Thank God for Soul Jazz Records, otherwise this amazing 1967 soul cut would have never seen the light of day. Betty Harris had only one hit released on a national scale in the ‘60s. This should have been that hit. What is thought to be one of the first uses of creative feedback in a pop song, the searing tube amp sounds not like the feedback we know from Sonic Youth, but more like an heated and angry flute. The opening high-pitched buzz of the intro, coupled The Meters's drummer beating stuttering breaks, is enough to make you clench your jaw and stamp your feet. On this tape, Harris has the female comeback to The Streets sad song before it. Harris is shouting accusations from the outset, resonantly pointing a finger in the chest of the man that has traded her in like a used Buick. She fumes at the memory of the carnal things that transpired between them, conceding that he was the only man to make this good girl bad. Now that she's alone, she wonders, who will want her after what she's done. Harris tells him to enjoy his new girl because the ride is soon to end, the road breaks for everyone and it'll soon break him, just as she now is broken. Trading rage for resentment, Harris assures him that the same is coming back to him. With so much rage and heat in her voice, you wonder whether she's letting karma take its course, of that she might have a retribution strategy of her own.