In a new interview with Apple Music, Miranda Lambert told the stories behind some of her biggest hits, including the 2012 Hot Country Songs No. 1 “Over You,” which she co-wrote with her then-husband Blake Shelton.

As it turns out, the song’s poignant lyrics were all about the automobile-accident death of Shelton’s older brother Richie in 1990 when he was just 24 years old. Lambert recalled talking about Richie’s death with Shelton and thinking: “I would never try to write your story because I didn’t live it, but maybe I could help because I’m an outside perspective, but I feel your pain talking to me right now.”

“Over You” went on to win song of the year at both the CMA Awards and the ACM Awards and, more importantly, brought some catharsis to Shelton and his family. “It was really a special moment and I’m so glad we shared that song and that it helped his family heal, to have that together,” Lambert said.

The couple went on to divorce in 2015, but not before they had collaborated on 13 songs — from co-writing to background vocals to duets. Below, take a look at the former couple’s musical history.

SONGS THEY CO-WROTE

Miranda Lambert’s “Me and Your Cigarettes”
Lambert co-wrote this one with then-boyfriend Shelton and fellow country singer (and Pistol Annies bandmate) Ashley Monroe for her 2009 album Revolution.

Miranda Lambert’s “Love Song”
Lambert and Shelton co-wrote “Love Song,” another Revolution album cut, with Lady A’s Dave Haywood and Charles Kelley, who also sings background vocals.

Miranda Lambert’s “Sin for a Sin”
Shelton was clearly a big force on Revolution, as the sole co-writer alongside Lambert on one last deep cut.

Miranda Lambert’s “Over You”
Here’s the onetime couple’s blockbuster ballad, which went top 40 on the Billboard Hot 100 and topped the Hot Country Songs chart. While the song tells Shelton’s story, Lambert told The Tennessean, “Blake said he couldn’t record it for himself or sing it onstage every night, but he would be honored for me to.”

Pistol Annies’ “Family Feud”
Shelton is the only songwriter on Pistol Annies’ 2011 debut album Hell on Heels outside the Annies themselves — Lambert, Monroe and Angaleena Presley — joining the female country trio to co-write this album track.

SONGS THEY SANG BACKGROUND ON

Miranda Lambert’s “Maintain the Pain”
One last Revolution contribution for Shelton, who sang background vocals for the driving finale of “Maintain the Pain.”

Blake Shelton’s “Home”
Lambert appropriately sings background on Shelton’s Michael Bublé cover, considering he’s likely singing the homesick lyrics to his then-girlfriend. Shelton earned his fourth No. 1 on the Hot Country Songs chart with the cover, which was included on a reissue of his 2007 album BS.

DUETS & FEATURES

Miranda Lambert’s “Better in the Long Run” with Blake Shelton
The pair’s vocals are a perfect match trading verses and in the classic-country chorus of “Better in the Long Run,” from Lambert’s 2011 album Four the Record.

Blake Shelton’s “Bare Skin Rug,” feat. Miranda Lambert
Shelton’s 2008 album Startin’ Fires wraps with this cheeky campfire duet, which the duo also co-wrote.

Blake Shelton’s “Red River Blue” with Miranda Lambert
Another album closer for the pair, who duetted on the title track from Shelton’s 2011 project — his very first No. 1 on the Billboard 200.

Blake Shelton’s “Jingle Bell Rock,” feat. Miranda Lambert
Shelton kicked off his 2012 holiday album Cheers, It’s Christmas with this cover of the Bobby Helms classic, sweetly harmonizing with his then-wife for the festive tune and peaking at No. 37 on Hot Country Songs.

Blake Shelton’s “Blue Christmas,” feat. Pistol Annies
Another yuletide song, this time enlisting Lambert’s girl group for a feature on the Elvis Presley standard.

Blake Shelton’s “Boys ‘Round Here,” feat. Pistol Annies & Friends
Look no further than the music video for this Country Airplay chart-topper: This song, from Shelton’s 2013 Based on a True Story…, is a boot-stomping porch party, and Lambert and her Pistol Annies gal pals are there with their red Solo cups in hand. Their heavenly harmonies break up what could be a boys-only song.

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A class action lawsuit against Universal Music Group over the 2008 warehouse fire on the Universal Los Angeles backlot that a New York Times Magazine report last year claimed destroyed up to 500,000 master recordings in the record company’s archive vaults has been dismissed by a federal judge for a second time.

On Monday (March 29), U.S. District Judge John A. Kronstadt tossed out Tom Petty’s ex-wife Jane Petty’s amended lawsuit against UMG and barred her from refiling the case. Jane Petty’s amended case against UMG hinged on Tom Petty’s 1984 exclusive artist recording agreement signed with MCA, a predecessor in interest to UMG, and whether that contract required the label to share the insurance settlement funds. UMG had previously argued that Tom Petty’s artist contract only required the company to share money generated when the artist’s works were licensed.

The class action lawsuit was originally filed against UMG on June 21, 2019, by Soundgarden, Hole, Tom Whalley, Steve Earle and Jane Petty, who were seeking to recover half of any settlement proceeds and insurance payments — reportedly valued at $150 million — that UMG received due to the 2008 fire on the Universal Studios backlot in a confidential settlement, according to court papers. The artists were suing UMG for breach of contract, negligence, reckless conduct and misrepresentation, as well as other causes of action claiming that they suffered irreparable losses to their master recordings. But Hole, Soundgarden, Tom Whalley, and Steve Earle all voluntarily dropped out of the litigation when it was demonstrated they suffered no losses due to the fire.

On April 6, U.S. District Judge John Kronstadt dismissed Jane Petty’s lawsuit, ruling she had failed to present enough evidence to the court. She responded by refiling an amended lawsuit against UMG suing them for breach of contract and breach of implied covenant of good faith and fair dealing.

Kronstadt made his second determination to throw out Jane Petty’s case focusing only on the former couple’s marital settlement agreement signed in 1998 and not the provisions in Tom Petty’s contract with MCA. Jane Petty argued in court papers that the marital agreement stated that Tom Petty and she would each own an “undivided one-half (1/2) interest as tenants-in-common of said assets,” and because of that she holds the rights to “enforce 100% of (and to retain 50% of the proceeds of) Tom Petty’s contractual rights related to the master recordings specified in the [Marital Settlement], including some of those at issue in this action.”

It wasn’t until May 18, 2020, however, that UMG learned that marital settlement also contained a “net income and royalty override agreement,” which specified that Tom Petty had the “sole and exclusive right to prosecute, defend and settle any third-party action or claim relating to the Community Works and to prevent and restrain the infringement of copyright or other rights with respect to the Community Works” related to his masters. Jane Petty argued that it was “implied” that she had been granted rights to bring a lawsuit on his behalf.

Kronstadt disagreed. The override agreement, he wrote in his ruling, “cannot be canceled, modified, amended or waived, in part or in full, in any manner except by an instrument in writing signed by the party to be charged or by the Family Law Court Judge.”

He also ruled the provision clearly demonstrated that Jane did not have the authority to sue over an alleged breach of Tom Petty’s MCA contract over his recordings and said that allowing Jane to file another complaint “would be futile.”

“The court today definitively rejected the plaintiffs’ case,” said a UMG spokesperson in a statement to Billboard. “This is the second dismissal of a lawsuit spurred by the inaccurate and misleading reporting of the New York Times. At this point, The New York Times has a responsibility to explain why its editors continue to stand behind a story that has been disproven with incontrovertible evidence from both UMG and many of the artists named in the story.”

Jane Petty’s attorneys did not respond to Billboard’s request for comment at time of publishing.