Chris Lee Returns To Bury The Kings

For some time now, singer/songwriter Chris Lee from Charlotte, North Carolina, seemed to have fallen off the radar. It has been a long nine years since the release of Cool Rock in 2003.

But that doesn't mean that Lee has been idle all this time. He started a family and took a “real” job with the New York Times. He also focused his attention on creating (and starring in) an impressive multimedia musical theater piece called Red Fly/Blue Bottle, which premiered in New York and received critical acclaim.

At the same time, Lee still played when he could. This included some jam sessions and experiments with his long-time collaborator Steve Shelley (better known for his role as the drummer for Sonic Youth).

Chris Lee mounts a comeback after a near decade.

It took almost a decade, but the now Brooklyn-based troubadour is making a comeback with his fourth full-length album. Bury the Kings was released on Shelley’s Vampire Blues label, with an outing that features some backing musicians with impressive resumes. Shelley, of course, plays drums.

Some other supporters include David Nagler (John Wesley Harding, Jon Langford) who tackles keys, as well as brothers Aaron and Joey McClellan (both of Blacklight Rumble) who take up bass and guitar, respectively.

As a Vampire Blues release, the album was recorded and mixed at Sonic Youth’s legendary Echo Canyon West studio in Hoboken, N.J. Shelley handled production and Ted Young mixed. Young is well known. He has mixed and/or engineered albums for the likes of Andrew W.K., Alice Cooper, Kurt Vile, and The Whigs.


The song Bury the Kings is what gives the EP its name. The standout here is Lee’s bluesy, jazz-infused voice along with some warm, soulful keyboards.

Like this song, none of the eight tracks really have much in common with Lee’s three previous albums, except maybe one element. Lee has always had a stirring voice and it comes into play on Chris Lee (2001), Plays And Sings Torch’d Songs, Charivari Hymns, And Oriki Blue-Marches (2001); and Cool Rock (2003). As for the rest, Lee trades poppy chords for a more organic, soulful and sparse sound.

Through it all, however, expect the best element to remain intact — the always distinctive voice singing introspective and honest lyrics. It's exactly what Lee is known for.

Antony Flew is the quite possibly the strongest song on the EP. What makes it all work is how smart and tasteful the composition is, with some impressive Wurlitzer work that lets Lee’s voice be the focal point. A few months ago, he posted a cool control room iPhone mix of the song.


There is more to check out. Bonnie Brown Yes is a subtle tune propelled along by a twangy acoustic guitar, Shelley’s understated drumming, and Lee’s pleading voice. Don’t Go Back Again is slow and soulful. Aubade is warm and jazzy.

Across it all, Shelley does a fine job finding the “sweet spot” for Lee’s voice while keeping the vibe and tone of the EP consistent and refreshing. The instruments never overstep their bounds, and there isn’t a weak cut on Bury The Kings.

Bury The Kings By Chris Lee Rolls In With 5.7 On The Liquid Hip Richter Scale.

No surprise, the always affable Lee has been getting solid reviews for his compelling live performances, which provide an intimate connection between the singer and his audience. He’s also been making the rounds opening for Shelley’s talented Sonic Youth bandmate singer/guitarist Lee Ranaldo and his band (which Shelley also plays drums for) and the venerable Jayhawks.

Bury The Kings was released as a digital download on iTunes and vinyl LP at Barnes & Noble. You can also find Bury the Kings across all formats on Amazon. You can stay up to date with Lee's various outings on Twitter or visit Vampire Blues, where his next release will be announced first.

Sonic Youth Teases Up Smart Bar Live

It’s old news to fans that one of the world's foremost no-wave bands is on an indefinite hiatus. But what some people might not know (beyond diehard) is that the surprising split between Kim Gordon and Thurston Moore could finally spell the end. In the wake of their divorce, Sonic Youth may be no more.

Never mind the more optimistic mentions. Things change and sometimes fast, even if it does feel nice to hang onto the recent Rolling Stone interview with singer/guitarist Lee Ranaldo.

“I’m feeling optimistic about the future no matter what happens at this point,” he said.

Read it however you might like. Ranaldo is either alluding to his recent solo projects or he could be referring to Sonic Youth archival projects, including: digitizing their discography, editing a tour film from 1986, or culling demos from 1987’s Sister, presumably for a potential release as a deluxe reissue.

Nobody really knows. It could be all those things. But whatever the future may hold, this band has given fans something old made new. The recently released Smart Bar Chicago 1985 (Live) via their own Goofin’ Records has some solid material to soak up: digital, disc, and double vinyl LP.

This performance was recorded in August 1985 in support of their Bad Moon Rising album, at a time when the New York City-based band was still struggling to reach a larger audience. They wanted to make a name for themselves while staying true to their arty and intellectual roots.

The set was recorded on a 4-track cassette, which was later mixed and mastered from the original tape. While the audience sounds sparse, those who were there were about to witness something they had never heard or seen before. Amongst the crowd chatter, you can hear someone say “I don’t know that much about them.”

The 1985 session at Smart Bar was a pivotal point in history. 

At the time of this show, drummer Bob Bert had left to join Pussy Galore. Replacing him was the perpetually youthful and immensely talented Steve Shelley. In fact, this show marks one of Shelley’s first with the band. The 14-song set opens with Gordon singing Hallowe’en, followed by the equally dark and foreboding Death Valley ’69. The band’s official video for the latter is always a must see.


Sonic Youth - Death Valley 69'
Most of the songs are from Bad Moon Rising, which isn’t the band’s finest work but plays much better live than in the studio. Gordon’s voice is spot on and the progression of tunes shows the band just starting out on what would be a truly fantastic journey.

Among the feedback, urgency and percussive jams are Secret Girl and a blistering Expressway To Yr Skull, which hadn’t previously been available. They’d later appear on 1986’s spotty EVOL. Another standout is the previously unreleased instrumental Kat ‘N Hat, the noisy The Burning Spear, and the blistering Brother James, which played great at the Rock en Seine Festival in Paris (2004).



As always, Ranaldo and Moore provide a double guitar assault with their unique tunings and distortion. While not polished, the band sounds right and tight, perhaps due in part to the presence of Shelley, whose masterful and precise drumming keeps everything on track while still allowing the band’s special blend of improvisation to shine.

There is nothing new or groundbreaking here, but Smart Bar Chicago 1985 (Live) does provide an oustanding snapshot of one of the most original bands of their time at a point when nothing mattered but the music. As far as live albums go, this is definitely one that needs a place in your collection.

Sonic Youth Smart Bar Chicago 1985 (Live) Rips 8.6 On The Liquid Hip Richter Scale.

No matter how you slice it, Sonic Youth shaped alternative rock on the East Coast long before the West Coast really found anyone to pick up the banner. It's this kind grinding music that truly saved the 80s music scene, even if it mostly existed under the surface as mainstream rock had shifted too far pop.

The best place to learn more about the history of this legendary band is their website. Pick up Sonic Youth's Smart Bar Chicago 1985 at Amazon or download it from iTunes. You can also find the double-sided LP at Barnes & Noble. Who knows? With luck, the indefinite hiatus may not be as indefinite as we think. But if it is, at least the music is timeless.