"Save the Best for Last" is a song by American singer and actress Vanessa Williams, released in January 1992 as the third single from her second studio album, The Comfort Zone (1991). The song was written by Phil Galdston, Wendy Waldman, and Jon Lind. It 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 US Billboard Hot 100 chart for five weeks, and was ranked fourth on Billboards 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, Record of the Year and Best Female Pop Vocal Performance in 1993. There were produced two different music videos to promote the single.
Composition
The song is performed in the key of E major with a tempo of 96 beats per minute in common time. Williams' vocals span from F3 to C5 in the song.
Commercial performance
The single was Williams's third number-one on the Soul singles chart and topped the US Billboard Hot 100 for five weeks in 1992. "Save the Best for Last" was ranked fourth in the Billboard Top 100 hits of 1992, becoming the biggest success of Williams's music career. The song also went to number one on the US Adult Contemporary and R&B charts; it remained atop these charts for three weeks apiece. Internationally, the single reached number one in Australia and Canada, number two in Ireland, and number three in the United Kingdom and the Netherlands.
ASCAP named it as its Song of the Year, meaning it was performed more than any other song in 1992; it was nominated for the Grammy Award for Song of the Year and Record of the Year in 1993, losing to Eric Clapton's "Tears in Heaven" in both categories.
Critical reception
Upon the release, Larry Flick from Billboard complimented the song as a "nicely orchestrated pop/soul ballad", remarking that it "proves that she is possibly best suited to such soothing fare, as her crystalline voice is caressed by soft and wafting strings. A beautiful offering from the excellent Comfort Zone collection." Clark and DeVaney from Cashbox stated that it is "beautifully sung by Williams and tastefully produced and arranged by Keith Thomas." In his album review, Arion Berger from Entertainment Weekly noted that the singer closes Act One "with the show-stopping happy tears" of "Save the Best for Last". Dave Sholin from the Gavin Report constated that "every artist needs that "career record", and while Vanessa is by now accustomed to chart success, this effort takes her to a whole new level. It deserves to become her biggest hit to-date and it's well on the way with Top Ten status..." Another editor, John Martinucci, felt that Williams "gives this beautiful ballad a simple and delicate presentation that'll lift any romantic spirit."
A reviewer from The Orlando Sentinel described it as "a sophisticated ballad". R. LaMont Jones Jr. from The Pittsburgh Press named it the album's "centerpiece", calling it "a real-life, down-to-earth song", that Barbra Streisand "will no doubt wish she had been given. But with Williams' soulful delivery, it's hard to imagine anyone doing it better." Steve Pick from St. Louis Post-Dispatch said that "the first thing to notice is that Williams can really sing. I'm talking phrasing and dynamics that could stand up to fine jazz singers. Then, we realize that this is a nice little tune". Jonathan Bernstein from Spin wrote, "Most triumphant of all the year's late bloomers, though, was Vanessa Williams. "Sometimes the snow comes down in June, sometimes the sun goes round the moon...." I tasted salt the first time I ever heard her "Save the Best for Last", and even now I still get a lump." Mike Joyce from The Washington Post felt that the "reflective Wendy Waldman love song" is a more likely candidate for radio exposure.