Forever and For Always: Shania Twain’s Top 10 Greatest Singles, Ranked
Shania Twain is finally making her comeback. Fifteen years since her last studio album, 2002’s Up!, the pop-country queen is ready for her new record, the aptly-titled Now (out September 29). Anchored with the sunny toe-rapper “Life’s About to Get Good,” the new album promises to be both brutally honest and empowering as the singer looks back on her marriage to producer Mutt Lange, who ditched Twain for her best friend and left nothing but heartache in his wake.
Twenty-four years ago, Twain burst onto the scene with her eponymous debut, and while it didn’t result in any major hits, it later hit platinum and catapulted her into the stratosphere. Her follow-up, 1995’s The Woman in Me, set the pace with hit after hit and led to 1997’s Come on Over, one of the best-selling albums of all time. Her 2002 album, which saw the performer ride off in search for complete pop domination, defied expectations and further cemented her legacy.
Through personal troubles, a “retirement” from the business, a comeback tour and a Las Vegas residency, Twain has proven now is, quite literally, as good a time as any to stage a proper comeback. In preparation of her new LP, we’re revisiting her string of official singles—31 in all—and ranking the top ten best of the bunch, below.
10. “No One Needs to Know,” The Woman in Me
If Twain hadn’t caught the pop bug, she could have forged a rather impressive career in bluesier and folk-driven work, as evidenced with this light and airy smash. On the tune, the singer has become infatuated with a lover and she imagines what her wedding and future together could be like. It’s presumptuous, yes, but we’ve all been there: “Am I dreamin’ or stupid? / I think I’ve been hit by cupid…”
9. “Forever and For Always,” Up!
When the right elements line up, Twain can really sell a ballad. Mixing blurry, synth-y background vocals and the classic twinkle of late-’90s pop, she muses on unconditional love and vows she and her beau will be together “all of our days.” It may not be as immediate as some of her earlier work but it still packs a punch.
8. “God Bless the Child,” The Woman in Me
Twain’s least-known hit on this list, the a Capella track is her loveliest vocal to date. It was later bulked up with more lyrics and production for radio, but the stunning, visceral original album performance is timeless. It’s the song’s simple story, dressed with an honest, unfussy delivery, that gives her license to soar. “God bless the child who suffers,” she prays.
7. “Love Gets Me Every Time,” Come on Over
Uptempo rockers are Twain’s M.O. Slinky and feeling a bit frisky, she oozes infatuation in this smooth-talking epic about getting struck by love. She had plans to forever live the independent woman lifestyle—”Life was going great,” she confesses—but Cupid had other ideas. “I guess I gol’ darn gone and done it,” she quips, devilishly.
6. “You’re Still the One,” Come on Over
Essentially the sequel to “From This Moment On,” on which Twain waxes romantic on impending nuptials, this one takes place years down the road when, despite the lovers’ detractors, they stuck it out through the tough times to reach the golden era of their relationship. The production is far more restrained than much of Twain’s catalog but still contains her signature pop-leaning approach. The shimmering background vocals make the story that much sweeter, too. “We beat the odds together,” she reflects.
5. “Whose Bed Have Your Boots Been Under?,” The Woman in Me
Instead of burning his house to the ground or slashing his tires, the singer confronts her lover about his sly, cheating ways on this one. “Try the operator / Maybe she’ll be free,” Twain hisses over honky-tonk style production, packed with plenty of saloon piano and rollicking guitar licks. She knows he’s done her wrong, and all she wants is an answer. “You better get to talking,” she prods.
4. “From This Moment On,” Come on Over
Has there ever been a more perfect wedding song? No? Thought so. Originally featuring fellow country singer Bryan White, thus sweeping ballad is saccharine to the core, appropriately steeped in violin, harp, guitar and piano. It encapsulates all the weepy emotions that come with the big day, and Twain offers one of her more pristine vocals. There’s no way you’ll listen to this and not be overcome with one of two things: tears or chills. You pick.
3. “That Don’t Impress Me Much,” Come on Over
An anthem against f—bois before the term ever came into popularity, this biting kiss-off unravels a list of the biggest offenders. From the nerdy rocket scientist to the hunky Brad Pitt knock-off and the automobile obsessive, the slinky, contagious mid-tempo allows Twain to sharpen her fangs on the larger scope of culture, shattering society’s rampant sexism in a way never before attempted. “What do you think you’re Elvis or something?” she ponders on the spoken outro.
2. “Any Man of Mine,” The Woman in Me
This boot-stomping good-time sees Twain command the conversation. She lays it all out on the line, detailing the expectations of potential male suitors. If you’re not up to snuff, she has no reservations about kicking you to the curb. “I can be late for a date / That’s fine but he better be on time,” she sings. Between the pummeling percussion and the prominent use of fiddle, this one is guaranteed to get lodged between your eardrums.
1. “Man! I Feel Like a Woman,” Come on Over
The anthem to end all anthems, this provocative and bodacious tune—with a visual as striking and sexually-charged as you can get—puts Twain’s brand of empowerment right over the top. Layered with thick electric guitar and one of the most infectious melodies ever, the singer doesn’t hold back as she embraces being a powerful and tough-as-nails woman who just needs to let loose. “I ain’t gonna act politically correct / I just wanna have a good time!”
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