You Know Me

Editorial Reviews

All Music Guide - Joe Viglione
It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority -- the resonating grandeur Eric Carmen's ...
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2000-09-26 Audio CD New YOU are BUYING a NEW and SEALED CD. ALL CD orders sent via FIRST CLASS MAIL Services arriving in 3 to 5 business days in the United States Only. ... Overseas Orders may take up to 4 weeks! Buy it NOW! ! Read more Show Less

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Editorial Reviews

All Music Guide - Joe Viglione
It takes a few spins to understand, and it is one of this prolific singer's many, many recordings, but when you spend some quality time with You Know Me, it starts unraveling its secrets in ways that only a truly great recording can. "Any Heart" is pure power, with the band weaving textures around Jackie DeShannon's distinctive vocal, the guitar relentless as it sustains the wall of sound. A true labor of love, few artists can produce a song this strong, and the fact that it follows three equally powerful compositions is evidence of the majesty that sweeps across all 14 tracks. "Steal the Thunder" opens the album with authority -- the resonating grandeur Eric Carmen's "Hungry Eyes" contained, with a better hook. DeShannon places everything in perfect order, the vocal gliding over a groove that is rock-solid. "Wing Ryder" changes the pace, and you get the idea that this major songwriter is building an album more complex than Carole King's Tapestry -- sheer art for art's sake. It ebbs and flows with an elegance younger musicians are too impetuous to seek out. The keyboards and guitars in "Wing Ryder" fuse styles that Fleetwood Mac and the Eagles were employing. And that's the secret here: DeShannon hasn't made another singer/songwriter album, she has shouldered a project akin to filming a major motion picture. "Somewhere in America" has a smart guitar riff and a wailing sax in the distance for one of the few ecology songs that isn't hampered by bulky words. "Song for Sandra Jeanne Rites of Passage" is for the singer's poet mom. It's just beautiful, the album changing moods like a photo album with pages turning before you on the silver screen. Each song is an episode, with the title track a defiant affirmation of someone who has been with listeners through the years, from "Put a Little Love in Your Heart" to "Bette Davis Eyes." While Lou Adler's sparse production on Tapestry allowed Carole King to bare her soul, DeShannon gives us a dense production, thick and rich, a wide range of sounds that could reinvent AAA radio if given the chance to be heard with the same presence as her best-known tunes. "Just How Right You Are" and "Red Montana Sky" are both driving and two of the more commercial tracks, with subtle hints of past work slipping into the lyrics. At close to 60 minutes, the 14 tracks are very much like a double LP. "There Goes the One" is a pensive recommitment, as graceful saxophone blends with the keyboards and the charming line, "I love the books that he reads." "Vanished in Time" is clear and measured, a youthful exuberance embracing the wisdom of years. This is a transformation for the veteran songwriter, and she seems to be driven more by her incredible instincts than by record company mandate. Where You're the Only Dancer, To Be Free, and earlier albums had an agenda most artists have to deal with, "Raze" is sound and performance, which shows real control. The drums drive the vocals and guitar backs DeShannon up with more dominance than maybe any album she's ever made. "Red Montana Sky" keeps surfacing as the tune that should be embraced by radio. "Here On" seems out of place, the reggae too dramatic a departure for all the elements that came before. It throws the listener for a loop and has a different character than all the other tracks on You Know Me, but that's either the luxury or the downside of artistic freedom, take your pick. Covering the Beach Boys' "Trader," however, is a perfect conclusion, and a perfect vehicle for Jackie DeShannon's timeless voice on an album that may take years before it is fully appreciated.
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Product Details

  • Release Date: 9/26/2000
  • Label: Varese Sarabande
  • UPC: 030206616927
  • Catalog Number: 066169

Album Credits

Performance Credits
Jackie DeShannon Primary Artist
Steve Porcaro Keyboards
Tony Terborg Keyboards
Technical Credits
Jackie DeShannon Producer
Brian Levi Producer, Engineer
Cary E. Mansfield Executive Producer
David Wild Liner Notes
Bill Pitzonka Art Direction
Hal Lifson Executive Producer
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    You Know Her

    Question: How does an artist meet expectations of twenty years¿ standing? Answer: Don¿t try. Instead, create a deeply personal work of art that reflects the artist¿s current worldview. And this is pretty much what Jackie DeShannon has done for her first album since 1978¿s Quick Touches. Instead of trying to recapture her previous musical styles, You Know Me presents a thoroughly contemporary Jackie at peace with herself and examining the world around her. In comparison to her previous work, You Know Me is closest in style to 1975¿s New Arrangement and, especially, to the 1984 single Wings of Victory/Possible Dream. Lyrically deep, this is Jackie¿s most mature collection to date. Musically complex, it is also the most radio-friendly album she¿s recorded, despite the lack of pressure for a ¿hit¿ from any record company executives. The songs can be broken down into three main themes: love songs (Just How Right You Are, There Goes the One, Any Heart), socio-political commentaries (Somewhere in America, Here On) and somewhat abstract poetic odes (Song For Sandra Jeanne, Keeper of the Dream). The album opens with the anthemic Steal the Thunder, with chiming electric guitars, pillowy synthesizers, and Jackie singing ''want to give you all this love.'' Wing Ryder is a tender country ballad revved up by soaring electric guitar, that cries out for a backing vocal by Emmylou Harris. In Somewhere in America, Jackie urges us to action to help preserve the environment (Rain forests are burning/The South Pole is melting/We are responsible). Any Heart is a rather generic ballad saved by a searing pedal-point guitar line. The most ambitious song on the album is Song For Sandra Jeanne (Rites of Passage). Presumably written for Jackie¿s late mother, it seems to be a nostalgic look back at difficult but fondly remembered years. Set in a progressive folk-rock mood, it is like nothing Jackie has ever recorded before. To these ears, the album really takes off with the title track. Originally heard in Darlene Love¿s one-woman show, Jackie sings this inspirational track with soul and grace. It is simply one of the best vocal performances of her career. Indeed, throughout the album, Jackie¿s voice is as strong as ever. Time, and time off, hasn¿t diminished these pipes in the least. You Know Me also makes one realize just how timeless and contemporary Jackie¿s songwriting is. If other artists recorded these songs, they would surely have huge hits with them. You Know Me could be huge for the Backstreet Boys. Celine Dion could take Any Heart to the top of the charts. Besides being one of the best vocalists of the modern era, Jackie is also one of the best songwriters. She should be giving Diane Warren a run for her money. Perhaps this album will make that possible. Just How Right You Are is pure power pop, and is the closest Jackie comes to recreating her mid-60s classics, albeit in an updated manner. I dare you to turn this up to eleven and try not to dance! If I have any criticism to make, it would be with the musical arrangements. For example, in Just How Right You Are, arguably the catchiest track on the album, Jackie refers to her classic song When You Walk in the Room (See the best one coming through/When you walk into the room). The swirling organ is just the right touch, but how perfect it would have been to hear a jangly 12-string Rickenbacher instead of the Big 80s guitar. It would have been retro and modern at the same time. And while the band plays tightly and competently, they sometimes sound too slick and professional, lacking the energy and urgency of Jackie¿s finest supporting bands (such as those heard on Laurel Canyon and Jackie.) There Goes the One is a nostalgic ballad reminiscent of her early songs co-written with Sharon Sheeley. Vanished in Time

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