Not surprisingly, a full third of this sampling is culled from Grant’s 1991 breakthrough album, “Heart in Motion.” While “Heart” is technically a ‘90s release, it nonetheless has ‘80s production values written all over it. On “Every Heartbeat” especially, one hears plenty of that hi-tech-meets-old-school-soul mixture, which was so popular back then. “Good for Me” is another good example of this studio flavoring, as it features churchy backing vocals over crisp and clean guitar/keyboard instrumentation. “Lead Me On,” which comes from an album of the same name released in 1988, also brings to mind MTV-era music with its bold echoing drums, ringing guitars and equally bell-like keyboards. The production sterility of this period in Grant’s career is so overbearing, in fact, that the mandolin that drives “Saved by Love” arrives like a gust of fresh air in an otherwise predictable aural atmosphere.

When Vince Gill entered the picture, not only did he bring new romantic love to Grant’s life, but he also softened the edges of her music. He simply gave her sound the warmth it previously lacked. Gill duets with her on “House of Love,” and it’s probably not coincidental that roots elements – such as harmonica -- make a subtle appearance on “Takes A Little Time.” (Can that really be accordion underlying “Like I Love You”?) Furthermore, it’s around this time that Grant felt comfortable enough to try her hand at a few secular covers, including her nicely loose vocal take on Joni Mitchell’s “Big Yellow Taxi,” and a fairly straight cover of 10cc’s “The Things We Do for Love.”

For Grant collectors, this release also includes a few previously unreleased tracks. The first of these is called “The Water,” which speaks about a kind of baptismal-like healing with lines like: “After I die/I’m gonna rise from the water” and “I’m waitin’ on you Jesus/In the water here.” Another fresh cut is called “Come Be with Me,” which takes on the acoustic blues feel of its co-vocalist Keb’ Mo’ to create its gentle sound. One of this release’s bonus tracks (early editions also include an extra disc in the package) is a remix of “Baby Baby,” which is an almost total wash. This is because its producers subtracted the bubbly keyboards that made the original so infectiously appealing in the first place, and replaced these parts with overt and unnecessary percussion effects.

For better or worse, this collection is like a snapshot of a pivotal time period for Amy Grant. It captures her Saturday night side, rather than her Sunday morning persona.