trebor
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Post by trebor on Feb 26, 2016 9:01:48 GMT -5
Wow! Smashing! She's not disappointing and trying to get hip or whatever. Really, like this song! Nice drums and instrumentation. Well done. :)
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Sean
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Post by Sean on Feb 26, 2016 9:58:30 GMT -5
Yes!!! Absolutely love this! Martina's vocals are on point and I really like the production to this! Really really excited for this album!!! <3
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Post by The Brazilian Guy 🇧🇷 on Feb 26, 2016 11:43:57 GMT -5
Really good. As a big Sarah Buxton fan, I wish she could stage a comeback with a something like this, but realistically speaking I'm glad Martina cut this song... it fits her well.
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codyj100
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Post by codyj100 on Feb 26, 2016 12:46:51 GMT -5
LOVE THIS!!!!!! I have had this on repeat since I downloaded it last night. I get a very optimistic feel from this song. I'm not sure how well this will do at radio, given the fact that Martina is on Nash Icon. Nevertheless, it is still a great note. Sort of a sidebar, but does anyone know why the imprint on iTunes is labeled as Big Machine Label Group whereas when Reba released "Going Out Like That" it was listed as Nash Icon and same for Ronnie's "Ain't No Trucks In Texas?"
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sabre14
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Post by sabre14 on Feb 26, 2016 12:54:40 GMT -5
Sort of a sidebar, but does anyone know why the imprint on iTunes is labeled as Big Machine Label Group whereas when Reba released "Going Out Like That" it was listed as Nash Icon and same for Ronnie's "Ain't No Trucks In Texas?" Can't say why no BMLG imprint was mentioned for Ronnie but Big Machine Records will be the ones pushing the song to non-Cumulus stations. BMLG and Cumulus are partners. The Cumulus stations will spin this regardless of promotion but Big Machine will try and get the other radio owners to spin Martina's song. I like the song on first listen but I see Martina's song having similar success to Ronnie Dunn's "Ain't No Trucks In Texas." Anything beyond top 40 would be pushing it.
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bboat11
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Post by bboat11 on Feb 26, 2016 22:00:42 GMT -5
I am so in love with this! This song is a lyrical masterpiece. This is by far the most polished and modern Martina has ever sounded, but she absolutely SLAYS this vocal performance! I can definitely see how the beat would be off-putting, but ultimately I think it will help set this song apart from the rest of her catalog. It is definitely very different from anything else on the radio right now, and yet it also sounds like it fits in perfectly with the 2016 music scene. What an interesting corollary! Anyway, this feels like a step forward to me. I am so excited that this era is finally beginning.
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stanches2318
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Post by stanches2318 on Feb 26, 2016 22:49:14 GMT -5
I've been listening to Martina since I was about 7, I like the lyrics but the way she is singing it and the beat 2gether just doesn't work for me. if she made it into a ballad I would probably like the whole thing better. like I said the lyrics are awesome.
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Deleted
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Post by Deleted on Feb 26, 2016 23:26:14 GMT -5
Meh. The lyrics are so paint-by-the-numbers, and I actually don't think Martina sounds as good as she typically does with this vocal performance.
It's ironic that Lady A had this on hold, because I could absolutely see them singing this song.
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Post by castleoblivion26 on Feb 26, 2016 23:26:27 GMT -5
I am loving this! So excited for the album
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bboat11
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Post by bboat11 on Feb 26, 2016 23:49:58 GMT -5
I've been listening to Martina since I was about 7, I like the lyrics but the way she is singing it and the beat 2gether just doesn't work for me. if she made it into a ballad I would probably like the whole thing better. like I said the lyrics are awesome. You bring up a really good point here. It does seem that somehow her vocal performance is different. I can't quite put my finger on it with words, but I intend to do my best: I think one thing that is different is that she normally seems to scoop for higher notes (like start slightly lower and slide up to the intended pitch), but on this song it sounds like she is just hitting the notes full-bore. That is immediately apparent from the very beginning, as I noticed that the very first note seemed somewhat abrupt. It also sounds to me like she is experimenting with different phrasing styles. I was completely surprised at the end of the second chorus/start of the guitar solo, when she abruptly released the "you must be reckless too" note. Normally she tends to hold notes a bit longer than that at the end of a phrase. Same thing with the "Ooo, yeah" at the end of the first verse. Her pronunciation also seems to be different somehow. Her consonants seem to be exaggerated and sometimes rushed, so it is almost like some words are unnaturally pointed and short, such as many of the "for"s at the beginning of verse lines. And then she utilizes different melisma techniques in places, such as on "the rules" in each chorus, which sound somehow different from what I would expect to hear from her. Anyway, I am sure there is more, but that is enough for now. To me none of that detracts from the song at all, which is probably why it feels like a step forward of artistic growth to me. But I can definitely see how it would alienate some people too. Personally, I think it will probably be a good thing for her to be throwing some surprises at us. And it will probably also be a good thing that she didn't turn this into a ballad, because that would be exactly what people would expect her to do. A large portion of her criticism tends to focus on her over reliance on emotive ballads. Also, in the article sabre14 shared on the previous page it mentioned that "Reckless" sounds completely different from anything else on the album, and that the rest of the album should sound more "rootsy and organic", so I am eager to hear what that means!
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stanches2318
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Post by stanches2318 on Feb 27, 2016 0:27:44 GMT -5
I've been listening to Martina since I was about 7, I like the lyrics but the way she is singing it and the beat 2gether just doesn't work for me. if she made it into a ballad I would probably like the whole thing better. like I said the lyrics are awesome. You bring up a really good point here. It does seem that somehow her vocal performance is different. I can't quite put my finger on it with words, but I intend to do my best: I think one thing that is different is that she normally seems to scoop for higher notes (like start slightly lower and slide up to the intended pitch), but on this song it sounds like she is just hitting the notes full-bore. That is immediately apparent from the very beginning, as I noticed that the very first note seemed somewhat abrupt. It also sounds to me like she is experimenting with different phrasing styles. I was completely surprised at the end of the second chorus/start of the guitar solo, when she abruptly released the "you must be reckless too" note. Normally she tends to hold notes a bit longer than that at the end of a phrase. Same thing with the "Ooo, yeah" at the end of the first verse. Her pronunciation also seems to be different somehow. Her consonants seem to be exaggerated and sometimes rushed, so it is almost like some words are unnaturally pointed and short, such as many of the "for"s at the beginning of verse lines. And then she utilizes different melisma techniques in places, such as on "the rules" in each chorus, which sound somehow different from what I would expect to hear from her. Anyway, I am sure there is more, but that is enough for now. To me none of that detracts from the song at all, which is probably why it feels like a step forward of artistic growth to me. But I can definitely see how it would alienate some people too. Personally, I think it will probably be a good thing for her to be throwing some surprises at us. And it will probably also be a good thing that she didn't turn this into a ballad, because that would be exactly what people would expect her to do. A large portion of her criticism tends to focus on her over reliance on emotive ballads. Also, in the article sabre14 shared on the previous page it mentioned that "Reckless" sounds completely different from anything else on the album, and that the rest of the album should sound more "rootsy and organic", so I am eager to hear what that means! Me 2. I guess I'm used to the high notes, cuz I guess that is what people mught say she is known for and probably the best high note hitter of the 90s country. But you never know this song might grow on me like a lot of songs do. maybe besides Tim. A lot of the 90s popular country artists singles today aren't doing too well. so I hope she does good on the single charts.
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someguy
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Post by someguy on Feb 27, 2016 18:50:49 GMT -5
I like this initially, but maybe not quiiiite as much as I was hoping too. I'm hoping that the other tracks on the album have a bit more substance (and I'm thinking they will, based on the articles posted earlier). Still, a decent song by Martina is better than 99% of stuff out there, imo. Glad to have her back :)
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sabre14
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Post by sabre14 on Feb 28, 2016 22:11:33 GMT -5
"Reckless" debuts at #78 on Mediabase as Martina picks up 35 new spins (most if not all from Cumulus stations).
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sabre14
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Post by sabre14 on Feb 29, 2016 1:35:56 GMT -5
Big Machine Label Group just sent this to radio through Play MPe.
No add date was mentioned, though I'm assuming its going for immediate airplay on Cumulus owned stations.
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.indulgecountry
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Post by .indulgecountry on Feb 29, 2016 16:40:31 GMT -5
This is a wonderful song. Not quite one of my favorites by her by any means, but definitely a strong and interesting lead single choice, for sure. I really enjoy the beat and I was a little surprised that the production on the track remained more restrained throughout the whole song, because I was expecting it to get a lot heavier into the second half of it, but it never did. I love her vocal performance on it though, which is probably my favorite aspect of the song. It is a bit of a different-sounding vocal as others have pointed out already, and I like it. Between this and the vocal on "Teenage Daughters" a few years back, for instance, she seems like she's trying to mix up her vocal approach a bit from time to time, and she still sounds better than ever on "Reckless"! <3
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sabre14
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Post by sabre14 on Mar 1, 2016 14:08:47 GMT -5
It didn't show up on the Add Report but it appears "Reckless" was auto-added by the Cumulus block (over the weekend -- when it was debuted).
Martina's song is showing over 100 spins and roughly 500k in total Mediabase audience over the past seven days. Two of the stations among the leaders are WITL in Lansing (Townsquare Media) and WRNS in Greenville (Digity Companies) -- 2 spins each.
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thy4568
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Post by thy4568 on Mar 1, 2016 16:43:55 GMT -5
For a lead single, "Reckless" is not good. Having heard the song over and over again, the song just doesn't stand out. Also, the title tries to sound hip and edgy, but the song is just bleh.......Sorry, love Martina but this is her weakest lead single.
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sabre14
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Post by sabre14 on Mar 1, 2016 17:38:58 GMT -5
.......Sorry, love Martina but this is her weakest lead single. "do, do, do, do do, do, do, do what are we gonna do about it?"... She also released "I Love You" which is still a station changer for me to this day. Martina's had some really fabulous songs in her career but she's had a fair amount of misses for me personally, which includes a few lead singles. "Reckless" doesn't even unseat her last lead single in the "weakest lead single" department.
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matty005
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Post by matty005 on Mar 1, 2016 18:03:02 GMT -5
I am so in love with this! This song is a lyrical masterpiece. This is by far the most polished and modern Martina has ever sounded, but she absolutely SLAYS this vocal performance! I can definitely see how the beat would be off-putting, but ultimately I think it will help set this song apart from the rest of her catalog. It is definitely very different from anything else on the radio right now, and yet it also sounds like it fits in perfectly with the 2016 music scene. What an interesting corollary! Anyway, this feels like a step forward to me. I am so excited that this era is finally beginning. Please don't get me wrong, because I love Martina. And I like the song. I don't love it, but I enjoy it. Now, with that said, how can you say this is a, "lyrical masterpiece?" I know songs mean different things to different people, but this song is about as cookie cutter as they come. That isn't a bad thing - especially when you have that voice singing it, but I can name 50 Martina songs with better lyrics. Again, this is coming from someone who has her "Evolution" album as one of his favorite albums in the country genre of all time (maybe top 5, but without a doubt top 10).
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Deleted
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Post by Deleted on Mar 1, 2016 18:13:52 GMT -5
I honestly feel like everything was kind of half-a**ed. What do I mean? I feel like the lyrics could've possibly been better written. The production feels like it's never taking off and it's not bad but never quite great. Also Martina's vocals feel a little more subdued, which is a shame cause Martina has a powerful voice. I feel like Martina McBride should have released a love power ballad, or something similar to "Burning House" and "I Got The Boy" where it's a ballad.
I ultimately feel like diehard fans of Martina McBride are gonna love this but I personally find this song pretty forgetful.
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keelhauled
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Post by keelhauled on Mar 1, 2016 18:29:29 GMT -5
This song has actually grown on me since I first heard it, but I still think it isn't as good as it could be. My main problem is that everything seems to turned up too much--the drums are too prominent, the guitar solo sounds like a generic contemporary soft rock song, it's kind of a mess, especially before the last chorus. Martina can easily carry this song alone, but in some places she sounds like she's competing with the instrumentation to be heard.
This is exactly the same complaint I had with "Love Somebody" and "It's About Time," and it's beginning to make me wonder if Nash Icon is deliberately trying to make their artists sound like this. Which would be horribly disappointing.
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Deleted
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Post by Deleted on Mar 1, 2016 18:51:47 GMT -5
This is exactly the same complaint I had with "Love Somebody" and "It's About Time," and it's beginning to make me wonder if Nash Icon is deliberately trying to make their artists sound like this. Which would be horribly disappointing. I could be wrong, but I'm fairly certain that the Nash Icon artists all have creative control over their music and their careers. So I don't think it's a case of Big Machine's executives forcing the Nash Icon artists' music to sound a certain way.
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bboat11
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Post by bboat11 on Mar 1, 2016 19:34:29 GMT -5
I am so in love with this! This song is a lyrical masterpiece. This is by far the most polished and modern Martina has ever sounded, but she absolutely SLAYS this vocal performance! I can definitely see how the beat would be off-putting, but ultimately I think it will help set this song apart from the rest of her catalog. It is definitely very different from anything else on the radio right now, and yet it also sounds like it fits in perfectly with the 2016 music scene. What an interesting corollary! Anyway, this feels like a step forward to me. I am so excited that this era is finally beginning. Please don't get me wrong, because I love Martina. And I like the song. I don't love it, but I enjoy it. Now, with that said, how can you say this is a, "lyrical masterpiece?" I know songs mean different things to different people, but this song is about as cookie cutter as they come. That isn't a bad thing - especially when you have that voice singing it, but I can name 50 Martina songs with better lyrics. Again, this is coming from someone who has her "Evolution" album as one of his favorite albums in the country genre of all time (maybe top 5, but without a doubt top 10). I actually think the reason the lyrics are so interesting to me might be the same reason they seem so "cookie cutter" to some. The reality is, like 97% of the song is vague and sounds like an endless list of everything that the narrator has done wrong, and all the things that someone special has done for the narrator. Which I will agree is normally bleh and uninteresting. But the cool part for me is the way it culminates into the hook at the end of the chorus. Listening to the song, it seems that the narrator is going to be the reckless one, who constantly messes up and is lucky to have someone standing by their side when they mess up. But then all of a sudden she says, "For loving me the way you do, I know I'm reckless, but you must be reckless too." And BOOM, all of a sudden with that one line the entire perspective of the song shifts, and you realize that the song is not as simple as it seems. Not only is the narrator reckless, but there is a whole other dimension of the song in which the person helping you clean up all your messes is just as reckless because of their love for you. Their relationship does not consist of some broken person with a saint standing by their side, which is the impression that you get by listening to the whole thing leading up to the hook. And then the hook comes, and all of a sudden it gives the idea that it is a relationship of mutual appreciation and affection, where both parties have their flaws but can rely on each other because they can truly be vulnerable together and accept each other's shortcomings. And despite the verses being so vague, I feel that they actually have very good imagery. "For stumbling through a mess of dances, for squandering my second chances, for wrecking every dream and breaking everything I ever had" is a very strong opening in my opinion. It is very vivid despite being vague. And the fact that it is so vague just makes me want to continue listening to see what she has to say about all those vivid things she just listed. So you are right, "lyrical masterpiece" is a little bit of an over-exaggeration. But I do still think that there is a bit more substance to the song than people are giving it credit for. To me it almost seems like the "cookie cutter" nature of the song is completely intentional, just because it makes the revelation at the hook stand out so much. It's like they lull you in with a false sense of security, and then surprise you by making a completely different point from what you would expect them to make! And just as the cookie cutter lyrics enhance the hook of the song, the hook in turn enhances the cookie cutter lyrics by revealing that they are indeed NOT creating as simple of a message as one might initially suppose. I could be completely wrong, but Martina usually has a pretty good ear for meaningful lyrics. If you take her perspective into consideration as an artist, it is SO much more her style to record a song about a relationship that is so strong due to the lovers' mutual fallibility rather than one where someone is entirely broken and their partner is just a boring saint who puts up with them just because. Which I think gives credence to the fact that Martina probably sees this song as something more than the cookie-cutter lyrics would suggest. Haha that's just my 2 cents about the lyrics! :)
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Kanenrá:ke
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Post by Kanenrá:ke on Mar 2, 2016 1:44:46 GMT -5
This will have to grow on me a bit until it's near my favorites from Martina but that's just because it's a different sound and vocal from her. I'm loving that she's been experimenting over her last 3 albums (Eleven, Everlasting, This upcoming one) because while I love 'Waking Up Laughing' and 'Shine' her sound was getting a little stale at that point for me. Some of my favorite songs she's recorded were from 'Eleven' because of the different sounds. "Always Be This Way", "Broken Umbrella", & "You Can Get Your Lovin' Right Here" are amazing songs that I don't think she would've recorded earlier in her career.
This song fits with that experimenting streak I think she's got going on. The vocal and production are the standouts on here. I do wonder how much of her different vocal approach is because of her voice aging vs. the want to try something new but either way I enjoy it. I think I'd enjoy the production a bit more if it was turned down like a notch but I appreciate everything that's going on. Lyrically it's strong for me but nothing I don't think is too unexpected for her which is good cause too much "new sound" may have been detrimental.
I kinda wish Sarah Buxton got to record a studio version of this because I can totally hear her killing this but I'm just glad Martina seems to be a big supporter of her songwriting. And If I'm not mistaken Sarah's on the background vocals, I swear I hear her or I'm just crazy lol.
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onebuffalo
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Post by onebuffalo on Mar 3, 2016 14:10:14 GMT -5
Nice pickup in stations and spins:
MARTINA MCBRIDE Reckless 14 149 JORDAN RAGER Southern Boy w/Jason Aldean 2 62 SAM HUNT Make You Miss Me 4 37 DAN + SHAY From The Ground Up 3 35 JENNIFER NETTLES Unlove You 3 31
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sabre14
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Post by sabre14 on Mar 3, 2016 14:31:48 GMT -5
Nice pickup in stations and spins: MARTINA MCBRIDE Reckless 14 149 It's mostly the Cumulus block, with an Entercom and Townsquare Media thrown in there as well. The iHeartMedia stations will largely ignore it.
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tryexp
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Post by tryexp on Mar 6, 2016 7:39:00 GMT -5
I love this song, probably won't go anywhere on the charts, but at least I hope we can get the album.
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sabre14
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Post by sabre14 on Mar 6, 2016 22:06:05 GMT -5
"Reckless" jumped up 21 spots to #57 on Mediabase this week and will easily debut on Billboard Airplay.
This is officially Martina's first charting single since "Marry Me" in 2012 with Pat Monohan.
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Post by bboat11 on Mar 7, 2016 0:03:26 GMT -5
I love this song, probably won't go anywhere on the charts, but at least I hope we can get the album. Actually, since she is on Nash Icon, I think we can be pretty confident we will get the album anyway :) Their business model is basically to provide a format where veteran artists can still get new music out to the world despite no longer having guaranteed radio success. As far as this song's success goes, I would be tickled if it made the top 40, but I won't hold my breath. I am still holding out hope that she will get a few non-Cumulus adds and a solid push from the label, and potentially match the success of "Going Out Like That", but I don't want to get my hopes up TOO much. Nash Icon has demonstrated with all their subsequent single releases that they are not wanting to push songs as hard and as long as they did with GOLT, so it remains to be seen how long they will stick with this single.
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sabre14
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Post by sabre14 on Mar 7, 2016 20:07:13 GMT -5
"Reckless" debuts at #53 on Billboard Airplay this week.
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