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Graham Clark
Music Correspondent
@Maxximum23Clark
P.ublished 2nd May 2026
arts
Review

Albums: Sarah Jane Morris And Tony Remy - The Sisterhood 2

Sarah Jane Morris and Tony Remy - The Sisterhood 2
Longing To Be Free; Oh Mother My Mother; I Can Hear Jesus Weeping; The Edge Is Where The Magic Is Found; Love Wit & Stardust; Always Both & Never; Sweet Mama Raitt; Let Only Love Remain; Crazy Angel; Also Known As Etta James; The Dignity Of Love

(Fallen Angel)


Sarah Jane Morris first came to light when she sang with The Communards on the 1986 number one cover of the Harold Melvin and The Bluenotes and Teddy Pendergrass hit Don’t Leave Me This Way.

Since then she has crafted out a successful solo career; however, her duets with other artists are still going strong. She recently recorded another cover version, this time
Back Together Again with Italian jazz and soul artist Mario Biondi.

During the COVID lockdown, she researched many of the artists who inspired her, which led to the recording of The Sisterhood, whereby newly written songs were covered in the style and genre of the artist they are dedicated to.

The project has spawned another installment— The Sisterhood 2, recorded again with guitarist Tony Remy.

The album starts off with a folk tune, Longing To Be Free, dedicated to influential American folk singer and activist Peggy Seeger. The emotion in Morris’ voice comes through on the track, she herself sounding like a reformer and aiming to lead the way.

The laid-back jazz number The Edge Is Where The Magic Is is dedicated to Amy Winehouse: "You never stood on solid ground, always on the edge where the magic is found"—a lyric that perfectly sums up the character of the late singer.

Love Wit & Stardust for Dolly Parton comes again with a jazz vibe courtesy of a saxophone solo, though the track is still a winning number by more than a country mile.

Let Only Love Remain comes with the guitar chords of Love and Affection; not surprisingly, the track is dedicated to Joan Armatrading, while the rock and attitude of Patti Smith are faithfully recreated on Crazy Angel.

With each song here telling a story, Morris’ voice is versatile enough to go from a soft whisper to a rare storm to bring out the effectiveness and meaning in the lyric to each individual track.

The ultimate award for the project would be for any of the artists here, if they are still alive, to record themselves singing the song that has been dedicated to them.

With an album as absorbing and compelling as this, I’m sure the third installment will be equally as exciting.