Jessie Ware Releases New Album “That! Feels Good!”
British singer-songwriter Jessie Ware released her fifth studio album “That! Feels Good!” on April 28, 2023 via PMR Records and EMI Records.
It is her first album in three years since the 2020 album “What's Your Pleasure?”.
The album comprises 10-track, produced by James Ford and Stuart Price.
Also, the album features uncredited additional vocals, including Kylie Minogue, Róisín Murphy, Gemma Arterton, Benny Blanco, Clara Amfo, Aisling Bea, Hayley Squires, Jamie Demetriou, and Ware's mother Lennie.
Jessie Ware said of the album in a statement, “That! Feels Good! stems from over 10 years of understanding who I am, and who I enjoy being as an artist and the thrill of performance. It is a record to be enjoyed, to sing and shout the words back at me and to each other. It’s a culmination of hard work and total pleasure appreciating the job I have and the worlds I get to dive into. I have never felt so ready for people to hear something I’ve made.”
- She continued, “Thrilled to be having the greatest time making music with my nearest and dearest. Thank you so so much for all your encouragement. This sounds completely sappy, but you’ve lifted me up and helped me get to this place where I feel so brilliantly happy and confident as a performer and an artist. Listen to the record, tell your friends and potential lovers and enjoy - perhaps even free - yourself!”
The album features dance, funk, R&B, orchestral and group vocals sounds like “Remember Where You Are”, which is featured on the previous album “What's Your Pleasure?”.
She told Apple Music, “I think I finally understood my place in music. I felt like I was combining all my loves, from musical theater to soul, groove, dance, and funk to R&B and orchestral moments and group vocals. I wanted to do ‘Remember Where You Are,’ but with a big old dance beat.”
Jessie Ware explained track-by-track for the album via Apple Music.
“That! Feels Good!”
“I needed it to feel like you landed straight into a groove, which is very different to how I started What’s Your Pleasure?. It felt like I was imagining me as D’Angelo or James Brown. With the spoken thing at the start of this track, I’d said to [producer] James Ford, ‘Let’s really enjoy this intro: What do you think about [including] loads of different people so it felt like were in an orgy?’ It was about making people feel slightly uncomfortable, particularly British people, and to make you go, ‘Hang on, what is she about to do?’ Those voices are Roísín Murphy, Kylie Minogue, Aisling Bea, Jamie Demetriou, Gemma Arterton, benny blanco, my mum [Lennie Ware; Jessie’s co-host on their podcast Table Manners), my [podcast] producer Alice and her husband, who speak French, because they sounded really good, an ex-boyfriend who’s Spanish, and Clara Amfo. We got them all!”
“We nearly didn’t write this song. It was the first day I’d worked with Stuart [Price], and he’d played this house song but I felt it was a bit too close to What’s Your Pleasure?. Respect to Stuart, because he never gives up and said, ‘Can we just listen to that instrumental again?’ We put the vocal down just to see what happened and then Coffee [London-based songwriter and producer Clarence Coffee Jr.] sang, ‘Free yourself’—and it was really fun. Me and Coffee went and celebrated after—we had tequila and toasted the song because it felt like it was going to change things.”
“It felt very camp and soulful, immediate, bombastic, glorious, and fun. It’s saying, ‘Here are some of the ladies I’m going to be on this record.’ The lyric ‘And I do what I wanna/A perfect prima donna’ is said with a wink because I know that I can play up to the role of being a pop star when I need to, but I never take myself too seriously. And when I say prima donna, it’s very much playing with the notion of women being thought of a certain way when they have an opinion, but also acknowledging that I am quite perfect at being a bit of a diva. Hopefully I don’t do it for too long!”
“I needed there to be a breather because I didn’t want people to feel exhausted by those first three songs, which are supposed to hit hard and feel like a bang. I hope this song lives on forever, because it feels quintessentially me, but with me having grown with experience in writing. It’s me tapping into romance and Donny Hathaway and soul music and groove like The Gap Band. I’m a sucker for a love song, but I wanted to do one that didn’t feel like a ballad per se. I also kind of wanted this to feel like the opportunity for a new first-dance song [at weddings], because I feel like everyone’s been using ‘Champagne Kisses’ and ‘Say You Love Me,’ but they’re both really sad songs so they should just give up on those and do this one.”
“‘Begin Again’ is the pathway from What’s Your Pleasure? into That! Feels Good!. It’s where this album started—and was written over Zoom between LA and Hackney. The lyric ‘Why does all the purest love get filtered through machines?’ probably came from that—I’m sick to death of Zooms! But if you think further into it, it’s about being a prisoner to screens and it becoming so habitual and wanting to escape that, but not being able to. It was very much inspired by Stevie Wonder’s ‘Another Star’ and Talking Heads’ Stop Making Sense, and bossa nova, Brazilian disco, and longing for travel.”
“I wanted this song to feel like it went from a monologue into a conversation. That there was a bit of a narrative, however fantasy-led that was. You go from talking yourself out of a crap day to going to a club and feeling free and happy. I think that’s what dance music, particularly going clubbing, can be, and I love that feeling—there’s nothing greater. But as a mother of three, who also works insanely hard, clubbing isn’t on the agenda every week. This was my way of transporting myself to that place.”
“Freak Me Now”
“Stuart made this instrumental and he was adamant that we were going to use it. This song has kind of French house nods and I was thinking about how Róisín Murphy would say something, as well as Mousse T.’s ‘Horny’ and Gwen McCrae’s ‘Keep the Fire Burning.’ It’s another commanding song like ‘Free Yourself’ and I’m in the driver’s seat—it’s not requesting, it’s like this person’s going to have to do it. That was a really fun position to be in.”
“Shake the Bottle”
“This is almost my cabaret song. It’s highly camp and it’s me as a ‘madame’ and is just really fun. It was like, ‘How far can we push this innuendo?’ It feels more like a performance piece. I really hope all my queens that lip-sync like this, because I think I made it for lip-syncers. I’m in awe of the performance and I so respect drag and the creativity and the confidence. I feel so loved and cherished by a beautiful community and they’re always in my mind, particularly because we have so much fun together. I feel very lucky to have an incredibly strong following from the LGBTQ community. They’ve made me a better performer.”
“I was definitely leaning into a more R&B moment: This pulled from Sade, Madlib, Drake. There needed to be a bit of space on the record to just take a moment, but I also wanted to feel like it could connect with the rest of the album. This is my husband’s favorite tune: it’s sex, it’s languid, it’s a bit of a breather. Maybe it’s also the end of the night when the party is starting to die out and it’s just you and somebody else. It has a vulnerability.”
“I wanted it to feel like there was Earth, Wind & Fire on this, or Minnie Riperton. It felt right to finish with this spoken-word thing at the end, which is me trying to do my little Gil Scott-Heron moment. But it’s also got the celebratory and dramatic backing vocals. It felt optimistic, and like the groove carried on, but there’s also ceremony and drama—that’s how I wanted to leave people. It felt like a blissful, sensual ending.”
- source : Apple Music