This song was written by Paul and his freind Russ Parrish and Jeff Martin, who have a sometime side project with him called Electric Fence. They were staying with Paul at his Batgirl studio set up and one thing led to another, with Paul playing bass on the demo. Most of the lyrics were written by Russ, about a previous musician he worked with. The finished version is very close to the demo.

The first single everywhere but the U.S. this catchy number came from a musical idea by Paul, who came up with the drum part.
"I always tap on the car styeering wheel subconsciously and was playing along to a song" - Paul explains - "I got this beat going and tried it out when I got home. Of course it had to pass the Pat Torpey test. He liked it and added some high hat to it" Pat notes that the original lyrics was "Take Over", but Eric changed it to "Take Cover". "It's a bit different direction for us but it's cool, it's powerful" he says.
"It's stilistically different from anything we've done" - says Paul, who found it a challenge to transfer his original piano idea to guitar and duplicate the sustain. "It's one of the most difficult Mr Big's songs".

"It's really near and dear to me because I wrote the lyrics and it came from an idea of mine" - says Pat of his funky groove tune. Inspired by the james brown grooves the band would fool around with at soundcheck, Led Zeppelin's "The Crunge" and Scritti Politti's "The perfect Way". Pat came up with the drum part, he and Billy worked it up together and Paul added a funky riff. Pat sang lead on the demo version.
Jane Doe conjures up these images to me of a female missing person, seeing someone you're intrigued by and not knowing who they are, the anonymous thing " he saya. "Someone asked if it wa sabout a one night stand. Not really, but it could be. It's open-ended. It's someone you know but don't really know. The difference between who you are and and people's perception of you intrigued me."

This song went through a major metamorphosis before ending up as the first U.S. single. "Eric wrote it with a drum machine as a rock tune, with electric guitar" - says Pat - "We fooled around with it and it was okay, but it wasn't sparkling", there was nothing special aboutit. But Eric believed in the song and I thought it had some cool parts to it. We were sitting around at mates in N. Holliwood and Billy suggested trying as an acousting thing. When we redid it that way it was really cool. It immediately appealed" - adds Paul - "It's always a challenge for me to play acoustic guitar in the studio because of the standard of Kevin Elson. My strength is electric guitar and when I play acoustic I'm not as good at it and so it takes a lot of concentration - Playing it live as Eric was signing made it work: "Eric's vocals are more raw than they would be otherwise."

Written by Eric, this melodic ballad is about "breaking the chain, the bad habits your parents might have had and not growing up and repeating them." describes Pat.
"it didn't hit me the first time I heard it, sometimes demos are so sterile" - he notes - "But once we got together and Mr Big-ized it, all of a sudden it clicked. It's like a door opening up and you go!"

Bueasy and catchy, this was the first song demo'd for the album and began with an idea Pat and Billy had. "We were working on another song all day, and suddenly I started playing a riff that was much cooler than what we we working on. I sent the demo to Eric and he worked on the lyrics" - says Paul - "it fun for me to play because there's so much space and interply between the instruments and the vocals". The song is an observation on life, on a loto f levels: as a person, as a band.

"The style is a R&B gospel kind of thing" - says Paul - "it was a real challenge even though it isn't flashy guitar, the guitar parts took time to work up".

Paul's experience with having his lower wisdom teeth pulled inspired this groove rocker. "My one and only drug experience" - he laughs explaining he was given an anasthetic that tripped him out. While there are some lyrical references to the experience "it's vague enough that people wouldn't guess what it's about". He sees it's as "more of a music song than a lyric song, more of a feel thing. There's no philosophical statement".
Pat found it challenging: "musically it's really aggressive. It's a fun song to play."

The music came from Billy's hold file. "The first time I heard it was when we started bump ahead" - recalls Pat - "We fooled around with it a bit, but we had so much material it got set aside. We revived it and Eric wrote the melody, and it came out great. It's another kind of departure for us" - adds Paul. "We did the demo at my home studio and kept some of it. It's about the lowest Eric has ever sung. It's a real dynamic song vocal-wise".

"This is a jamming, almost a '70s jam tune" - says Pat of this blues-edged rocker. "Paul came up with the lyrical idea. It's not about a specific person, it's my tribute to great female singers like k.d. lang, Joni Mitchell and carole King" - says Paul - "After doing a show with Mr Big I sometimes listen to them on the bus. It's like having a back rub througn your ears! The title came from my friend's mother, who didn't want to be called Grandma so they called Mama D., but it's not about her" - he explains.

A killer groove rocker, this is "another one we came up with out of the blue" - says Billy - "Pat and Paul and I were sitting around, and I came came up with that line it starts out with, Pat played along, Paul jumped in, and it was done".
But Paul notes "We did it so many versions of it before we arrived at the last one. Pat, who wrote the lyrics, and sang on the demo, says that his original chorus was replaced by an idea Eric had written for another song."
"It's poking fun at everything we are all bombarded with, from commercials to talk radio to comemrcials to news, information overkill, most of it not correct. It's about media bombardment, 24/7."