Thumb through Chris Lee's press kit and you will glimpse mentions of Tim Buckley, Colin Blunstone (The Zombies), Liz Fraser, Elliot Smith, Unrest, Paul Weller, Alex Chilton, and perhaps most frequently, Jeff Buckley. Though Lee is nearly universally loved by fans of the late singer, who was also known for a soaring falsetto, his wide fanship includes more than just Buckleyists-he's been saluted by both experimental/outsider mag The Wire and roots/songwriting oriented Harp; was handpicked by UK pop idols Starsailor to open their first US tour, and also shared several bills with avant-legends Sonic Youth (Lee's been damn-near adopted by drummer Steve Shelley, who is such a fan that he released Lee's second album, PLAYS & SINGS TORCH'D SONGS, CHARIVARI HYMNS & ORIKI BLUE-MARCHES on his own Smells Like Records label in 2001, and has played in Lee's band off and on since 2000). Live, Lee's rotating backing band features some of the finest players in the NYC jazz underground and at times members of the Afrobeat ensemble Antibalas.

But it isn't all these name-checks and endorsements that make Chris Lee special.

Lee is special because in a pop music arena dominated by shameless nostalgia-mining, blind fashion slavery, and overwrought technophilia, he is focusing on the one and only thing that has been perpetually in fashion-great songs well sung. If you're looking for an easy angle, a simple schtick, something more to sell, you're out of luck. The only reason you should be excited about COOL ROCK is because it's a work of substance and sophistication, nothing more or less. Because if you let it, it might actually resonate with you on a personal level. Because you might actually pull it out again in 2 or 10 years and find it's not only still listenable, but relevant.
COOL ROCK is Lee's third album, and the final installment in a series he understatedly describes as "love songs in C major." Tracks range from the lonesome flutter of "Lately I Want You" and the infectious and anthemic "Sail On", to a stunning rendition of Mississippi John Hurt's "Nobody Cares for Me." COOL ROCK was recorded spontaneously in New York City over the summer and fall of 2002 by Matt Verta-Ray and Nicholas Marantz, and mixed gorgeously in Nashville by Mark Nevers, who gave it the same loving treatment he has given albums by Lambchop, Will Oldham, and Vic Chesnutt. Featured performers include longtime musical accomplice Jeremy Wilms (bass), Steve Shelley (drums), Greg Gonzales (more drums), Yusuke Yamamoto (vibraphone), as well as Stuart Bogie, Aaron Johnson and Jordan McLean (all of Antibalas) on horns. Combining the up tempo rock of his self-titled debut and the more introspective explorations of PLAYS AND SINGS… COOL ROCK is an unparalleled collection of songwriting smarts, sweet melodies, and superlative singing.

In just a few short years, Lee has made a name for himself in New York through rapturous performances showcasing both his own songs and those of a tantalizingly diverse corps of contemporary masters, including Neil Young, Sade, Dan Penn and Prince among others. Lee is also spreading the word city by city, touring tirelessly. If it's not already common knowledge that Lee is someone special, COOL ROCK should remedy that malaise. There is something undeniably impressive about a guy who can disarm the most discerning, jaded music critic, and still make a Ryan Adams or Norah Jones fan swoon. Chris Lee is not all things to all people, but he could be the closest thing we have.