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| 1. Good for Me |
| 2. Baby Baby |
| 3. Every Heartbeat |
| 4. That's What Love Is For |
| 5. Ask Me |
| 6. Galileo |
| 7. You're Not Alone |
| 8. Hats |
| 9. I Will Remember You |
| 10. How Can We See That Far |
| 11. Hope Set High |
Lets get right to the first question: Is this a Christian album? The immediate answer is no, it is not a contemporary gospel album. But if you ask if the lyrics express Christian values and whether its clear from listening to the album that Amy Grant believes in Jesus Christ (rather than in a capitalized pronoun), the answer is clearly yes.
There is no question, however, that this album was made with the mainstream pop market in mind. The first six cuts in particular sport memorable hooks and polished, radio-ready production. Brown Bannister, who produced all of Grants previous albums, is back again on four of the songs, but big time L.A. producer Michael Omartian was brought in for five others and rising star Keith Thomas for two.
In fact, it is the two Thomas productions which lead off the album "Good for Me" and "Baby Baby" (the latter dedicated, Grant says in the liner notes, "to Millie, whose six-week-old face was my inspiration"). These two sings, in which only Jerry McPherson's guitars augment Thomas synths, sound big and bright rather than brittle and mechanized. Next comes the rollicking "Every Heartbeat," produced by Bannister, which features the killer drum/bass duo if Chris McHugh and Tommy Sims with McPherson again on guitar and Charlie Peacock on keyboards, all backed by fun 50's style bgvs. (Peacock, who co-wrote the song with Grant and Wayne Kirkpatrick, also contributed to the horn arrangements.) What follows is the Big Ballad, and Omartian-produced masterpiece called "That's What Love is For" which has "hit" written all over it.
So far, we've heard basic, feel-good love songs nothing heavy. But now comes "Ask Me" a poignant song about sexual abuse. "Ask me how I think there's a God up in the heavens/Where did He go in the middle of her shame?/ She said His mercy is bringing her life again." Its one of the best cuts on the album, and since it portrays the redemptive power of God in a situation which is tragically all-too-common, probably the most important. "Galileo" wraps up the side (of the cassette version), and though it is substantially less weighty than "Ask Me," you'll hear the chorus in your head for days after just one listen.
If side one is the commercial, pop radio side of Amy Grant, side two is more reflective of the Amy we've seen in the past. "You're Not Alone" is the most muscular production of the set, with guitars by Dann Huff and Gordon Kennedy (need I say more?). "Hats" is a quirky, madcap kind of song about modern motherhood that will be the favorite of many women: "one day Im a mother. One day I'm a lover/What am I supposed to do? HATS!" "I Will Remember You" is a emotionally-charged ballad an ideal concert closer. "Our love is frozen in time/ Ill be your champion and you will be mine/I will remember you."
Unfortunately, "How Can We See That Far" seems out-of-place. Recalling moments in life viewed from the perspective of time, the song wonders, "How can we see that far?" However, its melancholy mood would have fit better on Lead Me On than this album. Another ballad ("Hope Set High") closes the album. It's a song which puts all that comes before it in perspective. "When it all comes down/If there's anything good that happens in life, it's from Jesus."
Overall, although Heart in Motion suffers from some pacing problems (it comes in like a lion with three hot pop songs and goes out like a lamb with three ballads), from a technical standpoint it is Amy Grants best effort, with well-crafted songs and some outstanding vocal performances.
It is also a pivotal album for Grant. On the one hand, the album seems designed primarily to cultivate radio hits. Thus, she has set herself up for criticism that she has "sold out" for commercial success.
On the other hand, these songs seem to represent life as Grant sees it at the point in time. In that regard, they get high marks for artistic integrity. To say they are mere contrivances to fit a particular market, while perhaps true in once sense, is prejudicial from a Christian standpoint. One thing is certain: Amy Grant knows what she's doing. As she says in "Every Heartbeat:" "I'm simple but I'm no fool." -- John W. Styll (c) 1991 CCM Communications, Inc.
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