Amy Grant was a teenager at her Nashville church's Saturday-night coffeehouse when a friend named Brown Bannister offered her free time in a recording studio; the demo they cut reached a Word Records executive through a family acquaintance, and Grant had a record deal by fifteen. Contemporary Christian music had never had a commercial engine like her: 1982's Age to Age became the genre's first platinum album, and 1985's leopard-print Unguarded pushed her toward pop despite an audience that wanted her to stay in her lane. Heart in Motion completed the crossover in 1991, sending Baby, Baby to No. 1 and making Grant the first contemporary Christian artist to top the Hot 100 -- a template every gospel-to-pop pivot since has followed. Underneath it all sat a teenager's record collection: King, Taylor, and Mitchell, worn into the grooves years before she wrote a note of her own.
By Grant's own account, Carole King is why she picked up songwriting at all -- a debt she made literal in 2013. At a benefit concert for a children's cancer camp, she and King had just performed King's own songs together when Grant, on her way out, turned and asked outright: "Oh, would you sing on this song? You'd be perfect for it!" King said yes, then recorded her part alone in her own studio and mailed the file back. The song became "Our Time Is Now" -- the teacher, decades later, singing quietly behind the student.
listen forSet King's 1971 ballad "You've Got a Friend" beside Grant's 2013 "Our Time Is Now" and listen for the harmony vocal that rises behind Grant's lead in the song's second half -- that unhurried, reassuring alto is King herself, recorded alone in her own studio and mailed back, still working the plainspoken warmth she'd perfected on Tapestry four decades before.
Asked years later which records made her want to make her own music, Grant didn't hesitate: "Joni Mitchell's Blue and Carole King's Rhymes & Reasons," she said. "Those records were a daily part of my existence in my little yellow bedroom with my first turntable." In 1995 she paid that debt directly, cutting a cover of Mitchell's "Big Yellow Taxi" for pop and adult-contemporary radio -- and running the altered lyric past Mitchell herself, who signed off on the change before Grant ever recorded it.
listen forPlay Mitchell's spare 1970 folk arrangement of "Big Yellow Taxi" against Grant's fuller 1995 pop remake and listen for what didn't change -- the plain, almost spoken-word cadence of the verses, built to let an environmental complaint land like a shrug rather than a sermon. Grant kept Mitchell's phrasing intact; the one line she did alter, she cleared with Mitchell first.
When Grant and producer Marshall Altman were casting the sparse background vocal for "Don't Try So Hard," she didn't hold auditions -- she named the one voice she wanted before the search even started. "There is no other voice I'd rather hear singing 'you're lovely even with your scars' than James Taylor," she said. "I've loved his voice my whole life, and I'd believe those words coming from him." It's the plainest possible statement of a debt she'd carried since she was a teenager picking his songs out on guitar.
listen forPlay Taylor's 1970 "Fire and Rain" against Grant's 2013 "Don't Try So Hard" and listen for how neither song raises its voice -- a plainly picked acoustic figure carrying an unhurried, conversational vocal. Taylor's own backing vocal enters quietly in the second half of Grant's track, the same unstrained phrasing he brought to his breakthrough single, now vouching for someone else's confession instead of his own.