In 1982, Morris joined The Republic as lead singer. A London-based Afro-Caribbean-Latin band with leftish tendencies, they received enormous publicity from the music press including cover stories with NME and City Limits and a documentary for Granada TV. But the band was deemed too political for radio play, with the honourable exception of Capital Radio. The Republic were signed to Charlie Gillet's Oval Records Ltd and released an EP entitled Three Songs From The Republic and two singles entitled One Chance and My Spies. Success did not follow and the band split up in 1984.
Morris then sang with The Happy End, a 21-piece brass band named after Bertolt Brecht and Hans Eisler's musical play. Playing a circuit that included Brighton's Zap Club and the Edinburgh Festival Fringe, The Happy End explored protest music from Africa, Ireland and Latin America on a way that emulated Charlie Haden's Liberation Orchestra.
Morris explored her more theatrical side on Brecht/Eisler's There's Nothing Quite Like Money from The Happy End and Pirate Jenny from The Rise and Fall of the City of Mahogonnay.
The Happy End released two albums on the Cooking Vinyl label with Morris. Following a successful Edinburgh run in 1986, Morris then decamped to chart success with The Communards.
Morris found fame initially with the Communards, who are best known for their hit "Don't Leave Me This Way". Morris featured prominently on many Communards tracks, her low vocal range contrasting with Jimmy Somerville's falsetto. She has also recorded as a solo artist, releasing albums since 1989. These have enjoyed most popularity in Italy and Greece.
With The Happy End