“There’s More Where That Came From”
(Chris Stapleton, Chris DuBois)
When was the last time you heard a female artist play the role of a cheater? ‘It’s been too long since I’ve heard a song like that. The ‘even though I know I shouldn’t, but I’m going to’ kind of song. That’s where I tried to go with this record. I didn’t want to think too hard about whether I should or shouldn’t, I just cut a song if I liked it.
“One’s A Couple”
(Dale Dodson, Billy Lawson, John Northrup)
It just sounded like a beer-drinking, honky tonk song. I didn’t think too much about whether it made a better girl or guy song or whatever. I just liked it, so I cut it.
“I May Hate Myself In The Morning”
(Odie Blackman)
That’s almost too real. It’s one of those songs that almost makes the listener uncomfortable.
“The Last Time”
(Tony Lane, David Lee, Chris DuBois)
I love Tony Lane’s songwriting and his melodies. I had a lot of fun recording that one. Wes Hightower and Andrea Zonn sang the harmonies on it, and I thought they did a really great job. That’s probably my favorite part of the cut.
“He Oughta Know That By Now”
(Clint Ingersoll, Jeremy Spillman)
It’s so hard for me to find up-tempo songs that I like that aren’t fluff. That’s why I was drawn to this song.
“Twenty Years And Two Husbands Ago”
(Lee Ann Womack, Dale Dodson, Dean Dillon)
I was in my office talking to my assistant. She asked me a question and I said, ‘I can’t remember - lordy, that was 20 years and two husbands ago.’ And I thought, ‘Bingo! There’s the next song I’m writing.’ (laughs)
“Happiness”
(Kostas)
Missy brought this song to me and said, ‘You’re cutting this song, that’s all there is to it.’ (laughs) And I played it for Frank just to make sure and he thought it was great. I thought it might be a little weird for me to cut because it might sound like I was giving an old man advice or something, but it’s just a story song and a good little lesson.
“When You Get To Me”
(Bill Luther, Marv Green)
More than anything I just liked the way that one felt. It felt like you were getting on the road and just driving.
“Painless”
(Luke Laird, Bill Luther, Hillary Lindsey)
I cut ‘Painless’ because of the line, ‘Said you felt like those dirty dishes and it was high time you came clean.’ There must’ve been a lot hurt flying around the writer’s session that day.
“What I Miss About Heaven”
(Annie Roboff, Marcus Hummond)
Up-tempo, smart lyric, banjo and fiddle player (Bryan Sutton and Aubrey Haney) playing their asses off.
“Waiting For The Sun To Shine”
(Sonny Throckmorton)
That’s one I’ve always wanted to cut. I just love Ricky Skaggs’ record on that. And I love to hear harmonies. I could listen to just a cappella stuff. I sort of cut this one more so to sing the harmony part than the lead!
“Stubborn (Psalm 151)”
(Don Schlitz, Brett James)
‘Stubborn’ is one of the best songs I’ve ever heard in my life. When I heard the demo, I couldn’t believe it. It brought me to my knees. I got about halfway through the song and literally, tears were streaming down my face. It’s funny because I came home one time, nobody was home, but there was this CD lying on the kitchen counter that had ‘Psalm 151’ written on it. I thought, ‘If someone wrote a song and entitled it ‘Psalm 151,’ that must be an important Psalm, but for the life of me I couldn’t remember that one.’ So I went and got my Bible, and found there was no Psalm 151. I was eager to hear the song so I put the CD in and was crying by the middle of the song. When Frank came home I met him at the door and asked him what it was. After listening to it he said, ‘That might be one of the best songs I’ve ever heard.’