Album Review: Martina McBride’s ‘Reckless’

There’s many different sides and facets of the four-time CMA Female Vocalist of the Year’s talent on display here, and never once does she disappoint.

Written by Chuck Dauphin
Album Review: Martina McBride’s ‘Reckless’
Martina McBride; Photo Credit by Joseph Llanes

In doing research for this review, it occurred to me that it’s been almost 25 years since the very first album from Martina McBride. That first disc, 1992’s The Time Has Come, was very much steeped in the sound of traditional Country. Since then, the singer has amassed success with a wide variety of styles and sounds.

Perhaps her most varied disc was Evolution, which was released in 1997. In a lot of ways, Reckless reminds me of that album. There’s many different sides and facets of the four-time CMA Female Vocalist of the Year’s talent on display here, and never once does she disappoint.

The set’s title track – and first single – shimmers with a crossover sheen that has always been straight out of McBride’s wheelhouse. She keeps that upbeat sound going on material such as “Everybody Wants To Be Loved” and “That’s The Thing About Love.” The latter seems custom made for radio airplay, as does the engaging “Diamond,” which features a cameo appearance from fellow superstar Keith Urban.

Photo courtesy NASH Icon Records

Photo courtesy NASH Icon Records

But, what really impresses here is when McBride shifts gears to an earthier, traditional sound. “It Ain’t Pretty,” – originally recorded by Lady Antebellum – is one of her more grittier performances, which works really well. “The Real Thing,” which features some outstanding harmonies from the esteemed and respected Buddy Miller is a highlight – probably McBride’s most “Country” performance since her epic covers album Timeless from 2005. In years’ past, the powerhouse vocalist might have soared into the stratosphere, but she reigns in her power a little here, and the result is pretty staggering. The same could be said of “Low All Afternoon.” The album closes out with another shift in direction, with the jazzy “You and You Alone,” which sounds like it would be right at home in the middle of a piano bar, with McBride handling the part of chanteuse quite well.

It’s great to have new music from McBride. Kudos to Scott Borchetta for starting up the Nash Icon imprint. Hopefully, with great albums from Reba, Hank Williams, Jr., and (soon, perhaps!) Ronnie Dunn, the success the label has enjoyed thus far proves there is still a market for some of the format’s all-time greats. It would be great if radio followed suit on this, but her longtime fan faithful will definitely be there to snap this up!