Amy Grant - ‘If These Walls Could Speak’

Last night at dinner, Some friends and I were talking about Amy Grant’s career and her jump from Contemporary Christian music to pop music. Some Christians frown at her “betrayal,” somehow implying that she was tainted by making music for the masses. Minutes later, my favorite song of hers played on my iPod, “If These Walls Could Speak” from 1988’s Lead Me On, and I was reminded of Grant’s talent at what I believe was the pinnacle of her career

This album was the centerpiece to Amy Grant’s transition to pop music. Prior to 1985, she was the poster child of CCM, with praise songs such as “Father’s Eyes” and “El Shaddai” filling churches worldwide. At the time, I was attending a church which embraced CCM and encouraged its youth to listen to Christian artists. (I still shudder at my music collection during this period - Hello, Stryper??) Grant’s beginning foray into the secular world, 1985’s Unguarded, was pure, bleach-white pop, and I was excited that “Find a Way” actually charted.

Jump forward three years. I had left CCM and mainstream pop behind in favor of R.E.M., INXS and Tracy Chapman. I hardly paid attention to Lead Me On when it was released, and neither did the pop music world. And it’s a shame, because there are some real jewels on this album. Grant set aside the positive sound of Unguarded for a more somber, acoustic sound. Her songs were still spiritual, but the pressure of writing overtly Christian messages into every song gave her more freedom to explore other thoughts and feelings.

“If These Walls Could Speak,” a song penned by acclaimed songwriter Jimmy Webb and previously released by Glen Campbell, appears toward the end of Lead Me On. It’s sparse but beautiful, with Grant’s plaintive voice ringing true with little embellishment. She’s accompanied only by a piano, with strings appearing every so often.

A song never sounded so true and pure to a 20-year-old trying to leave corny pop music behind. One year later, her entry into the pop world was complete with her Top 10 smash “Baby Baby,” which was a little too saccharine for me.

I have thrown my Stryper cassettes away and sold my Michael W. Smith records, but I still listen to Lead Me On, and as I did last night when “If These Walls Could Speak” played, I smile when I hear such simplicity simultaneously expressing joy, sorrow and peace.

Amy Grant, “If These Walls Could Speak”

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Basia, Time and Tide (1988)

Here’s an example of one song that epitomizes everything I love about music: Basia’s “Time and Tide.” Polish singer Basia Trzetrzelewska is best known for her upbeat, jazz-pop songs that sound right at home on a cruise ship, but her first hit in the United States was the charming “Time and Tide,” a slower, dreamy standard that always leaves me smiling.

The song begins with standard jazz fare, with Basia’s voice finding a beautiful melody over some complicated chord changes. Backup singers join her on the second verse, singing in harmony, and then the chorus takes a sharp turn: an almost-New Wave sound, simpler, with Basia singing to a piano in simple intervals. First a third, then a fourth, and then a fifth as she tells us, “We’ve got time, oh baby, there’s no rush.”

You have to know something about chord progressions to truly appreciate this song. Basia throws everything but the kitchen sink in there - no simple I - IV - V progressions in sight - but it all makes sense. The bridge features a key change and a piano instrumental, laced with those beautiful harmonies again. Then there’s another key change, but it’s hardly noticeable since she’s been changing chords every half measure.

The song grows only slightly in intensity, but again, you hardly notice it until the key change, and then as the chorus repeats itself, it settles back down, ending in that perfect fifth.

I guess it’s not cool to like this one-hit wonder - how many Basia fans do you find nowadays? - but I still marvel at the complexity and beauty of this song. I usually like my songs simple, but this is one exception.

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Insomnia’s Not So Bad Until The Morning

I had one of those nights last night - brain reeling out of control like Lorelai Gilmore:

…My brain is a wild jungle full of scary gibberish: “I’m writing a letter. I can’t write a letter. Why can’t I write a letter? I’m wearing a green dress. I wish I was wearing my blue dress. My blue dress is at the cleaners. ‘The Germans wore gray. You wore blue. ‘Casablanca’. ‘Casablanca’ is such a good movie. ‘Casablanca.’ The White House. Bush. Why don’t I drive a hybrid car? I should drive a hybrid car. I should really take my bicycle to work. Bicycle. Unicycle. Unitard. Hockey puck. Rattlesnake. Monkey, monkey, underpants.

I really think I had that conversation in my head last night.

So it was listening to music and tagging my MP3 collection - the only thing I’m obsessive about - until 3:15 a.m., when I finally found myself in a zombie-like trance.

I’m paying for it today, and as I guzzle coffee in the hopes that it somehow will replace four hours of sleep, I name “Insomniac” by billy pilgrim as my song of the day. billy pilgrim, an Atlanta band composed of Andrew Hyra and Kristian Bush, played quite frequently at the local hangout, Eddie’s Attic, and I saw them quite a bit. As close to an acoustic-based anthem as you can get, it was a song that I quickly worked into my repertoire when playing guitar.

I tried to find an mp3 or video online, but the only thing I could find were several a cappella versions. Apparently, it’s become a staple of men’s barbershop/vocal groups. It’s not bad, but weird.

Sigh. An old favorite has become a vocal standard, and Kristian Bush is now wearing a cowboy hat and yodeling in the hip country band Sugarland. Andrew Hyra has recently started playing music again and has left Atlanta. And I hope I can get some sleep tonight.

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