This sounds so cheesy, but it's really true - it's the journey, it's going and doing it and taking all those experiences. "And I was thinking of this younger me and what I would say to that me. "You know, I was thinking as I was getting ready to come here today, and I was thinking how far I've come," she adds.
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I bartend on the weekends, and I don't talk a lot about that because I can be really hard on myself, like, 'I still shouldn't be doing this other job.' I can honestly say that nothing was ever handed to me. "I do it because I don't know what else I'd do," Morris says. Morris still bartends on weekends in New York City, but maintains the dream of making music. "I was heartbroken, but you know, I've had a lot of heartbreaks," Morris says. At long last, she walked in, sang three notes of Marvin Gaye's "I Heard It Through the Grapevine," and the producers of the show just said, "Next." Why not?" Morris and her dad drove to Miami and stood in line for what she thinks was 27 hours. Petersburg, Fla., she remembers watching the first season and thinking, "Well, I'll go try out for American Idol.
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Like many aspiring singers of her generation, Morris auditioned for American Idol. It might wreak a lot of havoc, but it's so worth it for that second of being on the top." With a concrete wave, the metaphor to that is just following through with a moment of what feels good. But if you hit a pebble, you go flying off your skateboard and there's nothing to catch you. But with skateboarding, you're gliding, you're going fast, sometimes you're on a ramp and you just feel on top of the world. I did it to meet guys, and that didn't go well, either. I used to skateboard when I was 15 for a brief second," Morris says, laughing. "Concrete Waves" illustrates that idea on Banshee. I strongly believe that in one song, there can be so many songs and you can say so many different things, whether it's with a melody or whether it's with a lyric within a lyric, and then so many hidden things, and then things upfront." "Looking back, I can see certain things that really developed my style, like having an ear for different melodies, different harmonies. "You know, as I've gotten older, been able to place things in front of me, things that have developed me as an artist," Morris says. Twenty years later, she's still layering. It was always about seeing what weird note you could come up with." I was like, 'There's all these me voices, and I can make this voice say this, and I can make this voice say this.' My mom is a singer, and we would just sit in the car, picking up my brother from school, and we would harmonize to each other. "I was 8 years old, sitting in this closet, creating harmonies. I remember realizing that if I recorded on one and then took another tape and flipped the other one to the other side of the karaoke machine, I could record another voice on top of that.
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"And I would tape over the edges, so I could record over those. "I remember I got a karaoke machine for Christmas, and I had all these cassette tapes," Morris says. Now, the 31-year-old is out with her first full-length album, a lush, moody mix of neo-soul called Banshee. Later, when she moved to New York to chase her music dreams, it was back into the closet with an eight-track recorder she'd bought. Petersburg, Fla., she would hide in her closet and sing along with her karaoke machine. Metallica, "Sad But True" (Take 36 - Feb.When Kendra Morris was a little girl growing up in St. Head here to get those details and look for a black and white 'Black Album' photo book to arrive in October. 10, as does the Blacklist covers album, which features pop star Miley Cyrus tackling "Nothing Else Matters" (listen here), Columbian rock superstar Juanes covering "Enter Sandman" (listen here) with others still to be released by Ghost, Corey Taylor, Volbeat, Weezer, Royal Blood and so many more. Metallica's Black Album reissue drops on Sept. Listen to the alternate take below and to hear a 1990 demo version of "Enter Sandman," which was recently released, go here.
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The intro is a bit less dramatic and playful as well, getting right down to business which helps shave some time off the length of what wound up being the studio version of "Sad But True" that made it onto the album. There's considerably less crunch and James Hetfield's voice doesn't carry the sameĀ grit and conviction and is quite raw as he walks the line between his grunted style and a more melodic singing approach. As a version of "Sad But True" that didn't make it to the final version of the record, it doesn't carry the signature and timeless production heft fans are accustomed to hearing.