This is the fourth solo album from former GALAHAD member and bassist Lee Abraham and a host of guest players from the world of Progressive Rock! Given the ample musical and stylistic variety on Distant Days this is a disc that will have plenty of shelf-life.
The third solo CD by Lee Abraham that features excellent musicians from the Prog scene including John Mitchell (It Bites), Simon Godfrey (Tinyfish), Jem Godfrey (Frost), Gary Chandler (Jadis), Steve Thorne, Sean Filkins, Simon Nixon, Dean Baker & Gerald Mulligan. His latest effort opens promising with a Pink Floyd-like intro and lots of distorted guitar, swiftly turning into a Dream Theater-like continuation in the first real track Face The Crowd. The tracks have power and melody throughout - this is a great release!
Lee Abraham's latest album - modern British Progressive rock with many luminaries from the progressive scene. Lee Abraham is a British bass player and multi instrumentalist. Was the bass player for Galahad from 2005 to 2009…
The excellent album from '08, of Galahad bass player and a guitarist Steve Kingman. The melodic soft prog-rock, played very well, the drums recorded and engineered by Karl Groom (THRESHOLD). The CD contains heavier tracks and guitar ballads, as well as nice melodies for fans from ASIA to BJH, Supertramp or ballad CAMEL.
In 2004 Lee released "View From The Bridge" again as a self release which included contributions from Karl Groom (Threshold, Shadowland) and Martin Orford (IQ, Jadis, Big Big Train). "View from the Bridge" shows that his maturation continues as a songwriter. In the tradition of Neal Morse, Lee combines catchy pop hooks with progressive instrumental passages, resulting in a nice stylistic blend - not too proggy for song-based music aficionados, but plenty proggy for the prog snobs.
A movie on the life of the renowned Bruce Lee, especially his relationship with his mistress (played by Betty Ting Pei, who was Lee's mistress in real life and in whose apartment he died).
Hooker was already being hailed as a living legend in the '60s, but by the time of this 1986 release he was a larger-than-life figure, his iconic stature unquestioned. From his earliest collaborations with Canned Heat and on through the '70s and '80s, the rock world never got tired of trying to endear Hooker to a crossover audience. JEALOUS is an attempt to adapt Hooker's lonesome blues to full-band arrangements. Unlike his band recordings of the '50s, though, there's a decided rock edge to his accompaniment here, providing a sharp contrast to the down-home, earthy sound of Hooker's voice and guitar. Organ, electric guitar, and a forceful rhythm section baked in reverb back Hooker on JEALOUS. Instead of overpowering Hooker, though, these new arrangements place the bluesman on a sonic pedestal, from which he sounds like the voice of God dispensing wisdom through the blues.
In the twenty-first century, Anathema have often been mentioned in the same breath as Opeth and Porcupine Tree due to their increased movement towards thoughtful progressive rock structures. It hasn’t always been that way, of course. Like Opeth, the band began life as a totally different musical beast, playing in a melodic death metal style. Shifting line-ups naturally resulted in shifting sounds, and by the time the band signed with the legendary Music For Nations label for their fifth album ‘Judgement’ in 1999, they’d settled on a rather tough but accessible blend of gothy and alternative rock.
Comprising three discs of remastered audio material and a full length live DVD, ‘Fine Days 1999-2004’ presents a detailed look this important period in the Anathema history…