrock.com

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.