In the late '70s and early 80s, Amy Grant enjoyed little exposure outside of Christian circles. But that started to change in the mid-'80s, when A&M promoted her aggressively in the secular market. And in the '90s, secular audiences accounted for the vast majority of her sales. Christians were hardly the only ones buying Heart In Motion, one of Grant's biggest sellers. Even though she wasn't beating listeners over the head with her beliefs, Grant's wholesome, girl-next-door image was a big part of the appeal of perky pop-rock offerings like "Every Heartbeat," "Galileo" and the major hit "Baby Baby." And it's certainly a key element of another huge single from the album, the idealistic ballad "That's What Love Is For." Grant was a major star, and best of all, she wasn't acting like one.

Country singers rule this soundtrack of Elvis Presley covers, which is every bit as flawed, frivolous and fun as the film from whence it came. While Billy Joel parodies "All Shook Up" and "Heartbreak Hotel," John Mellencamp labors to avoid parodying "Jailhouse Rock," and U2's Bono transforms "Can't Help Falling in Love" into an obsessive parable about hero worship, folks like Ricky Van Shelton and Trisha Yearwood just sit back and sing the things, which at least makes them pleasant after more than one plaing. Dwight Yoakam's power-chord-country version of "Suspicious Minds" and Travis Tritt's "Burning Love" rank with their best remakes. Breaking the trend are pop crooner Bryan Ferry, who sings a seductive British soul version of "Are You Lonesome Tonight?" and the usually trustworthy Vince Gill, whose Pat Boone-style rendition of Arthur Crudup's classic blues "That's All Right" cleans up the grammar.