It was an evening of epic proportions on Saturday night at the Kennedy Center, as the National Symphony Orchestra sounded the final triumphant bars of Beethoven’s Symphony No. 9 in D minor — to the most roaring reception I’ve ever heard in the doing so, maestro Gianandrea Noseda also closed the final chapter of the NSO’s ambitious 1½-year celebration of “Beethoven & American Masters,” a festival that reimagined what could have been a run-of-the-mill Beethoven cycle with well-selected symphonic works by William Grant Still and a survey of George Walker’s five deceptively titanic unexpected and, I hope, lasting side effect of this combination of composers is the fresh shine this experiment has put on the NSO — an orchestra whose approach to contemporary work feels less and less fraught with the weight of obligation. Especially so with its string of scintillating accounts of Walker, this is an orchestra that has proved itself — to tilt a phrase in another angle — open to interpretation. Much of Saturday night’s excitement was understandably reserved for the grand finale of this grand finale. But the orchestra’s investment in and embrace of the work of Walker and Still deserve their own rounds of applause. This is the kind of programming that’s helping to remake this orchestra before our 1801 overture to “The Creatures of Prometheus” opened the program. A five-minute snack commissioned by the Imperial Theater to introduce Salvatore Viganò’s libretto, it was an overture to overtures for the 30-year-old Ludwig. With sensibilities proximate to Beethoven’s First Symphony of roughly the same time and the same key of C major, it made a light and lively conceptual bookend to the Ninth, which loomed on the evening’s horizon. It also seemed intended to demonstrate that Beethoven’s musical career can be followed like a breadcrumb trail to the wild omnibus of the Ninth. It was a calisthenic take with fiery energy out of the gate, lovely melodic plumes of flute and oboe, and an unexpectedly rocking resolution that had Noseda pulling Townshend-esque windmills to urge dynamic surges from the good portion of my enjoyment in hearing Walker’s five sinfonias over the past year-plus has come from hearing people react to them afterward — commentary usually smuggled from the rows into the lobby out of a sense of politeness and an erroneous presumption of privacy. The general gist of the chatter is the sinfonias are not here to make friends. They lay out no welcome mat. You won’t find yourself humming them while of which is fair enough They aren’t, they don’t, and you won’t. But I suspect the discomfort drawn by so many from their experience of these cataclysmic miniatures is more a factor of their high-def capture of contemporary anxiety. Last year, I white-knuckled through “Strands,” Walker’s Fourth Sinfonia premiered in 2012, a work whose title seems to refer to its own rending of spiritual threads. But it didn’t have me gripping the armrest because it’s ugly, or unpleasant, or — how to put this? — could easily hear Walker’s music as a garish reflection of the world we opt to leave behind when we enter the concert hall, but to my ears, its beauty springs from its in 2004 and arranged in three movements, No. 3 is a model of momentum, a relentless forward fling that crashes through its own obstacle course. On Saturday, the blast of brass and tensile strings that set its universe into motion registered like a sonic boom, and scarcely relented. It’s a work of little respite and few hiding places; breaks in the action are quickly broken open. Even the gentle outcropping of woodwinds that opens the second movement is uprooted in a tsunami of often terrifying sound. What chance does the audience stand?Noseda was especially commanding over the third movement’s mechanistic churn of trombones, hammered bells and rumbling drums. Uncertain strings cut through the din like stark shafts of light as the brass section seemed to bare its teeth. At times, it was tough to discern whether we were building toward a climax or a collapse, the controlled demolition of its finish dropping into unsettling major part of hearing the Ninth is seeing the Ninth, the spectacle it assembles just to exist. On Saturday, the concert hall stage held 65 musicians, 142 members of the Washington Chorus led by artistic director Eugene Rogers, four soloists and an extremely busy Noseda, who helmed its 62-or-so minutes with an affection and affinity he’s been coding into his cells since first performing it in 1995. In his opening remarks, Noseda recalled the Italian conductor Carlo Maria Giulini advising him before that first performance The Ninth “can only be touched with pure and clean hands.”Noseda’s were spotless. One highlight of the maestro’s treatment of Beethoven throughout this festival has been his detailed restoration of the composer’s humanity — a facet of Ludwig often lost in the overstuffed lore of genius. As a composer, as a man, as a body on earth, Beethoven was perhaps never more human than when he composed the Ninth, between 1822 and 1824, and throughout Saturday’s account, Noseda saw to it that the orchestra didn’t play this monument as a monolith — not so much taking orders from the music as drawing the opening shimmer of fifths, the entire string section sounded heightened on Saturday. Sometimes it pays to catch the third go-round of a program. In less sensitive hands, this substantial first movement “Allegro ma non troppo, un poco maestoso” can struggle to cohere, its vast stretch obscuring its peaks and dips. Noseda’s guidance relies on carefully managed dynamics and wayfinding accents, and he masterfully mapped the movement without flattening it. The horns and woodwinds were especially dazzling through the second movement built from its opening fugal snowball to a whirling, properly “Molto vivace” revelry. Only occasionally did the balancing act of this richly textured movement falter The rhythmic pulses of brass that so effectively buoyed passages of the first movement somehow felt too present here. But this is me just hunting for stuff; it was a captivating take invigorated by a Saturday night energy among the players. Principal oboe Nicholas Stovall, principal clarinet Lin Ma and principal bassoon Sue Heineman all made brilliant showings in this not-quite-scherzo’s horns, led by Abel Pereira, were in exquisite form, with fourth horn Scott Fearing offering silken solos through the third movement “Adagio molto e cantabile”, especially beguiling paired with principal flute Aaron Goldman. And its concluding brass fanfares were energizing, beautifully controlled harbingers of the colossus to finales don’t get much grander than this. I’ve been waiting to hear the Washington Chorus tackle the Ninth since word first surfaced of this series, and it did not disappoint. The chorus was wonderfully balanced rich and sturdy lows buttressing the crystalline gleam of the sopranos. No small feat when everything is turned up to the 19th-century equivalent of 11. The four soloists — soprano Camilla Tilling, mezzo Kelley O’Connor, tenor Issachah Savage and bass-baritone Ryan McKinny — all gave fine performances but were helpless against vanishing here and there within the wall of choral sound. Savage had the best night of the four, a magnificent presence with a voice made for joy at a grand before intermission ended, a wise and friendly woman in the row behind me with whom I was chatting remarked that, for every performance of the Ninth, it’s somebody’s first. I offered a little, “Hm,” thinking her thought was done, but it wasn’t. Because every performance of the Ninth, she added, is also somebody’s last. This opened a different door when the symphony started, and when it ended and the hall erupted in applause, I turned to smile and found her in tears. What a gift, either way.

[Intro]M-M-Maybach Music[Verse 1 Rick Ross]Pray for the days when the failure was a phaseOr hate was the case but they tell you to your faceThe top came down so I never hit the brakesThe bitches came out, so we the niggas they would chaseEnvy was the norm, we the children in the cornBlack male, pickin' cotton, hustles came in different formsStarted with the pies, real ones lost livesSuch a dirty game, now my hand sanitizedI bucklеd down in a PorscheButtoned up, Tom FordHead stay on a swivеl, they want your boy in a morgueBut fuck 'em, I want a warButt fuckin' 'em, slow, rawPertaining only to women, my lady know I'm a lord, LordForgive me for all my wrongsKillin' niggas for sneakers and shit that's said in a songPuttin' homies in check instead of puttin' 'em onI'm always put to the test, real ones finishing strong[Verse 2 The Game]Fresh up out the gutter, nigga, yeahAnd I can never be them other niggasI don't come through blood niggas, a semi not on meExchange words and shots with like ten of my homiesAnd no matter what I do, I'm not good enoughDrive-bys, blood splattered on my shoe, I'm not hood enoughBut why cry?I Waka Flocka Flame, hit your block upThug life, it's in my veins, go dig Pac upI'm where Pac was, only difference, got my Glock up'Cause I been shot up, it's time to balance out my chakrasI'm not the same motherfucker that I used to beI'm acousticallyYou niggas gon' get used to meI'm tired of niggas usin' me, abusin' meUsually, I make a call, get the windows knocked out your motherfuckin' eulogyImagine niggas shootin' me, yeah, Compton was like a zoo to meI'm a lion, king of my jungle, that's why it ain't no gettin' through to meFor my first album, early 2000s, I was with the fooleryOutside the L'Ermitage, could've got Fab for all his jewelryAin't even really know how to rap yetI was just a Click Clack vet'Go find my nigga AR and ask him, if you wanna fact checkY'all heard it first Y'all heard it firstI ain't even told Fab yetThis might affect our friendship, niggaI ain't even ask yetI ain't even have half of an Aftermath checkAll in Brooklyn with you and Clue on the corner with my rag justHangin' in the wind, with the stainless in the BenzBrainless when it spins, and I aim it for all my friendsThat go for Ross tooI brought a gun and some chalk tooFor openin' up doors, it cost a Maybach just to walk throughAnd on my dark days, I walk inside a dark boothSpeak what's on my mind but they ain't ready for the hard truthYou can't call yourself king when I taught youBrought you a classic for you and all your niggas to spark toI ought to, nah, fuck it'Cause even Nikki Giovanni had James Baldwin to talk toSo I get high, then I swan dive in a shark poolWith the same red bandana, "Start From Scratch" part twoNas got the part, so I went and got the part tooSnoop went and pulled the rag out, shit, I went and bought that car tooThat shit was hard tooRun up on it while my son inside it, the .40'll spin your ass around like a barstoolLet Jesus take the wheel, I step on the gasI wanted a million like Aaliyah, I wish that she never crashedAnd I only made it this far 'cause I always knew the taskUnderstood my greatness and over stood all the mathI don't need your love or the credit, I always got cashAnd even now, my 2020 vision is somewhere in the pastWho the next rapper murdered? Every month, a nigga passBut me, I'm still alive, I guess they saved the best for lastHow to Format LyricsType out all lyrics, even repeating song parts like the chorusLyrics should be broken down into individual linesUse section headers above different song parts like [Verse], [Chorus], italics lyric and bold lyric to distinguish between different vocalists in the same song partIf you don’t understand a lyric, use [?]To learn more, check out our transcription guide or visit our transcribers forum

Vanessa Williams About Save the Best for Last "Save the Best for Last" is a 1992 song performed by Vanessa Williams and written by Phil Galdston, Wendy Waldman, and Jon Lind in March 1989. It is considered Williams' signature song and was released as the third single from her second studio album The Comfort Zone. The song is a ballad about a young female admirer of a single man who stands by and watches as the object of her desires goes through years of dating, before he finally unexpectedly decides to initiate a relationship with the singer. The lyrics' redemptive themes resonated with Williams' story, as she had put together a successful music career following her earlier Miss America resignation scandal. The song was a commercial and critical success. It topped the Billboard Hot 100 chart for five weeks, and was ranked fourth on Billboard's Top 100 hits of 1992 list, becoming the biggest success of Williams' music career. ASCAP named it Song of the Year in 1992; it was nominated for the Grammy Award for Song of the Year and Record of the Year in 1993. more » Year 1991 338 2,642 Views Playlists 34 The easy, fast & fun way to learn how to sing Sometimes the snow comes down in June Sometimes the sun goes 'round the moon I see the passion in your eyes Sometimes it's all a big surprise 'Cause there was a time when all I did was wish You'd tell me this was love It's not the way I hoped or how I planned But somehow it's enough And now we're standing face to face Isn't this world a crazy place Just when I thought our chance had passed You go and save the best for last All of the nights you came to me When some silly girl had set you free You wondered how you'd make it through I wondered what was wrong with you 'Cause how could you give your love to someone else And share your dreams with me Sometimes the very thing you're looking for Is the one thing you can't see And now we're standing face to face Isn't this world a crazy place Just when I thought our chance had passed You go and save the best for last Sometimes the very thing you're looking for Is the one thing you can't see Sometimes the snow comes down in June Sometimes the sun goes 'round the moon Just when I thought our chance had passed You go and save the best for last You went and saved the best for last The easy, fast & fun way to learn how to sing Vanessa Williams Vanessa Lynn Williams born March 18, 1963 is an American singer, actress, and fashion designer. She initially gained recognition as the first woman of African-American descent to receive the Miss America title when she was crowned Miss America 1984 in 1983. However, a scandal arose the following year when, a few weeks prior to the end of her reign, Williams learned that Penthouse magazine would be publishing unauthorized nude photographs of her in an upcoming issue. Amid growing media controversy and scrutiny, Williams resigned as Miss America in July 1984 under pressure from the Miss America Organization, and was replaced by first runner-up Miss New Jersey Suzette Charles. Thirty-two years later, Miss America CEO Sam Haskell offered her a public apology … more » 1 fan Written by Phil Galdston, Jon Lind, Wendy Waldman-Parker Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Round Hill Music Big Loud Songs, Downtown Music Publishing, Kobalt Music Publishing Ltd. Lyrics Licensed & Provided by LyricFind Citation Use the citation below to add these lyrics to your bibliography Missing lyrics by Vanessa Williams? Know any other songs by Vanessa Williams? Don't keep it to yourself!

25 Best Revenge Songs SZA, Taylor Swift & More They had it coming. There can’t always be room for forgiveness. And when the time for revenge comes knocking at your door, Billboards got your soundtrack covered. There’s been a longstanding tradition in music of using songs to get even, whether by airing out private details in tell-all lyrics or fantasizing about everything from property damage to murder. In the ambiguous worlds of pop, hip-hop, rock n’ roll and country, keying cars, smashing windows and even homicide are fair game. Just look at SZAs Billboard Hot 100 chart-topper “Kill Bill.” Based on its commercial success, it’s clear that millions agree there’s nothing more cathartic than daydreaming about murdering not just your former boyfriend, but his new girl, too. Or, there’s the Stevie Nicks method of penning a song so good, your ex — who just so happens to be your bandmate — has no choice but to perform it with you over and over as a constant reminder of everything he did wrong. Why move on when you can get the last laugh? That’s definitely the mindset of many women in country music, for whom songs about unleashing your inner crazy are basically rites of passage. Even Taylor Swift has continued this tradition — set by the likes of Reba McEntire, The Chicks, Carrie Underwood and Miranda Lambert — in her post-country pop music but more on all of those ladies later. The point is, no matter the genre of music, and no matter the method of justice, songs about sweet revenge always hit the spot — that is, if an axe isn’t an option. Keep reading to see Billboards top 25 favorites below. Billie Eilish, "Watch" If Eilish’s pop-punk masterpiece “Happier Than Ever” is red hot rage, then “Watch” from her debut EP is cold, calculated, seething anger. And as far as revenge goes, it can be much more effective to whisper with a smile on your face than scream uncontrollably that, oh yeah, I set your car on fire. Best revenge lyric “I’ll sit and watch your car burn with the fire that you started in me/ But you never came back to ask it out.” Listen here. Doja Cat, "Ain't Sh-t" Doja Cat sees your crimes against men’s cars and raises you this approach telling his mom on him. On this Planet Her standout, you can practically see the maniacal grin on the rapper’s face as she gleefully threatens to tattle on a man who just, well, ain’t s–t. Best revenge lyrics “I’m not gon’ key your car, I’ll call your f–king mom/ You should have paid my rent, go get a f–king job.” Listen here. Taylor Swift, "Vigilante Sh-t" Taylor Swift has oft visited the idea of revenge in her songs over the years, from 2006’s “Picture to Burn” to 2021’s “No Body No Crime” and everything in between — 2010’s “Better Than Revenge,” 2014’s “Bad Blood,” 2017’s “Look What You Made Me Do,” etc. In doing so, she’s become a master at writing about the topic, as evidenced by Midnights fan-favorite “Vigilante S–t.” On this Billie Eilish-coded track, she fantasizes about ratting enemies out to the FBI and taking it all in divorce settlements, all while wearing fiercely cutthroat eyeliner. Best revenge lyric “I don’t start s–t, but I can tell you how it ends/ Don’t get sad, get even.” Listen here. The All-American Rejects, "Gives You Hell" The best revenge is always knowing that you’re doing way better in life than your ex. And knowing that your very presence is enough to piss them off? Icing on the cake. Best revenge lyric “When you see my face, hope it gives you hell, hope it gives you hell/ When you walk my way, hope it gives you hell, hope it gives you hell.” Listen here. Fleetwood Mac, "Silver Springs" Image Credit Courtesy Photo Nothing will ever, ever top the badassery of Stevie Nicks writing a song about getting long-term revenge on Lindsey Buckingham, who not only had to record it as her Fleetwood Mac bandmate, but had to perform it over and over again in concerts with a furious Nicks staring him down. Best revenge lyric “I’ll follow you down ’til the sound of my voice will haunt you/Give me just a chance/ You’ll never get away from the sound of the woman that loves you.” Listen above. Demi Lovato, "Sorry Not Sorry" “Sorry Not Sorry” is Demi Lovato’s highest-charting Hot 100 hit to date for a reason. An ode to hot girl summer before that was even a thing, this track proves that sometimes, revenge can be a whole party in and of itself. Best revenge lyric “Now, I’m out here lookin’ like revenge/ Feelin’ like a ten, the best I’ve ever been/ And, yeah, I know how bad it must hurt to see me like this/ But it gets worse.” Listen here. Reba McEntire, "The Night The Lights Went Out in Georgia" Who said you can’t seek revenge on someone else’s behalf? Reba McEntire covering Vicki Lawrence’s 1973 Hot 100-topper takes her brother’s cheating wife into her own hands on this pinnacle of country music storytelling — but if you’re going to follow her lead, just make sure no one else ends up taking the fall for you. Best revenge lyric “That’s one body that’ll never be found/ You see little sister don’t miss when she aims her gun.” Listen here. Chicago Cast, "Cell Block Tango" Pop, six, squish, uh-uh, Cicero, Lipschitz. “Cell Block Tango” from Chicago the musical gives not one, not two, but six detailed tutorials on how to snuff out a low-life husband and win a ticket to prison — but for these jailbirds, the tradeoff was totally worth it. Best revenge lyric “He only had himself to blame/ If you’d have been there/ If you’d have seen it/ I betcha you would have done the same.” Listen here. Lizzo, "Truth Hurts" There’s bloodthirsty, rage-driven revenge, and there’s Lizzo’s brand of revenge being completely, infuriatingly unbothered. Need to get under your ex-man’s skin? Letting him know that you’ve already found a new one on the Minnesota Vikings — plus several other contenders in his own friend group — is a great place to start. Best revenge lyric “So you can tell your friends, Shoot your shot,’ when you see ’em/ It’s OK, he already in my DMs.” Listen here. Justin Timberlake, "Cry Me A River" Even a river couldn’t extinguish this major burn. Long believed to be written about Britney Spears, whom Justin Timberlake believed to have been unfaithful, this scathing 2002 hit is basically the sonic equivalent to a raised middle finger. Best revenge lyric “The bridges were burned/ Now it’s your turn, to cry.” Listen here. Mariah Carey, "Obsessed" Mariah Carey had the best way of getting back at Eminem, who claimed he dated the Songbird Supreme in the 2000s. In response, she called him out for lying in a very obvious diss track dedicated to the real Slim Shady; dressed up as him in the music video; and undermined everything he had to say by posing one simple question why so obsessed? Best revenge lyric “Oh finally found a girl that you couldn’t impress/ Last man on the Earth still couldn’t hit this.” Listen here. The Chicks, "Goodbye Earl" Image Credit Courtesy Photo “Goodbye Earl” is the apex of revenge-murder songs. As the Chicks tell it, Earl simply needed to go nighty night forever after violently abusing his wife Wanda, who poisons him with the help of her best friend Mary Anne and a very special black-eyed peas recipe. It’s okay, though no one missed him anyway. Best revenge lyric “Why don’t you lay down and sleep, Earl/ Ain’t it dark wrapped up in that tarp, Earl?” Listen above. Maroon 5, "Wake Up Call" When passive aggressive subtweets just won’t satisfy your revenge needs, there’s always the option of murder — metaphorically speaking, of course. On this 2007 Maroon 5 classic, Adam Levine confesses to finding his with another man. His solution? “I had to shoot him dead.” Overkill? Literally. Best revenge lyric “I answer questions, never maybe/ And I’m not kind if you betray me/ So, who the hell are you to save me?” Listen here. Kelly Clarkson, "Since U Been Gone" Image Credit Courtesy Photo At times, revenge is best served in the form of a brag. Since its release, “Since U Been Gone” has empowered the heartbroken of the world to find solace in knowing their ex’s absence may actually have made their lives better — neener, neener, neener. Best revenge lyric “I’m so moving on, yeah, yeah/ Thanks to you, now I get what I want.” Listen above. Rihanna, "Take A Bow" There are moments when revenge must be closely calculated and actively sought out, and then there are moments when the opportunity literally comes knocking at your door. And when a blubbering ex shows up at Rihanna’s front stoop on this track, she rises to the occasion by absolutely decimating him in a three minute, 50 second roast session. No one does it like RiRi. Best revenge lyric “You look so dumb right now/ Standin’ outside my house/ Tryin’ to apologize/ You’re so ugly when you cry.” Listen here. Shakira, "Bzrp Music Sessions, Vol. 53" What do you do when the father of your children and partner of 12 years breaks up with you, then moves straight on with a girl half your age? If you’re Shakira, you drop one of the most blistering diss tracks of all time, airing out every single one of your grievances in unflinching detail. Best revenge lyric “Las mujeres ya no lloran, las mujeres facturan,” which translates to “Women no longer cry, women get paid.” Listen here. Nancy Sinatra, "These Boots Are Made For Walkin'" With a famously foreboding bass riff and vaguely ominous lyrics, Nancy Sinatra’s classic Hot 100 topper promises that karmic vengeance will be delivered no matter what — if not right away, then someday. And you’ll never see it coming. Are you ready, boots? Start walking. Best revenge lyric “You keep thinkin’ that you’ll never get burnt/ I just found me a brand new box of matches/ And what he knows you ain’t had time to learn.” Listen here. Beyoncé, "Sorry" Although “Irreplaceable” definitely deserves an honorable mention, “Sorry” takes listeners through a roller coaster of emotions that just can’t be topped. In response to infidelity, Queen Bey seeks revenge by doing everything from flipping him the bird to staying out late and making him worry, telling him to “suck my balls” and leaving him alone with nothing but a note to remember her by. Best revenge lyric “Now you gotta see me wilding, now I’m the one that’s lying/ And I don’t feel bad about it, it’s exactly what you get/ Stop interrupting my grinding/ I ain’t thinking ’bout you.” Listen here. Jazmine Sullivan, "Bust Your Windows" Image Credit Courtesy Photo Vehicle vandalism is a recurring theme in this list. Why? As Jazmine Sullivan very clearly explains, the math is simple if you break my heart, then I’ll break your car. Best revenge lyric “Even though what you did to me was much worse/ I had to do something to make you hurt.” Listen above. CeeLo Green, "Forget You" Getting revenge can be as simple as two words. And, depending on how salty you are, CeeLo has two options “F–k You” and its clean version, “Forget You.” Best revenge lyric “And although there’s pain in my chest/ I still wish you the best with a F–k you.'” Listen here. Alanis Morissette, "You Oughta Know" Long rumored to be a savage takedown of her ex, actor Dave Coulier, Alanis Morissette seeks her vengeance by making certain her target can never, ever, ever forget how he betrayed her. And given that the song topped the Alternative Airplay chart and enjoys regular radio play to this day, he definitely never will. Best revenge lyric “Did you forget about me, Mr. Duplicity?/ I hate to bug you in the middle of dinner/ It was a slap in the face, how quickly I was replaced/ And are you thinking of me when you f–k her?” Listen here. Miranda Lambert, "Mama's Broken Heart" Are you willing to go as far as it takes to get revenge? Are you prepared to get messy? Are you willing to show people just how crazy you can be? If you’re a fan of this boot-stomping Lambert gem from 2013, your answers are probably yes, yes and hell yes. Best revenge lyric “Can’t get revenge and keep a spotless reputation/ Sometimes revenge is a choice you gotta make.” Listen here. SZA, "Kill Bill" Image Credit Courtesy Photo SZA brought murderous revenge fantasy songs back into vogue in the 2020s, all thanks to her stunning SOS single “Kill Bill,” the musician’s first Hot 100 No. 1, on which she dreams of killing an ex who moves on way too fast for her liking. Best revenge lyric “I just killed my ex/ I still love him, though/ Rather be in hell than alone.” Listen above. Carly Simon, "You're So Vain" Carly Simon’s Hot 100 topper is a total stroke of genius from a revenge point of view. Not only does she get to insult her ex from top to bottom in this song, but that ex can’t even call her out for it — because then, he’d just be proving her right. Best revenge lyric “I bet you think this song is about you/ Don’t you don’t you don’t you?” Listen here. Carrie Underwood, "Before He Cheats" Image Credit Courtesy Photo “Before He Cheats” is a cathartic listening experience that validates everyone who’s ever been told, “Don’t worry babe, we’re just friends.” Thank you, Carrie Underwood car-owning cheaters will forever fear Louisville Sluggers because of you. Best revenge lyric “I might have saved a little trouble for the next girl/ Cause the next time that he cheats/ Oh, you know it won’t be on me.” Listen above. Get weekly rundowns straight to your inbox Sign Up

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lirik save the best for last