From her opening piano passage on "My Family," the most endearing keyboard introduction since the first notes of "Your Song" led off Elton John, one knows that Joan Armatrading is a talented artist. The remainder of the album leaves no doubt: She is, potentially, an important performer.

Her voice is robust and yet not overbearing, capable of delivering a line with authority or caring for one gently. When she solos on acoustic guitar there is no shallowness of sound. Her piano playing is remarkably clear and soulful, her harmonium complementary rather than dominating.

Pam Nestor, who provides the lyrics for Joan, can deliver a simple line ("Lord, won't you call me today/ Just to say hello") or paint a complete character portrait in three verses ("Child Star"). Her words, considered poems by some English writers, include several rarely found in pop compositions, "luminous," "deprave," "visionary," "pampering."

"It Could Have Been Better" is a remarkable half-confession, half-plea. The woman wanted to offer more of herself than she was able to give:

I was frightened

I saw insanity and tears

I shouted for you to stay

It could have been better

If you had held my hand

And smiled at me

Or questioned why

My face was so distorted. She now asks for a second chance:

I'm back in the sunlight again

Oh, I'm so glad

It's only joy that I want to give

To you

Sometimes I feel lost and desperate

Please forgive me

If I show no sign of reasoning

Or consideration

In my bleaker times.

Joan and Pam are not without musical assistance. Elton John has remarked of Del Newman's strings, "They just send shivers up my spine. They're just there, you don't notice them, they're just going rrrrrrrrrrr." The invocation of John is not inappropriate, for some of his Honky Chateau crew is at work here.

First are the Strawberry Studios at Paris' Chateau D'Herouville itself, where many of the tracks were recorded. Producer Gus Dudgeon is on board as well, providing, among other things, a beautiful bridge between "Child Star" and "Visionary Mountains." And Davey Johnstone, Elton's guitarist, is also on loan, standing out particularly with his haunting sitar playing on "Visionary Mountains."

Whatever's For Us, particularly its first side, is an extraordinary expression of private experiences we are invited to share. Despite resounding critical acclaim in Britain in late 1972, the public declined to accept the invitation. Now that the invite has been extended to America, it would be sad if millions more refuse to listen to Joan Armatrading. Although she does not seek it, she deserves stardom. (RS 142)

PAUL GAMBACCINI