It’s no small wonder that Come On Over sold 36 million copies by the end of the millennium, still holding the distinction of being the 12th best-selling record ever in the United States.Īt 16 tracks, Come On Over is hardly lean. While drenched in crimson-velvet glamor, Come On Over feels like a complete manifestation of a small-town girl’s ambitions, where you’ve got a hold on yourself and a hot man available for treats and foot rubs, and you’re also somehow able to be incredibly sexy in bold red lipstick. The album’s boisterous singles toyed with new country combinations, establishing Twain as a pop-forward up-and-comer: the slick barroom swing of “ Whose Bed Have Your Boots Been Under,” the accelerating stomp of “ Any Man of Mine,” the rock edge of “ (If You’re Not in It for Love) I’m Outta Here!” She built steam in resisting touring for the record, and by 1997, she had Springsteen star-maker Jon Landau as another asset in her corner. Lange brought his arena-tuned ear to 1995’s The Woman in Me, which eventually sold 20 million copies after a disappointing showing from Twain’s debut. Her aspirations were never limited to country music, as she told the Chicago Sun-Times in 1997: “I wrote every kind of music.I wanted to sing rock’n’roll at 12 years old.” Still, she settled on a relative country comfort zone for her first album, 1993’s Shania Twain. As a 21-year-old, she began to look after her four siblings following their parents’ death in a car crash, supporting the family by singing in a variety revue at a resort. She had grown up in rural Ontario, developing her musical interest as a child and playing gigs around town-including last-call appearances at bars-at her parents’ behest.
SINGING SUCCESS 360 PLUS
Twain was an early-thirties singer-songwriter who’d grown up poor in Canada Lange was a hermetic South African-born producer whose pre-Shania credits were mostly big-ticket rock records: the Cars’ Heartbeat City, Def Leppard’s Hysteria and Adrenalize, plus the AC/DC hat trick of Highway to Hell, Back in Black, and For Those About to Rock We Salute You.īy some measures, Twain developed her success from the hardscrabble hunger of her working-class upbringing, but by others, she was a genre-wrecking false prophet who could nonetheless pull off a great smoky eye. She started a new chapter of the decades-old grousing over who gets to be country and make country music, kicking open opportunities for a new generation.įor a record that had dramatic consequences for Nashville, Come On Over had very little to do with the city itself. With Robert “Mutt” Lange in her corner as producer, co-writer, and husband, Twain set a new standard for pop-country crossovers.
With its hard-charging hooks, sassy kiss-offs, and radiant sparkle, it became one of the defining titles for the “I don’t like country, but…” crowd.
Everything about Come On Over radiated enthusiasm, from the invitation of its title to the six exclamation points sprinkled across its tracklist. Released in November of 1997, Come On Over arrived on the high tide of the pre-Napster Clinton economy, before the music industry could sense that the bottom was about to fall out. The song revamped the spirit of Cyndi Lauper’s 1983 hit for the blossoming bosslady feminism of the late 1990s-girls just want to have fun, but women go out and get it for themselves.
Celebrating girls’ nights out and their grooming rituals, the song embodied the liberated lady’s lifestyle with “the prerogative to have a little fun.” In the video, an inversion of Robert Palmer’s “ Addicted to Love,” Twain gradually ditches layers of her outfit amid a troop of synchrony-challenged beefcakes. Though it was the eighth single from Shania Twain’s Come On Over, “ Man! I Feel Like a Woman!” is the first volley and thesis statement of the singer-songwriter’s third album. Mother isn’t calling, but her fun younger sister sure is. Three words, beamed forth like a cosmic directive, spoken with the Mona Lisa’s suggestive sense of mischief.
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