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Lee Abraham - View From The Bridge

Lee Abraham - View From The BridgeFrom the south coast of England, multi-instrumentalist Lee Abraham,  has released a new album. View From The Bridge is put together well with eleven songs, all of which tell a story. You could call it a 'concept album' in many ways, but all the songs set the scene about a bridge and the thoughts of a person about to take their life. It may sound gloomy, but in fact the songs are quite happy sounding, and Lee himself takes credit for most of the musical goings on.

Opening track on this 'shade over seventy-three minute opus' is Goodbye, which features Lee on vocals and acoustic guitar, and has a little Barclay James Harvest feel to it. There are the sound effects from a road nearby, and it sets the scene for the album. Next track Overture No1 has the rock feel to it, with the classic guitar solo from guest Gerry Hearn which sets the opening to this instrumental. Lee on this track plays keys and guitars, and the drums as per every track (apart from two) are from Gerald Mulligan.

Coming Home follows, and has a IQ type keyboard feel to it (Martin Orford follows later!) in the opening two minutes, and this breaks into Lee's voice which mellows the whole thing down into a slower pace. Another guest with the guitar solo is Barry Thompson, and it must be said Coming Home is a ballad-type song. The keys are quite prominent here, before the stronger type guitar riff breaks in, and quickens the pace. It reminds me a lot of Dream Theater with the guitar and keys, a fine track.

She's Leaving Home (not to be confused by the classic Beatles Sgt Pepper song!) has Kirsty Voce in fine voice, again with Lee on keys, piano and classical guitar and tells the story of the female side of things in the lyrics of her leaving home. I found this very moving from past experiences from my life, and a highlight on the album. The story continues with Too Long In Your Spotlight, and this is a happier sounding tune with fine backing vocals from Gary Blackman, and this could be a good single. It has a little Floyd feel to it with the moving bass and the Hammond splashes, but the whole song has a meaning like all the others.

Onto the epic now, the twenty-two minute Recurring Dream is the strongest track of all, and my favourite. Not because of the length of it, but in structure and feeling. It has the 'Prog' influences such as the solo Neal Morse feel, and with the keyboard solo from Martin Orford thrown into the mix, creates a whole different sound. The moving guitar solo glides you along, while the acoustic guitar jangles along in the background. The IQ feel returns eight minutes in and reminds me of the Ever period, while there is the metal side of Dream Theater added after ten minutes. The whole thing dies down around the thirteen minute mark with a nice couple of keyboard chords and more sound effects such as a newsreader (Diane Abraham) and a reporter describing the scene. Kirsty makes a appearance again but this time on backing vocals with Gary, and there is some fine flute playing too performed by Sarah Bolter. It all breaks down in the end to a ballad type feel, a sort of a Neal Morse type ending, but full credit to Lee on this on, it's a gem!

My Other Life follows and basically is just Lee on vocals and keys, and just fits in quite nice with the other tracks. Overture No 2 is again in the rock/Dream Theater vein, and again is instrumental like the first. This just features Lee on bass, keys and Guitar and with Gerald on drums brings a fine edge to this track. The playing is worth a listen here!

The Last Sacrifice features Threshold guitarist Karl Groom who performs a neat solo. This is a little electronic sounding and a shade on the commercial side, but again fits in and glides along well. Moving on to Go Right Now, this again could be a single, and features a nice sax from Sarah Bolter. This just glides away in 4/4 and has a pleasant chorus too.

Closing the album is the 'bookend' Goodbye/Recurring Dream (Revisited) with just Lee and Gerald on this one. It is a carbon copy of the opening track, but it then opens up into a grand ending, and again the Neal Morse feel is around.

This is a pleasant album and well worth a listen. The time flows by with it's many styles and changes, but at present there is no website. For more information and details on how to purchase the album, contact Lee direct on the e-mail address below.

Danny Mayo


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