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  2. Wrong Again (song) - Wikipedia

    en.wikipedia.org/wiki/Wrong_Again_(song)

    "Wrong Again" is a song recorded by American country music artist Martina McBride. It was written by Cynthia Weil and Tommy Lee James along with production by McBride and Paul Worley. It was released on September 14, 1998, as the second single from McBride's fourth studio album Evolution (1997). Neil Thrasher and Sara Evans appear as backing ...

  3. Martina McBride - Wikipedia

    en.wikipedia.org/wiki/Martina_McBride

    Martina Mariea McBride (née Schiff, born July 29, 1966) is an American country music singer and songwriter. She is known for her soprano singing range and her country pop material. McBride was born in Sharon, Kansas , and relocated to Nashville, Tennessee , in 1989.

  4. Martina McBride discography - Wikipedia

    en.wikipedia.org/wiki/Martina_McBride_discography

    McBride's fourth studio album Evolution was released in August 1997 and is her best-selling album to date, certifying three times platinum in the United States. [1] [2] The album spawned six singles which all became major hits including, "A Broken Wing", "Wrong Again", and "Whatever You Say".

  5. Martina McBride looks back on her 25 years in country music - AOL

    www.aol.com/article/2016/05/19/martina-mcbride...

    In an exclusive Facebook Live interview with AOL, Martina McBride talks her new album 'Reckless' and looks back at her incredible career in country.

  6. A Broken Wing - Wikipedia

    en.wikipedia.org/wiki/A_Broken_Wing

    "A Broken Wing" is a song written by James House, Sam Hogin and Phil Barnhart, and recorded by American country music singer Martina McBride. It was released in September 1997 as the second single from McBride's album Evolution. In January 1998, "A Broken Wing" became McBride's second Number One single.

  7. Music Review: Bass duets by genre-defying virtuosos ... - AOL

    www.aol.com/news/music-review-bass-duets-genre...

    McBride and Meyer also take turns at the keyboard for lyrical piano-bass duets, including a beguiling cover of “Bewitched, Bothered and Bewildered,” with the melody an octave lower than usual.