It might just be me, and it probably is (!) but I find late evening is the best time of all to listen to music for review. I hit that time when it has been a busy day and I am tired, but not quite ready for my book (I’m into a Sherlock Holmes at the moment) and not quite ready for bed. The house is sleepy and no-one is quite as tired as my cat who has done nothing at all all day…so I’m ready for an album and on today’s menu is “The Sisterhood 2” by established UK artist Sarah Jane Morris. As usual, I will share the press release with you and then turn to the review.
“Acclaimed UK vocalist Sarah Jane Morris and guitarist Tony Rémy unveil ‘The Sisterhood 2’, arriving on March 6th ahead of International Women’s Day with 11 new tracks celebrating the most influential female singer-songwriters of our time. The first single, ‘The Edge is Where The Magic Is Found’ written for Amy Winehouse is out today.
Many will be aware of The Sisterhood, the project Sarah Jane Morris and Tony Rémy unveiled in 2024, in which ten of the most notable female singer-songwriters of the Twentieth Century were the subjects of a unique song cycle. Morris and Rémy were already aware that ten was insufficient – others had to be included.
The momentum of writing and creating did not falter, and by the time of its earliest performance The Sisterhood had become twelve, with ink-undried songs for Patti Smith and the then so recently and so tragically departed Sinéad O’Connor being added to the ten originals. Since then, another nine have been written. Peggy Seeger, Etta James, Joan Baez, Dolly Parton, Bonnie Raitt, Joan Armatrading, Janis Ian, Tracy Chapman and Amy Winehouse have become part of the project, brought together in a second volume of unsurpassed quality.
Morris says that there are three qualifying factors for a singer to be included in the sisterhood. First, all must be artists of excellence and originality. Next, they must be writers as well as interpreters. Lastly, almost all have understood that talent and success give them voices to communicate on subjects of conscience. They have accepted the responsibility which goes with opportunity, to act as witnesses, spokeswomen and champions for those whose voices are unheard. All possess courage and lead by example….”
My Review:
The album has 11 songs and it is the follow-up to 2024’s “The Sisterhood.”
It is an extensive album as the 11 songs run to 1 hour 8 minutes. Let’s get started and have a listen to this artist, who has built up over 151k listeners on Spotify.
Released on March 6, it is out on all platforms now (I am fashionably late to the party).
“Longing To Be Free” (for Peggy Seeger) opens with a story narrative, the tale of Peggy Seeger. It reminded me of a stage musical track, it has that immediacy about it. Lyrically it leans into themes of Mother Earth and feminist solidarity. It is a little late in the day for me to get behind this one, I’d first need my banner and the fire of youth.
“Oh Mother My Mother” (for Sinead O’Connor) is a gentle uplifting Celtic track. It is a song of streams and meadows, Sinead and her mother are reunited as birds beside an imaginary lake and attempt non-temporal reconciliation. The track is a homage and a smile to the old moon above. You can slip into this one, a strong, emotive, vocal delivery.
“I Can Hear Jesus Weeping,”(for Tracy Chapman) was a song I liked. It is a song of poetry and moves into this gentle and catchy chorus. This is one that would sit nicely in late night radio, a song I would happily have on my play list to unwind to. I flipped it to listen to a second time, and liked it even better on second listen. Thumbs up.
“The Edge is Where the Magic is Found” (For Amy Winehouse) turns toward the jazz sound, and Sarah Jane has a vocal well suited for that jazz club feel. It had a pleasing down beat and intimate club feel.
“Love Wit & Stardust” (for Dolly Parton) turns up with a smile as is appropriate for Dolly Parton. It is my favourite so far as we have that smooth sense of country in the blend, and it is about the always wonderful Dolly setting out on the Greyhound bus to Nashville. All good!
“Always Both and Never” (for Joan Baez). I am told that this one “describes the paradox that militant non-violence risks deadly reprisal; this song recalls the heroism and sacrifice that co-existed with the hedonism of the Sixties.” It does retain the feeling of the sixties protest movement and the album does impressively move between musical genres as it touches on these different artists.
“Sweet Mama Raitt” (For Bonnie Raitt) brings us towards the story of the blues and the vocal performance is strong, I like how the track connected to the story of the blues and it was very well constructed.
“Let Only Love Remain” (for Joan Armatrading) – the guitar gets a nod from me here, I liked the tone and the structure, it was just right. The harmony touches in the chorus worked well and the song was perfect for a late evening, you just needed the candle and a smooth hot chocolate to go with it.
“Crazy Angel” (For Patti Smith) – performance poetry is the order of the day here along with a solid funky groove! This one struts along the stage and works really well, you could dance to this one if you had your funk on.
“Also Known as Etta James” (For Etta James) is a stomp along number, clap-your-hands king of track. It is a cool cat number, which my cat (had he been more alert) I am sure would have enjoyed as well.
The Dignity of Love, (for Janis Ian) closes the album with a track lasting nine minutes, so it has time to play us out with a smooth love song. It is midnight music, dark chocolate and a balcony with the summer sea in the distance.
By the time the final notes drift away, the house is quiet, the cat is still asleep, and the album has done exactly what late-night music should do — keep you company for a while and leave you thinking about the voices that shaped the songs we love.
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Artist website (including ticket information for her upcoming UK tour) here
You can stream music from Sarah Jane Morris here
By Lorraine Foley
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