Lee went totally solo allowing him the total freedom to explore his own musical direction. When the single "Do It, Believe It" was released in the UK, it was also the debut release on his own self-financed label Z Records, which remains his primary outlet. Around the same time, Lee met keyboard player Andrew 'Doc' Livingstone when he sent in a demo to Republic Records. Shortly after, the pair decamped to Unit 3 Studios in Chalk Farm. In 1991, Rough Trade Records went into liquidation and with it, Lee's job. The slack was taken up by increasingly large amounts of studio commissions as his work as a remixer grew. In 1993, Lee was approached by boy band Take That's label with a view to working together. Although the Dan Hartman song "Relight My Fire" had never been a hit in the UK, it had become a popular club track in the house music scene, so at Lee's suggestion they covered it, with Lulu taking the cameo role that Loleatta Holloway had performed on the original. It became the boy band's second number one in the UK. The same year saw the release of the Joey Negro album Universe of Love, featuring Gwen Guthrie and the Trammps. Its title track, with live instrumentation, prefigured much of the work he went on to do with the Sunburst Band. Lee's stock as a remixer continued to rise throughout the '90s, providing remixes for Diana Ross, M People and Pet Shop Boys, as well as racking up further aliases (Z Factor, Doug Willis, Akabu, Sessomatto and Agora). In 1997, Lee met Taka Boom, Chaka Khan's sister, when she relocated to the UK, and the pair collaborated on "Surrender" and "Can't Get High Without U". The same year, the Sunburst Band released their debut EP, Sunburn, which included "Garden of Love", one of the band's most successful songs. Lee opted to gather many of the session musicians he worked with over the years – among them Michele Chiavarini, Viv Hope-Scott, Jessica Lauren and Tony Remy – who recorded the first album, Here Comes the Sunburst Band. It was a conscious departure from electronic music and, as Lee admitted in an interview, it was his commercial successes elsewhere that provided the finances to make such a move. The follow-up, 2005's Until the End of Time, introduced two new vocal collaborators, disco stylist Linda Clifford and former