I haven't met either one of these songwriters, but I loved this song from the first time Mark Wright played it for me. It's always a challenge for me to find up-tempo songs that are smart.

And it's positive! Oh my God. Who'd a thought? This is such a feel-good song to me.

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My autobiography set to music! You don't love somebody and then one day decide you don't love them anymore. I don't have regrets about the way I have loved in my life, even though it hasn't always worked out the way I wanted it to. I think that's what this song says. 

Well, aside from the fact that Matraca Berg is my hero, I love this song because it is about finding something to smile about even when life isn't so great. I love the line about “poor ole Coyote, someone had a worse day than me for a change.” And I especially love the Julia Roberts line! I LOVE movies, and every time I leave the theater, I am still in whatever character I have become during the film. When I go see a Julia Roberts movie, I am ALWAYS Julia in my mind, so this song is truly me.

The song alone is nostalgic for me, because I bought Rosanne's album that had this on it when it came out in the early 80's. To have her put her stamp of approval on this song by singing on it is such an honor.

At the moment, this is my favorite cut on the album (It changes daily!). This song doesn't place the blame for a failed relationship on the other person. It acknowledges that a lot of the responsibility is on “me.”

Musically, it is such a beautifully written song with that sweeping melody. And having the harmony voices of Vince Gill and Liana Manis makes it spectacular for me.

Ah, I speak from experience...enough said!

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An intelligent song about getting to know someone before jumping in. Wanting to know all the good and all the bad. I like that.

I thought of Don Henley immediately for this, because it just sounded like him, and we've been trying to find something to sing together ever since “Walkaway Joe.” This seemed to fit. He's perfect, isn't he?

This is the same guy who wrote “The Song Remembers When.” But I think some people may be surprised at that, since this song is so different from that.

I love the swampy “feel” of this song. And the harmonies at the end inspired us to call this our “country-and-eastern” cut! Buddy Miller and Bob, Vicki, and Kim gave this record that swampy, eerie quality it has.

In the lyric, you're consumed by this love, but every now and then, just for a second, you get some relief and let it go. Amen.

I have recorded some depressing songs before...but this one has got to take the cake! I was as surprised as the next guy when I found out at the end of this song that she's not just pining over a failed romance -- she's actually pining over her dead love. It doesn't get more gut-wrenching than that.

Gorgeous song, beautifully written. I have always loved Harlan's writing, and I now count myself a fan of Tom Douglas' as well.

I was on the road last summer, not even thinking about making a new record. And I did ONE show with Irene Kelley. Thank God I did. She gave me a CD with a couple of new songs she had written. After I listened to it, I immediately put this on “hold.” Even though I hadn't played it for anybody else and had no idea when I was going back into the studio, I knew I wanted it.

What an inspiring song about trying love again. I'm so glad it ended up on the album. It's a testament to the power of a good song that it could stay “in the running” after hearing thousands of other songs.

Mark Wright sent over a song for me to hear that he liked, and this was the OTHER song on the CD. I just couldn't get it out of my head.

It sounded too pop for me, so when we decided to record it, I kept saying that this would be a “special” cut, maybe for international release only... Well, we ended up loving it, and here it is. I say, after David Campbell worked his string magic on this record, that it sounds like Trisha meets the Goo Goo Dolls!

Jude always seems to mail me these little gems every couple of years. This song is about the promise of love and the sadness that comes when it goes.

We rehearsed this with the string quintet and with Steve Nathan at piano. I was standing next to the piano running through it with everybody, and Mark suggested we record it that way. We recorded it in one “take,” and everyone did their part without using headphones. The reason it sounds like a live chamber-music performance is because it basically is.