Singled Out: Kendra Morris explores "This Life" and "Who We Are"

Over the past year-ish Kendra Morris has released one soulful-funky-R&B banger after another. And since we’re currently in the midst of a “singles round-up” phase here at DeliCorp (honestly these themes are chosen willy-nilly by our barbiturate-addicted CEO, the Colonial Clive Fowley, but we find a way to make them work regardless) it’s appropriate that we provide a round up of Ms. Morris’ recent singles output on the occasion of her recent 45-rpm release “This Life”/“Who We Are” (available on opaque red vinyl!) on the Dayton, Ohio-based Colemine Records (Dayton being the ancestral home to everyone from Bootsy Collins to Lakeside to Ohio Players and thus a fitting home to the Funk Music Hall of Fame & Exhibition Center) the A-side of which is laid-back, mid-tempo number called “This Life” which simmers at a rolling boil for its nearly-four-minute-run-time whilst utilizing a series of gambling metaphors (“I believe / if I lay myself on the table / just like an ace of spades / needs a queen to win / will you let me in?”) to describe the willy-nilly tossing of one’s heart across the Big Craps Table Of Life And Love And Everything Else. 

So yeah “This Life” is a great koo-koo kinda tune that one could easily imagine Frank Sinatra covering at his last engagement at the Sands (ain’t so far from “That’s Life” to “This Life” baby) but being a b-side kinda guy myself the real standout to my ears is “Who We Are” (both are co-written and co-arranged by Ms. Morris’ songwriting partner Jeremy Page) because it’s one of those burn-the-house-down-to-the-ground kinda songs that (unless you’re Peggy Lee) will lift you up to the heavens (peep those two-part harmonies around the two-minute mark) but then break you down again when the tune breaks down to a funeral organ accompanied by full choir that’ll have you sobbing into your Purell hand-sanitizing-wipe as Kendra repeatedly inquires “What is left to be living in?” and as the world disintegrates before our very eyes it’s a question on a lotta minds these days, baby, and most of all it’s that voice that puts the heavy emotion across and makes it appealing because Kendra’s obviously adept at belting it out to the cheap seats but with sentiments that are anything but cheap. 



But don’t get it twisted because Kendra Morris can put across sunnier material too with great conviction like slow-ride phunk of “Catch the Sun,” a single released a month ago in collaboration with “the world’s only synth and soul record label and production team” known as Eraserhood Sound with the sweetly nostalgic “When We Would Ride” as the b-side. and then nevermind the 2018 single just flat out called “Summertime” with a video shot at Coney Island.

And when you check out her repertoire it makes sense that Kendra got her earliest musical education from her parents’ Ruth Copeland and Chaka Khan records, but rest assured that what you see and hear above doesn’t cover all this lady’s capable of as made clear by her being the only artist ever to tour with/collaborate with/and be remixed by Dennis Coffey, DJ Premier, and Scarlett Johansson (please let them all collaborate one day as Kennis PreemoJo) so clearly she’s got some serious range. Oh and she’s got Wu-Tang/MF Doom connections too having contributed vocals to the Czarface Meets Metal Face and Czarface Meets Ghostface projects (plus Ms. Morris even animated and directed a music video for the former record) so just in case you think you’re cool Kendra’s ready to take you to school. (Jason Lee)