Reba McEntire: The Last One To Know : Music Reviews : Rolling Stone

Album Reviews

As country music's most popular female singer, Reba McEntire deserves a lot of credit for aiding the new-traditionalist revival in Nashville. But tagging McEntire as a traditionalist is misleading, because her last few records have struggled against country's female archetypes. The Last One to Know, McEntire's fourteenth and best album, signals a breakthrough. Rather than matching a fistful of hit singles with some filler, as too many country artists do, she has organized and coproduced an ambitious, cohesive album.

McEntire explores the vicissitudes of modern sexuality throughout The Last One to Know, from the aching title track to the slyly threatening "I Don't Want to Mention Any Names." And on "I Don't Want to Be Alone" she tentatively eyes a handsome stranger and wonders, "Where's women's lib when you need it the most?"

Bolstered by Richard Bennett's beefy guitar, McEntire's singing is less operatic and more earthy than ever before. But ultimately her choice of two songs distinguishes the album: "Just Across the Rio Grande," a Mexican father's longing view of the United States as "the promised land," is a subtle reminder of our country's lapsed idealism; and in "The Stairs," a wife reconciles herself to an abusive husband to keep her family together.

McEntire is already a master of country classicism; by joining other young singers in reclaiming the topical heritage of country songwriting, she has begun to combine traditional music and contemporary themes.