EnigmaticAndroid Posted February 9, 2023 Posted February 9, 2023 9 hours ago, ChapelHooker said: She took a good long deep dive in mother lake i’m afraid Skskskksk --- CAMP PERFECTION!!!!!!!!!!! I don’t know if I can handle her upcoming album, it's just gonna be to extreme of a serve
EnigmaticAndroid Posted February 9, 2023 Posted February 9, 2023 (edited) Also Pearls might have her best vocal performance ever Those f*cking high notes and belts are just too fab Edited February 9, 2023 by EnigmaticAndroid
Winged Posted February 9, 2023 Posted February 9, 2023 I want to pre order signed vinyl but I think she might be doin Personally Signed copies at BanquetRedcords in April plus I bet there is going to be deluxe in the future so I don’t want own two the same vinyls …mi don’t know what to do
MusicIsMyMaster Posted February 9, 2023 Posted February 9, 2023 1 hour ago, AndresVanDeKamp said: Rough Trade doesn’t charge until it ships! oh so her website will?
pink lightning Posted February 9, 2023 Posted February 9, 2023 The lenghtsssss, that's awesome. Hope for a full 70s Studio 54 deep dive. Begin Again and Freak Me Now were the titles that caught my attention the most, April needs to come fast!
FireFade Posted February 9, 2023 Posted February 9, 2023 28 minutes ago, MusicIsMyMaster said: oh so her website will? I haven't bought anything from her store, but considering it's operated by Universal, they do charge right away.
MusicIsMyMaster Posted February 9, 2023 Posted February 9, 2023 44 minutes ago, FireFade said: I haven't bought anything from her store, but considering it's operated by Universal, they do charge right away. darnittt
Winged Posted February 9, 2023 Posted February 9, 2023 17 minutes ago, MusicIsMyMaster said: darnittt Where are you from?
MusicIsMyMaster Posted February 9, 2023 Posted February 9, 2023 11 minutes ago, Winged said: Where are you from? USA... Just cant charge my credit card atm, valentines day spending adding up haha
Not Like The Movies Posted February 9, 2023 Posted February 9, 2023 love Pearls! she sounds amazing, lovely vocal performance!
TrueBlood Posted February 10, 2023 Posted February 10, 2023 Hopefully we'll get a third and last single before the album, I want to hear a James Ford track after two from Stuart Price.
sam.teas Posted February 10, 2023 Posted February 10, 2023 9 minutes ago, TrueBlood said: Hopefully we'll get a third and last single before the album, I want to hear a James Ford track after two from Stuart Price. Begin Again is the next single
TrueBlood Posted February 10, 2023 Posted February 10, 2023 1 minute ago, sam.teas said: Begin Again is the next single I manifest the next Spotlight.
AnonnonA Posted February 10, 2023 Posted February 10, 2023 (edited) Would appreciate if someone who has heard the album could give us a mini track-by-track review curious to know which are your favourite songs Edited February 10, 2023 by AnonnonA
BlackoutZone Posted February 10, 2023 Author Posted February 10, 2023 It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us.
MusicIsMyMaster Posted February 10, 2023 Posted February 10, 2023 11 minutes ago, BlackoutZone said: Hide contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. A COLLAPSE OBLITERATION
Avantpop Posted February 10, 2023 Posted February 10, 2023 (edited) 1 hour ago, BlackoutZone said: Hide contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. Gorgeous write up I have no doubt this will be just as excellent as What's Your Pleasuresus with the deluxe making it even more of an event. Edited February 10, 2023 by Avantpop
bionicpeanut Posted February 10, 2023 Posted February 10, 2023 1 hour ago, BlackoutZone said: Hide contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. Thank you king for this review! Very honest and in depth. I don’t know why but it feels like the album is going to be sonically more similar to the platinum pleasure album.
AnonnonA Posted February 10, 2023 Posted February 10, 2023 3 hours ago, BlackoutZone said: Reveal hidden contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. Thank you!! Love your detailed writeups
ImpassiveThomas Posted February 10, 2023 Posted February 10, 2023 3 hours ago, BlackoutZone said: Reveal hidden contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. You're a good writer! Thank you for taking time to do a review <3
lover. Posted February 11, 2023 Posted February 11, 2023 5 hours ago, BlackoutZone said: Hide contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. Loved reading this, thank you!
pink lightning Posted February 11, 2023 Posted February 11, 2023 8 hours ago, BlackoutZone said: Hide contents It doesn't take an expert to see that What's Your Pleasure? and That! Feels Good! are sister albums in Jessie Ware's discography and even though I told myself not to judge the record through the lenses of its predecessor, the comparisons just come naturally. The opening number, album's title track, already aims for the same targets as majority of WYP, but lord, it is yet another bullseye for British diva. It's an untamed, seductive invitation to explore your sexual desires, rich and liberating blend of what the album offers - empowerment through disco, synth-funk, soul, freestyle. "Just remember, pleasure is a right!" she sings passionately in between whispered hooks with a crowd of evenly layered background singers, setting the theme for the rest of the record. The sharp, detailed instrumentation and relentless build up to titanic climax once again prove that James Ford is her best studio companion. But don't think Jessie's charm is reliant on James and his production magic as the following two tracks, Free Yourself and Pearls, curated by the iconic Stuart Price not only shine on their own as bombastic disco stand outs, but also fit the rest of the record right in. Both also seem like very obvious single choices with Pearls being the most poppy track on the album which isn't very surprising seeing the track was co-written by Dua Lipa's go-tos Sarah Hudson and Clarence Coffee Jr. This stellar 1 - 3 punch gets a bit dimmed with Hello Love. Although it's yet another well produced and orchestrated track, if stripped off of its rich backtrack the peaceful love anthem could find its place next to AC radio targeted Glasshouse cuts. Luckily the song is beautifully elevated by soulful Remember Where You Are esque bridge and even though it's one of less energetic moments of the album, the bits of Samba drums add the song a bit of swaying groove, hinting what's to come next. Rightfully in the middle awaits the very centerpiece of the album, That Feels Good's longest track and my absolute personal favorite. Begin Again is an apex of everything Jessie has in store, from the bright, lush orchestra with just so many segments of various brass instruments, grand piano, strings. The never ending layers of long, intense vocal runs, passionate belts, key switches. The longing for change, liberation, letting go of routine to rebirth yourself tonight. It all clashes here in the most thrilling way. But there is just something more it, the song has that same hypnotic tension of Spotlight. If previous tracks shined as Studio 54 parquet storming anthems, Begin Again feels like a risky gamble at old Las Vegas casino with Martini in your hand and heart on your sleeve. Instant classic in Jessie's catalogue. After a song like that some might need a moment to breathe, but there is no place for that in Ware's exquisite club as we're being transported to the streets of colorful Rio in Beautiful People. The album's former second single is a celebration of carnival culture with a very clear blend of Brazilian dance music with Jessie's own take on disco and funk. The playful, quite spoken-word verses filled with sass serve as a great prelude to a night out with your best company that she embraces in the once again big heavily multilayered vocal diva chorus. "Stand up! Turn around! Take a bow! Because you look so good right now!" she shouts, the record just drips of empowerment! Only six tracks in TFG already feels like a fantastic journey, but Beautiful People sadly marks the end of uninterrupted highlights. Freak Me Now brings back Stuart Price on production, but even with his pulsating club beats the dance cut doesn't seem to go far. The very repetitive hook "Baby keep hitting me up, oh no don't you go cool me down" fills up majority of the song neither being very melodic or engaging. It's still a bop that will find many hooked in its pace, but I've simply heard better. Shake The Bottle overflows with the cheeky grittiness from Jessie calling out each failure of a lover she's come across in her life. I recall her naming it a naughtier cousin to Oh La La and though I see the playfulness of both tracks, Shake The Bottle could definitely use some of its cousin's warm bass and shiny instrumental tweaks that would make it stand out on the album more. And that warmth quickly arrives on the next cut. Charming Lightning calls back to Jessie's Sade inspired soulful and R&B-fueled ways. Moody, cozy mid tempo is the album's most laid back moment, but the light bass and snare loops carry just enough groove to keep the subtle beat afloat and let delicacy of Ware's, lone for once, vocals shine. It's a romantic track and that romance carries on to the album's already closing song. But These Lips offers a different kind of romance, much sexier and more alluring like the title track. Sonically it's another typical, solid James Ford effort with more occasional hints of "Brazilian disco" in drum patterns. While it isn't as breathtaking of an ending as Remember Where You Are, it reminds me of Step Into My Life and serves its purpose of swinging us through one more drink of the night, at the same time subtly signaling how easy it would be to play the album again right away! Although That! Feels Good! experience only lasts 40 minutes, it's fully packed with Jessie's finest offerings. It might not bring the cultural shift of What's Your Pleasure? due to the lack of bigger progressiveness, but it's definitely solidifying Jessie as reigning queen of soulful dance-pop who made the right decision to dwell into the house of disco. Quoting my friend: "Moms like to have a good time too" and thankfully mommy Ware brings her idea of good time to us. Thank you so much for this! My excitement is through the roof already. Begin Again will definitely serve SOTY.
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