Customer Reviews

If My Heart Had Windows

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This was Patty's second album. It was not hugely successful - her third album was to be the one to provide a breakthrough - but for those of us who bought it when it was first released, we were wondering just what Patty had to do to gain significant recognition.

Patty was strongly influenced by Claire Lynch's brilliant album, Breakin' it - now available as Out in the country - and recorded several songs from it for her early albums. Two of them appear here - I can't get you off of my mind (a lesser-known Hank Williams song) and Once in a lifetime (an Eric Kaz song). Claire Lynch and Vince Gill provide backing vocals on the title track (a George Jones country hit) and Once in a lifetime. While covers of Hank and George show Patty's respect for tradition, she shows her respect for contemporary songwriters by covering A little bit in love (a Steve Earle song).

There are many other fine songs here beginning with So good to be in love (an up-tempo, fun song) and Working man's hands (a tribute to a hard-working man, presumably her father). Baby's gone blues and A little on the lonely side are excellent ballads.

Patty has recorded many more successful albums than this but there aren't many that are better.

Tracks

So good to be in love
Working man's hands
You saved me
If my heart had windows
A little bit in love
I can't get you off of my mind
Baby's gone blues
A little on the lonely side
Fly away
Once in a lifetime

Buy this fine cd if only for A Little on the Lonely Side. Try listening to Patty's heartbreaking vocals without getting goosebumps. And oh yeah, the other songs are quite good too. Hits found here are If My Heart Had Windows and A Little Bit in Love.

It was in 1989 I first saw Patty Loveless when she gave a show at the intimate Theatre by the Lake at Opryland, Tennessee. She just had her first no. 1 Billboard hit with "Timber I'm Falling in Love" and I'm glad I was there to share that moment with her. The next time I saw her perform was in 1990 as she opened for George Strait at Starwood Amphitheatre near Nashville. I was a fan of Patty the moment I laid my eyes on the cover of her 1987 self titled debut on MCA in a copy of Music City News. I bought the LP unheard. There was something about the girl that got to me. The CD "If My Heart Had Windows" was purchased a few weeks ago because I wasn't satisfied with the sound on the LP. However, the CD didn't turn out any better. There is something wrong with the sound on the first track, Karen Staley's up-tempo "So Good to Be in Love" about 18 seconds in on both versions. Anyway, the entire collection is strong with songs like the title tune written by Dallas Frazier and the Steve Earle penned "A Little Bit in Love". Other great songs are "Baby's Gone Blues" from Pat Bunch, Pam Rose and Mary Ann Kennedy and "A little on the Lonely Side" written by Roger Murrah and Kitty Murrah. Last but not least is the beautiful, almost spiritual Eric Kaz and Marsha Zwilling song "Once in a Lifetime". Patty sings with more confidence here and it's interesting to hear how her voice has grown since her fantastic MCA debut album in 1987. A studio filled with musicians like what is found on this album and producers like Emory Gordy, Jr. and Tony Brown makes this a great album. If you're a Patty Loveless fan you'll love it.

Her sophomore effort for MCA finds Loveless softening her edges slightly, including two classic country songs (a wonderful swing version of Hank Williams' "I Can't Get You Off of My Mind" and Dallas Frazier's waltz title track) alongside some modern-day country rockers penned by Nashvile's cream. Loveless' version of Steve Earle's "A Little Bit In Love" bests his demo (that, in itself, is an accomplishment), and she gal-handles Karen Staley's rollicking "So Good To Be In Love." "Baby's Gone Blues" gets an exquisite 3/4 time treatment with subtle background strings. "Working Man's Hands" features a dobro instrumental hook leading a touching tribute to her Kentucky coal miner father. Loveless' superb tenor and the tasteful mix of bluegrass and modern instrumental arrangements have her honing her still-rootsy sound to a fine edge and demonstrating without a doubt that she was making the best albums of any woman in Nashville in the late 1980's.