Heart in Motion

It’s difficult to believe now, but the blockbuster Heart in Motion actually caused controversy in certain circles upon its 1991 release. The culprit was what it represented: contemporary Christian superstar Amy Grant jumping headfirst into the secular pop world. Although she had dabbled in this realm before—a romantic 1986 duet with Peter Cetera, “The Next Time I Fall,” even topped the Billboard Hot 100 and was nominated for a GRAMMYⓇ—this album was decidedly aimed toward the mainstream.
Mission accomplished: With its polished production, sparkling keyboards, and upbeat attitude, Heart in Motion was embraced by contemporary pop radio. The wholesome love song “Good for Me” boasted flashy electric guitars, funky beats, and lyrics acknowledging that opposites attract: “You like to drive like Mario Andretti/I like it taking my time.” Tart horns drive the brisk “Every Heartbeat,” which bears more than a hint of gospel influence, while “That’s What Love Is For” is a soaring, optimistic power ballad that allows Grant to stretch her voice heavenward.
Still, the secret to Heart in Motion’s success is that the album is still as reverential and earnest as Grant’s CCM work. The massive hit “Baby, Baby”—a song inspired by her newborn daughter, not a love interest—is universal enough to refer to anybody who is adored, while the comforting message of “You’re Not Alone” is self-explanatory. Grant’s honesty even extends to more specific personal fare: “Hats” explores, with sophisticated insights, the pressure to balance work and personal life. In the end, Heart in Motion kicked off a new phase of Grant’s career that expanded her audience—but didn’t alienate older fans.