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There were two solo artists who changed the course of country music history in the nineties. The first was Garth Brooks, who ushered in the boom years with his mega-selling albums No Fences and Ropin’ the Wind. The second was Shania Twain, who permanently altered the female point of view in country music with her mega-selling albums The Woman in Me and Come On Over.
Twain’s debut album was decent enough, with some charming singles like “What Made You Say That” and the Gretchen Peters-penned “Dance With the One That Brought You” being among the highlights. But it was the combination of Twain’s pen and Mutt Lange’s production that made her a superstar. Throughout her career, she’s been a champion of mutual monogamy and carefree independence. She didn’t protest for women to be treated with equality and respect so much as write from the assumption that no other option had ever existed.
In truth, all three of her self-written albums are essential listening, but if none of the 60 million albums that Twain has sold are in your personal collection, here are some tracks to help you get started:
Ten Essential Tracks
“Whose Bed Have Your Boots Been Under?”
From the 1995 album The Woman in Me
For all the heat Twain gets for being too pop, it’s hard to imagine anything this country getting played on even country radio today, let alone pop radio.
“Any Man of Mine”
From the 1995 album The Woman in Me
There were two songs from this album that essentially powered it toward becoming the best-selling female country album up until that point. I’ve always preferred this one over “I’m Outta Here!”
“No One Needs to Know”
From the 1995 album The Woman in Me
A charming record about falling in love but not letting anybody know about it yet. It was the fourth #1 single from the album.
“You’re Still the One”
From the 1997 album Come On Over
Her first big pop hit won her two country Grammys, and was her first of two songs to be nominated for overall Song of the Year.
“That Don’t Impress Me Much”
From the 1997 album Come On Over
Three men are summarily dismissed for putting their looks, their brains, and their car before showing love and affection to Shania Twain. Such men are unlikely to exist in the real world.
“Man! I Feel Like a Woman!”
From the 1997 album Come On Over
Arguably the most iconic single from Come On Over, it won her another Grammy and was a worldwide hit to boot, helping the album reach international sales in excess of 35 million.
“You’ve Got a Way”
From the 1997 album Come On Over
Shania unplugs with a quiet, acoustic love song.
“Up!”
From the 2002 album Up!
The title track from her epic fourth album is best heard in its country mix, with irresistible banjo and fiddle combos accompanying her frantic performance.
“Forever and For Always”
From the 2002 album Up!
Quite possibly her most beautiful ballad showcased how much she’d grown as a vocalist in the five years between Come On Over and Up!
“Ka-Ching!”
From the 2002 album Up!
This was the biggest pop hit from this album overseas, and it features a riveting video that skewers the banality of her own celebrity as it questions society’s focus on materialism. That it was originally intended for her Christmas album is too cool for words.
Two Hidden Treasures
“Amneris’ Letter”
From the 1999 album Elton John and Tim Rice’s Aida
Of all the places to find Twain’s finest vocal performance, its home is on the concept album for Aida. Just a piano and Twain singing her heart out.
“Nah!”
From the 2002 album Up!
Sure, there are countless witty rave-ups and quite a few heartbreaking ballads that never made it to radio and remained album cuts. But I don’t think there’s a more enjoyable track among her lesser-known songs than this kiss-off anthem that has some “na na na’s” thrown in to boot.
-Chris
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