In 1981, this is the first Sheena Easton album I ever owned, and I practically wore the thing out, playing it over and over. Finally reissued on CD, it's still a gem. The hit title song is, quite simply, the best thing she's ever recorded: Thoughtful lyrics and a vocal performance that is tender and passionate at the same time. When she reaches for the high notes before she launches into the final chorus, it can send chills down your spine. And this was years before Mariah Carey made such gymnastic vocal touches common.

But there are plenty of other great moments here: "A Little Tenderness" has a Motown groove to it; "Just Another Broken Heart" is pure '80s pop, with an irresistibly jerky rhythm; "Johnny" is a solid rocker; "I'm Not Worth the Hurt" is a marvelous heartbreak ballad that Sheena can do like no other. In fact, there's not a bad song on here, and the diversity of the material -- not to mention some of Sheena's finest singing ever -- make this disc as fresh now as it was then. Definitely check this one out.

Track Listings

Side One

1. A Little Tenderness

2. You Could Have Been with Me

3. Just Another Broken Heart

4. I'm Not Worth the Hurt

5. Savoir Faire

Side Two

1. A Letter from Joey

2. Telephone Lines

3. Johnny

4. Trouble in the Shadows

5. When He Shines

This re-release brings back alot of great early 80's memories. Sheenas' vocals soar on this cd. This fans' favorites - "telephone lines", "not worth the hurt", a little tenderness", "you could have been with me", & "when he shines". Next vh-1 divas should include Sheena & Olivia Newton-John. Anyone listening?

Sheena Easton's debut went gold, had a number one single in seventeen countries(Morning Train), and a second top twenty single (modern Girl). Her success was cemented when she was asked to record the title to the James Bond movie (For Your Eyes Only) which resulted in another top five single and mass recognition. It was easy to assume that during the recording of her second album she would be more confident in her abilities. You Could Have Been With Me was released just ten months after her debut and it is a more varied effort. While her debut consisted of mostly uptempo pop/rock songs, this was an equal balance of uptempo pop/rock and ballads, probably due to the success of For Your Eyes Only. The overall sound of the album is glossier, due to a bigger budget and directing the appeal of the album towards adults. Easton was not content on playing it totally safe however. Her debut was made up of songs picked for her by her producer Chris Neil. This time Easton was at least allowed to narrow down the final selections from Neil's original screening of songs. The result is a more focused sounding album without sacrificing diversity. Easton chose many different styles here, from country, dance, r&b,rock, and pop. Throughout you here an artist that is capable of handling them all. Her newfound confidence is heard right out of the gat with A Little Tenderness. Easton gives a passionate performance on a pure pop tune that has a happy clap-along style. Unlike the first album, Easton is intent on feeling the songs this time, not just proving she can sing well and here she does both. When she sings "You still won't treat me like I want you to" you know exactly what she is singing about (with a wink of course).Easton flexes her range throughout the song from her developing lower notes to her piercing upper register belt. You Could Have Been With Me is the standout track on the album. It is a soulful pop/rock ballad with r&b undertones. Easton alternates between pain on the verses and anger on the chorus all the while giving an understated soulful vocal. The second chorus leads up to the vocal highlight of the song. While the note is not as high as Mariah Carey would later go, it was not heard often before this. It leads Easton out to a building, swaying chorus fade away. Just Another Broken Heart is a rocking pop number, very british in its' production with new wave nuances. Easton shows that she can handle a more aggressive backbeat. I'm Not Worth The Hurt continues the Easton tradition of promoting female songwriters. It is a country song written by Deborah Allen that is a good example of the country pop productions at the time. In it Easton gives a touching performance. She clearly has been influenced by Allen's demo recording of this song as you can hear allen's phrasing being used, especially when she sings "I'm Not Worth It Baby" at the end of the song. While this displays Easton's ability to shape her vocals to a diiferent sound, it also shows a lack of confidence in her interpretive skills. She would soon be able to deliver an Allen composition and truly make it her own. Savior Faire was the most ambitious production on the album. Neil goes after the Steely Dan sound and effectively reproduces the guitar licks. Vocally and melodically the song falls flat though. A Letter From Joey sounds unbelievably dated and undeniably catchy at the same time. Easton once again goes for broke on the vocal, having fun with the stomping beat behind her. Telephone Lines is another ambitious pick for Easton. It is clear she is up to the challenge of some r&b riffs during the chorus. Unfortunately, one senses that she was focused more on getting the sound right and the feelling got lost in the transition. One only needs to hear a live version from '82 to know the difference. Johnny (JZ's nightmare) is a corny story song but one that makes it impossible for some part of your body not to move. The vocal mix has a slight problem in that Easton's low notes are almost gone from the mix. Trouble In The Shadows is another rock song with R&B vocal riffs. Sheena seems to be enjoying rising to the challenge of the melody and harmonies. The US version of the album ends with When He Shines. This was on the first UK release and was left off of Easton's first album here in the states. Easton performed it and EMI decided at the last minute to scrap the song recorded for this one and put When He Shines. It was a good choice, When He Shines became a Top Thirty Hit and a huge A/C hit. The song they left off is icluded here. Isn't It So starts off in a similar style to Calm Before The Storm until the strings swell in and Easton precise phrasing transforms it into a Broadway styles showstopper, with Easton scaling new heights in her belt register. The one b-side recorded during these sessions is included her as well. Family Of One sound like it was scrapped before it was given a final vocal. Easton sounds tired as if this was just a rough vocal. The result actually adds some depth as Easton conveys that feeling into the woman she is singing about, which might be her. It would not be long before Easton would master that feat without having to sacrifice the song in the cutting room. Overall, a solid follow-up with apparent growth. The album went Gold, with two Top 30 hits and Easton was awarded a Grammy for Best New Artist.

Here is her second alumb on cd finally i have everything of hers on cd's as far as alumbs goes. And when she sings you could have been with me i was like i wish. It's an darn good cd.

Rondall