"This is a fun song about a guy whose girlfriend makes him choose between her and fishing. When I play it in concert I can see people in the audience elbowing each other. Every girl can relate to something that takes her guy's attention; be it NASCAR, golf, or fishing.

This song comes from personal experience. It's all in jest, but it's also a little painful. If you make me choose, I'll be out on the lake."

"Part Two" (Brad Paisley/Kelley Lovelace)

"We wrote this one in '94 or '95 after this really stupid thing I did. "Father of the Bride" was the first movie I went to see with a certain girl. Well, we broke up. Then the sequel came out a year later. I ended up going to see it on the exact day, at the exact same showing that we saw the first one. I did it on purpose thinking she might be there, too.

Well, of course she wasn't. No one is that psychotic except me. So Kelley and I started talking and the line came out: 'Hollywood never fails to make a sequel.' Then, I remember thinking that would be a really great title for a second album."

"Wrapped Around" (Chris DuBois/Brad Paisley/Kelley Lovelace)

"This song was born, like many others (including 'He Didn't Have to Be'), through my best friend Kelley Lovelace. He was trying to figure out, should I get married? Am I a dad? Is this something I want to do? Then he called me and said, 'I think it's time to put a ring on the finger I'm wrapped around.' I love the sentiment and the infectious melody. It's kind of an old shuffle somewhere between Jim Ed Brown and George Strait."

"Two People Fell In Love" (Kelley Lovelace/Tim Owens/Brad Paisley)

"This song is about ancestry and the fact that you can trace everything back to two people's romance. The reason you're here, the reason I'm here is that our parents saw something in one another, fell in love and we're the product. It goes back to everybody that's ever been born. And not just to people we like. That guy who cut you off today in traffic and made you mad? Well, he's here because two people fell in love."

"Come on Over Tonight" (Brad Paisley/Chely Wright)

"I wrote this one with Chely Wright, who I write with a lot. I was still looking for that last up-tempo, fun thing for my record. We were talking about how difficult it is for a guy to say 'I love you' to a girl. It's always the phrase that kills you. We started talking about when pigs fly, that kind of thing.

Then... well, let's say I've said it, and that's cool and all... but I'm really anxious to see those flying pigs. The whole thing is based on the premise that anything's possible. If you can say 'I Love You' and actually break your word, then I'd hate to see what else is going to happen.

It's a lot of fun. I love the groove of it. It's kind of between Little Feat and Merle Haggard."

"You'll Never Leave Harlan Alive" (Darrell Scott)

"This song was written by Darrell Scott - one he recorded on an independent album he had out a long time ago called Aloha from Nashville. It just reminds me of my home area, West Virginia, Kentucky, the coal mines, the entire way of life, where it's just a dead end street. When I heard it, I knew I had to cut it."

"I Wish You'd Stay" (Brad Paisley/Chris Dubois)

"Chris DuBois and I wrote this one night early on when we first started writing together. I think it just fits the cinematic theme of this album. In the beginning when it talks about putting the map on the front seat and letting her go... I mean, we've all been through that. At the time I think we just really started recalling former relationships that didn't work out and you had to let that person go.

The finished song is real similar to the demo I cut seven years ago. It just goes further. There's a longer guitar solo at the end. There's a better string arrangement that's actually real strings - not synthesizer."

"All You Really Need is Love" (Brad Paisley/Frank Rogers/Chris DuBois)

"I wrote this with Frank Rogers and Chris DuBois after we made a trip to Frank's beach house in Myrtle Beach, South Carolina. We wrote it quickly, laughing about how everybody says, 'Oh! You'll be fine. All you need is love.' Well, then you start listing everything that goes along with a wedding and it's a nightmare."

"Munster Rag" (James Gregory/Mitch McMitchen/Brad Paisley)

"I'll put an instrumental on every album if the record company lets me. And they better! I don't know that they'll all be fast or up-tempo like this one. Maybe I'd do a slow guitar, 'While my Guitar Gently Weeps', kind of thing.

On the other songs you have to restrain yourself a little as a guitar player. I try to make sure that what I play isn't overbearing and just showing off; it's got to fit the song. But on an instrumental like this I can goof and show off a little bit. It's a demonic a little bit. It's got that Halloween, haunted house kind of feeling. I came up with that melody and it reminded me of a theme song from the Munsters or the Addams Family. So we called it Munster Rag."

"You Have That Effect on Me" (Brad Paisley/Frank Rogers)

"One night, Frank and I thought of a neat story of a guy who's ready to propose. But she's got him tore up. He's blowing it. He's totally nervous.

In every relationship I've ever been in I just find myself that way. I can be calm in front of thousands, musically, I think. And at the same time I can lose it in front of her. That's how I am. I'm the epitome of who this guy in the song is. I'm the guy who would forget the ring because he's so excited about giving it to her."

"Too Country" (Bill Anderson/Chuck Cannon)

"You might think this song is a 'Murder on Music Row' because of its title. But it's not. It's mostly about lifestyle. Sort of a study in terms of the simple life. It's like a conversation with your grandparents. And having the legends (George Jones, Buck Owens and Bill Anderson) helping out singing on the record seemed close to perfect."

"The Old Rugged Cross" (Public Domain)

"This is a live recording I did the night that I was invited to become a member of the Grand Ole Opry. I thought, man, what a perfect way to cut a gospel song. Live like that. Just me and a guitar. That's my favorite way to play the Opry. My band wouldn't like to hear that, but there's just something about that audience when it's just you and a guitar.

And that's exactly how it sounded, we didn't overdub it at all. I didn't redo the vocal or anything. That's exactly it."