With almost a decade as a professional musician under her belt, by 1986 Jenny Morris was ready to take the step up to bona fide pop-rock diva. At the conclusion of INXS’ ‘Listen Like Thieves’ world tour, Jenny Morris recorded the track ‘You’re Gonna Get Hurt’, written and produced by INXS songwriter and keyboardist Andrew Farriss, whilst on the U.S. leg of the INXS tour. It was recorded with backing by INXS members Andrew and Jon Farriss and Garry Gary Beers, along with ex-Cold Chisel guitarist Ian Moss (not a bad support cast). The single was released in September ‘86 and immediately started being added to radio playlists across Australia. By October, Jenny Morris had cracked the top forty for the first time, with ‘You’re Gonna Get Hurt’ eventually peaking at #24. Farriss had already resumed INXS duties (after playing a starring role in the song’s promo video with Kirk Pengilly), so producers Mark Moffatt and Ricky Fataar once again took over at the helm for work on Morris’ debut album.
The follow up single ‘Body And Soul’(composed by Morris) was yet another first rate pop-rock offering, but for some reason stalled just outside the top 50 (#55) in mid ‘87. Shortly after the album of the same name hit stores, and almost immediately hit the charts. ‘Body And Soul’ not only benefited from a seasoned and confident singer in Morris, but her talents were augmented by an impressive roster of guest players, including Tim Finn (ex-Split Enz), Mark Williams (‘Show No Mercy’), and Phil Small (ex-Cold Chisel). The album went on to achieve platinum accreditation, shifting more than 70,000 units in the process, and peaking at #13 nationally (NZ#21). The album spawned two further hits in ‘Lighthearted’ (OZ#70/NZ#46), preceded by the beautiful Neil Finn penned torch song ‘You I Know’, Jenny Morris’ first foray into the Australian top fifteen (#13/NZ#30). Morris also hit the road with her backing band, which over the course of the next couple of years boasted an exceptional rota of talent, including Amanda Vincent (ex-Eurogliders), Jehan Lindsay (ex-Richard Clapton Band), Paul Burton (ex-Mark Williams Band), and Roger Mason (ex-Models). Jenny Morris’ rise to the upper echelon of Australasian music, was confirmed via two Australian Record Industry Association (ARIA) Awards, for Most Popular Female Performer of 1987 and 1988.
Morris’ sophomore album took time to surface, but was without question worth the wait. In the interim she had married photographer Paul Clarke (who had appeared as the drummer in the promo video for ‘Body And Soul’), and started a family. Some of the changes in Jenny Morris’ personal life were reflected in her song writing (the gorgeous ’Little By Little’ a stand out example), whilst her confidence and maturity as a performer shone through in her performance. The lead out single ‘Saved Me’ hit the Australian charts in July of ‘89 (OZ#23/NZ#37), and featured a distinctly Latin-Spanish feel permeated by funk undertones, with the promo video shot in Nicaragua of all places. As ‘Saved Me’ was nearing its peak on the singles chart, its source album ‘Shiver’ (brought to you by the letter ‘S’) received a warm reception upon its release. This time Andrew Farriss was on hand to produce the entire album, which witnessed Morris’ song writing contribution extended to ten of the album’s eleven tracks. The second single lifted from ‘Shiver’ was ‘She Has To Be Loved’, a song which melded funk rhythms with an infectious pop hook. In addition, it featured a strong feminist theme, and quickly became a favourite among Morris’ female fans. ‘She Has To Be Loved’ became Jenny Morris’ first Australasian top ten hit (OZ#5/NZ#3) during October of ‘89. The album ‘Shiver’ continued a steady burn up the Australian national chart over the summer of 89/90, reaching a peak possie of #5, and establishing Jenny Morris as one of the hottest selling artists in Australia. The track ‘Aotearoa’ (a colloquial term for ‘Land Of The Long White Cloud’) received a special single release in New Zealand (#35), illustrating Morris’ affection for her homeland hadn’t diminished - Aotearoa also crops up in the lyrics for Split Enz’s 1982 chart topper ‘Six Months In A Leaky Boat’. The album ‘Shiver’ eventually shipped over 250,000 copies, achieving double platinum status in Australia. It spawned two more hit singles; ‘(Beggar On The) Street Of Love’ (OZ#58/NZ#51), written by legendary Australian songsmith Paul Kelly; and the reggae inspired ‘Self Deceiver’ (OZ#81), penned by Morris and Kelly.
With two platinum albums on the trot, Jenny Morris was in high demand as a touring act throughout 1990, and in addition to headlining tours around Australasia, she supported both Prince and Tears For Fears on overseas tours (for which Dweezil Zappa was her touring guitarist). On the recording front, Morris’ only release for 1990 arrived late in the year with the single ‘Piece Of My Heart’, a cover of the old Janis Joplin hit, which returned Morris to the top 30 early in 1991 (OZ#24). Over the next few months she returned to the studio to record her third album, this time with producers Nick Launay (credits with Midnight Oil, Killing Joke-see future post) and Mark Forrester at the helm. The lead out single ‘Break The Weather’, co-written by Jenny Morris and her brother Tam, stormed onto the Australasian charts in September ‘91, and established a high of #3 in Australia and #5 in New Zealand. The finely crafted album ‘Honey Child’ created sufficient buzz to notch up a second consecutive top ten album for Morris (OZ#6) late in ‘91. Although not released as a single, the stand out track for me was a cover of the old Squeeze hit ‘Tempted’. Once more an impressive roster of guest players was assembled, including Wendy Matthews and Midnight Oil’s Jim Moginie. ‘Honey Child’ spawned three more minor hits; ‘I’ve Had You’ (OZ#46/NZ#39), another Morris/Kelly collaboration; the funk laden ‘Zero’ (OZ#92/NZ#33), boasting the legendary rhythm section of drummer Sly Dunbar and bassist Robbie Shakespeare (see earlier posts on Dave & Ansell Collins and Maxi Priest); and ‘Crackerjack Man’ (OZ#98), an emotion charged lamentation of the ‘haves’ and ‘have nots’ of the world.
With three hit albums and a dozen hit singles in the can, it was high time for the obligatory ‘Best Of’ album. ‘The Story So Far’ was released in late ‘92, and boasted the usual suspect hits, in addition to Morris’ duet with Michael Hutchence on ‘Jackson’, and a re-recorded version of the old Crocodiles’ hit ‘Tears’ (OZ#99/NZ#18). The album sold steadily and peaked at #12 on the Australian charts during April ‘93, just after Jenny Morris had supported Paul McCartney on his ‘New World’ tour.
Over the next couple of years Jenny Morris balanced family duties with accumulating material for her next album project. Her next single ‘Price I Pay’, was a cover of the Billy Bragg song, and marked Morris’ last foray into the Australian charts when it peaked at #78 in 1994. Morris’ next four singles ‘Only We Can Hear’, ‘Rhythm And Flow’, ‘In Too Deep’, and ‘What Do I Do Now’, were spaced over a period of eighteen months, from mid ‘94 to early ‘96. All were culled from her fifth album ‘Salvation Jane’, which finally surfaced in August 1995. Released on the rooArt label, the album once again partnered Morris with the production talents of Andrew Farriss and Mark Moffatt, and the Electric Hippies (AKA Noiseworks’ alumnus Justin Stanley and Steve Balbi) also lent their flare to the project.
Following an extended period away from the music industry, during which Morris combined family duties with her growing commitment to environmental causes, she re-emerged in 2002 with the Nick Wales produced album ‘Hit & Myth’. The album reflected an artist finely attuned to her craft, but neither album, or singles ‘Home’ and ‘Downtime’, managed to return Jenny Morris to the chart environment. It mattered little though, as with twenty years of hits behind her, Morris didn’t need any further commercial affirmation of her talents. The 2005 live set ‘Alive’ (recorded at The Basement venue in Sydney) captured the best of Jenny Morris the performer, whilst 2006’s ‘Clear Blue In Stormy Skies’ featured a remodelling of several of her previous hits, including ‘Break In The Weather’ and QED’s ‘Everywhere I Go’ (and boasted contributions from Neil Finn). There’s no reason to think we’ve heard the last from Jenny Morris, but if for some reason she doesn’t add further to her discography, she is assured an enduring legacy as one of Australasia’s finest singer/songwriters to have emerged over the last 25 years.
During March of 1993, I embarked on the dream odyssey of attending five Paul McCartney concerts in the space of eight days. All of the shows were in Sydney, three at the Sydney Entertainment Centre, and two outdoor shows at Parramatta Stadium. It was as well I was only in my mid 20s then, otherwise I may not have had the endurance to combine clocking up full days at work, and two hour each way drives between my home base and Sydney (but then again many hardy souls manage that week in week out). Seeing the legendary Beatle in his only post Wings Australian tour to date, was motivation enough, and from time to time I’ll pop in the DVD release of McCartney’s ‘New World Tour’ to relive the memories. One stand out memory of the shows, that is non-McCartney in nature, is the support act for his Sydney gigs - singer Jenny Morris. The Kiwi born vocalist had already racked up almost twenty hits on the Australian singles charts in a career that had spanned over a decade, both as a solo artist and as lead singer with QED. I wasn’t one of those ‘last minute arrival’ concert goers, and so caught each of Morris’ support slot performances. It was the first time I’d seen her live, and like Fleetwood Mac’s 1990 support act Bang The Drum (see May post), I was mighty impressed with Jenny Morris’s on stage brilliance. McCartney’s final show in Sydney, and in Australia, for the tour, was an outdoor show at Parramatta Stadium (the acoustics were bloody awful). Sadly, a large portion of the crowd had decided about half way through Morris’ set (which I think ran about 25-30 minutes), that they wanted ‘Macca’. Jenny Morris carried on through a barrage of hoots and jeers, and I could tell by the final number that she was losing patience, in fact I’m pretty sure the set was cut short a song or two. It was one of those occasions where fire hoses should have been opened up on the rowdy section of the crowd. I remember thinking that it was disrespectful and downright disgraceful that such an esteemed figure on the Australasian music scene had been treated so shabbily. Jenny Morris may not have received due recognition of her considerable talents that evening, but her career achievements place her at the very vanguard of Australasian vocal talent.
Fifteen years prior to that McCartney support gig, Jenny Morris joined her first professional band in New Zealand. Wide Mouthed Frogs were a neo-feminist themed all-amphibian, sorry girl, group formed during 1978. Inhabiting the musical pond with Morris (vocals), were Tina Matthews (bass), Kate Brockie (lead vocals), Andrea Gilkison (guitar), Bronwyn Murray (keyboards), and Sally Zwartz (drums). Over a period of time the Wide Mouthed Frogs became associated with a couple of members of another New Zealand outfit called the Spats. Spats drummer Bruno Lawrence had occasion to play saxophone with the girls at a number of gigs, and Spats’ keyboardist Peter Dasent took on the role of musical director for the group.
By 1980 the Spats had evolved into The Crocodiles, featuring Dasent, Fane Flaws (guitar/vocals), Tony Backhouse (guitar), Bruno Lawrence (drums), and Mark Hornibrook (bass). They offered an invitation to Morris to join as their lead vocalist, and she duly accepted the gig. Soon after, Hornibrook departed and was replaced by Wide Mouthed Frogs’ bassist Tina Matthews. The Crocodiles were taken on by manager Mike Chunn (ex-Split Enzbassist) who soon had them performing regularly at venues around Auckland. In early 1980 they played the high profile Sweetwaters Festival, coincidentally on the same bill that marked the triumphant return of Mi-Sex (see recent post) to New Zealand shores. Chomping at the bit, The Crocodiles soon after released their debut single, the appropriately titled, ‘Tears’. ‘Tears’ ran all the way to #17 on the N.Z. charts, and was matched by the performance of its source album, of the same name, produced by Glyn Tucker Jr., though the follow up single ‘Whatcha Gonna Do?’ didn’t fare so well.
Within months though, The Crocodiles began to unravel, firstly with drummer Bruno Lawrence leaving (he went on later to star in the first series of the acclaimed ‘Frontline’ series), followed soon after by guitarist and mainstay Fane Flaws. Ex-Whizz Kids drummer Ian Gilroy joined for their second album ‘Looking At Ourselves’, produced by Ian Morris (no relation), released in November 1980. Before year’s end The Crocodiles had picked up a swag of New Zealand music awards, but had also experienced a further major shake up in their ranks, with Gilroy (to The Swingers - see future post), Tina Matthews, and Peter Dasent all leaving for fresh waters. By the time of The Crocodiles return to Sweetwaters in early 1981, only Jenny Morris and Tony Backhouse remained from the original roster, with the addition of Rick Morris (guitar), Jonathon Swartz (bass), and Barton Price (drums). Soon after their Sweetwaters encore, the band’s manager Mike Chunn encouraged them to hop a plane across the Tasman, and try their fortunes in Australia. It signalled the beginning of the end for The Crocodiles, as within a few exasperating months of their arrival in Sydney, the band had split for good.
The other members of The Crocodiles went on to pursue various projects, the most notable being drummer Barton Price later hooking up with the Models (see future post). Jenny Morris stayed on in Australia to try and establish herself as a solo performer. Before the end of ‘81 she released her debut solo single ‘Puberty Blues’ (OZ#88). It was the title song lifted from the soundtrack to Bruce Beresford’s teen coming of age film, which hit Australian cinema screens over the summer of 81/82. Morris released a follow up single shortly after, but ‘Little By Little’ made little impact. For the remainder of 1982, through until early ‘84, she continued to score regular work as a session vocalist, contributing to work by ex-manager Mike Chunn’s brother Geoff (also ex-Split Enz); the Fane Flaws project I Am Joe’s Music; the 1983 Models’ album ‘The Pleasure Of Your Company’ (Barton Price’s first album outing with the band); and legendary New Zealand outfit D.D. Smash’s album ‘The Optimist’ - she went on to tour with D.D. Smash front man Dave Dobbyn (see earlier post), and the New Zealand version of The Party Boys. Morris’ name also cropped up on the credits to Sydney band The Drop Bears’ 1984 mini-LP, before contributing backing vocals to INXS’ first #1 album ‘The Swing’ - the beginnings of a creative association which would play a significant role in Morris’ future solo endeavours.
During the same period, late ‘83 to early ‘84, Jenny Morris joined with ex-Air Supply guitarist Rex Goh, and bassist Ian Belton (ex-Dave Dobbyn and Renee Geyer), to form the core of a new band, called QED. The trio were joined in studio by various session players, and producers MarkMoffatt (produced Saints, Mondo Rock, Tim Finn) and Ricky Fataar (produced Renee Geyer, Tim Finn, Kids In The Kitchen - also ex-Rutle!). Among the players contributing to QED’s first album, were keyboardist Amanda Vincent (Eurogliders and later the Jenny Morris band), drummer Steve Fearnly, saxophonist Tony Buchanan, and Fataar himself on drums. Morris brought a number of former Crocodiles’ songs to the project, whilst Goh and Morris co-wrote a number of new songs.
The lead out single was the up-tempo synth pop number ‘Everywhere I Go’, which hit the Australian charts in December 1983. In early ‘84 QED performed the song ‘live’ on ‘Countdown’, an appearance that no doubt aided in boosting the song’s national chart peak to #19 soon after (#6 in Sydney). EMI had released QED’s debut album ‘Animal Magic’ during the same period, but sales remained sluggish. The follow up single ‘Solo And More’ hit the shelves in March of ‘84, but missed the charts completely, although the third single (and best IMHO) ‘This One’ reached a solid #45 nationally during the second half of ‘84. I’m not aware if QED toured much as a live act, which may have been a contributing factor to their album ‘Animal Magic’ failing to cast a spell on the record buying public. At any rate, QED ended up being a one album only project, and during 1984 Jenny Morris returned to session/touring work with other artists (Belton went on to play with Mondo Rock, and Goh with Eurogliders).
Morris had developed an exceptional chemistry with INXS, and was invited to sing a duet with Michael Hutchence on a cover of the old Nancy Sinatra/Lee Hazlewood hit ‘Jackson’, included as a bonus track on the April ‘85 (cassette only) INXS EP release ‘Dekadance’ (OZ#2) - she later performed the song ‘Jackson’ live with INXS as part of the last ever ‘Countdown’, broadcast in July ‘87. Jenny Morris was then invited by INXS to sing backing vocals on their 85/86 ‘Listen Like Thieves’ world tour. She took time out late in ‘85 to record and release her first single for WEA, titled ‘Get Some Humour’ (OZ#92), which featured a contribution from Dave Dobbyn, but it would take a song penned by friend and INXS songwriter Andrew Farriss, to provide Jenny Morris with the breakthrough hit needed to really launch her as a solo artist.
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With almost a decade as a professional musician under her belt, by 1986 Jenny Morris was ready to take the step up to bona fide pop-rock diva. At the conclusion of INXS’ ‘Listen Like Thieves’ world tour, Jenny Morris recorded the track ‘You’re Gonna Get Hurt’, written and produced by INXS songwriter and keyboardist Andrew Farriss, whilst on the U.S. leg of the INXS tour. It was recorded with backing by INXS members Andrew and Jon Farriss and Garry Gary Beers, along with ex-Cold Chisel guitarist Ian Moss (not a bad support cast). The single was released in September ‘86 and immediately started being added to radio playlists across Australia. By October, Jenny Morris had cracked the top forty for the first time, with ‘You’re Gonna Get Hurt’ eventually peaking at #24. Farriss had already resumed INXS duties (after playing a starring role in the song’s promo video with 
Kirk Pengilly), so producers Mark Moffatt and Ricky Fataar once again took over at the helm for work on Morris’ debut album.
Mercy’), and Phil Small (ex-Cold Chisel). The album went on to achieve platinum accreditation, shifting more than 70,000 units in the process, and peaking at #13 nationally (NZ#21). The album spawned two further hits in ‘Lighthearted’ (OZ#70/NZ#46), preceded by the beautiful Neil Finn penned torch song ‘You I Know’, Jenny Morris’ first foray into the Australian top fifteen (#13/NZ#30). Morris also hit the road with her backing band, which over the course of the next couple of years boasted an exceptional rota of talent, including Amanda Vincent (ex-Eurogliders), Jehan Lindsay (ex-Richard Clapton Band), Paul Burton (ex-Mark Williams Band), and Roger Mason (ex-Models). Jenny Morris’ rise to the upper echelon of Australasian music, was confirmed via two Australian Record Industry Association (ARIA) Awards, for Most Popular Female Performer of 1987 and 1988.
Morris’ sophomore album took time to surface, but was without question worth the wait. In the interim she had married photographer Paul Clarke (who had appeared as the drummer in the promo video for ‘Body And Soul’), and started a family. Some of the changes in Jenny Morris’ personal life were reflected in her song writing (the gorgeous ’Little By Little’ a stand out example), whilst her confidence and maturity as a performer shone through in her performance. The lead out single ‘Saved Me’ hit the Australian charts in July of ‘89 (OZ#23/NZ#37), and featured a distinctly Latin-Spanish feel permeated by funk undertones, with the promo video shot in Nicaragua of all places. As ‘Saved Me’ was nearing its peak on the singles chart, its source album ‘Shiver’ (brought to you by the letter ‘S’) received a warm reception upon its release. This time Andrew Farriss was on hand to produce the entire album, which witnessed Morris’ song 
writing contribution extended to ten of the album’s eleven tracks. The second single lifted from ‘Shiver’ was ‘She Has To Be Loved’, a song which melded funk rhythms with an infectious pop hook. In addition, it featured a strong feminist theme, and quickly became a favourite among Morris’ female fans. ‘She Has To Be Loved’ became Jenny Morris’ first Australasian top ten hit (OZ#5/NZ#3) during October of ‘89. The album ‘Shiver’ continued a steady burn up the Australian national chart over the summer of 89/90, reaching a peak possie of #5, and establishing Jenny Morris as one of the hottest selling artists in Australia. The track ‘Aotearoa’ (a colloquial term for ‘Land Of The Long White Cloud’) received a special single release in New Zealand (#35), illustrating Morris’ affection for her homeland hadn’t diminished - Aotearoa also crops up in the lyrics for Split Enz’s 1982 chart 
topper ‘Six Months In A Leaky Boat’. The album ‘Shiver’ eventually shipped over 250,000 copies, achieving double platinum status in Australia. It spawned two more hit singles; ‘(Beggar On The) Street Of Love’ (OZ#58/NZ#51), written by legendary Australian songsmith Paul Kelly; and the reggae inspired ‘Self Deceiver’ (OZ#81), penned by Morris and Kelly.
guitarist). On the recording front, Morris’ only release for 1990 arrived late in the year with the single ‘Piece Of My Heart’, a cover of the old Janis Joplin hit, which returned Morris to the top 30 early in 1991 (OZ#24). Over the next few months she returned to the studio to record her third album, this time with producers Nick Launay (credits with Midnight Oil, Killing Joke-see future post) and Mark Forrester at the helm. The lead out single ‘Break The Weather’, co-written by Jenny Morris and her brother Tam, stormed onto the Australasian charts in September ‘91, and established a high of #3 in Australia and #5 in New Zealand. The finely crafted album ‘Honey Child’ created sufficient buzz to notch up a second consecutive top ten album for Morris (OZ#6) late in ‘91. Although not released as a single, the stand out track for me was a cover of the old Squeeze hit ‘Tempted’. Once more an 
impressive roster of guest players was assembled, including Wendy Matthews and Midnight Oil’s Jim Moginie. ‘Honey Child’ spawned three more minor hits; ‘I’ve Had You’ (OZ#46/NZ#39), another Morris/Kelly collaboration; the funk laden ‘Zero’ (OZ#92/NZ#33), boasting the legendary rhythm section of drummer Sly Dunbar and bassist Robbie Shakespeare (see earlier posts on Dave & Ansell Collins and Maxi Priest); and ‘Crackerjack Man’ (OZ#98), an emotion charged lamentation of the ‘haves’ and ‘have nots’ of the world.
‘Jackson’, and a re-recorded version of the old Crocodiles’ hit ‘Tears’ (OZ#99/NZ#18). The album sold steadily and peaked at #12 on the Australian charts during April ‘93, just after Jenny Morris had supported Paul McCartney on his ‘New World’ tour.
surfaced in August 1995. Released on the rooArt label, the album once again partnered Morris with the production talents of Andrew Farriss and Mark Moffatt, and the Electric Hippies (AKA Noiseworks’ alumnus Justin Stanley and Steve Balbi) also lent their flare to the project.
with twenty years of hits behind her, Morris didn’t need any further commercial affirmation of her talents. The 2005 live set ‘Alive’ (recorded at The Basement venue in Sydney) captured the best of Jenny Morris the performer, whilst 2006’s ‘Clear Blue In Stormy Skies’ featured a remodelling of several of her previous hits, including ‘Break In The Weather’ and QED’s ‘Everywhere I Go’ (and boasted contributions from Neil Finn). There’s no reason to think we’ve heard the last from Jenny Morris, but if for some reason she doesn’t add further to her discography, she is assured an enduring legacy as one of Australasia’s finest singer/songwriters to have emerged over the last 25 years.
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