It’s about time somebody did a Favorite Songs feature on Shania, isn’t it? I was going to save this article for after we finished covering Shania in our Retro Single Review series, but I decided I just couldn’t wait that long.
Her astounding commercial success speaks for itself, as does her heavy impact on popular music, but I remain of the opinion that Shania Twain doesn’t get nearly enough credit for the artist she was – as a songwriter, or as a vocalist. Her songs were clever, sassy, fun, and often tapped into deep wells of substance underneath all the catchiness. Her distinct perspective was revolutionary for her time. As an interpretive singer, she had a strong knack for finishing off her lyrical creations through her nuanced, dynamically layered performances. Twain’s remarkable talent combined with Mutt Lange’s musical vision made her one of the biggest record sellers in history. Ever since her heyday, countless young female stars have attempted to emulate her, but the magic Twain herself created with her delicious pop-country confections remains unreplicated.
I tend to become obsessed with one favorite Shania Twain song, and then move rapidly to another, so it’s not easy to assess which songs are my all-time favorites. I’ve resigned myself to the fact that I’ll be doing a lot of second-guessing after this article runs (though I’m fairly confident that my top three selections are set in stone). At any rate, it will still be a fun look back on all the memorable tunes Shania gave us over the years, while also shining a spotlight on a few lesser-known tracks that we might have forgotten about. As always, feel free to share your own favorites in the comments section.
#25
“Party for Two” (with Billy Currington)
Greatest Hits – 2004
I have at times referred to this song as a “guilty pleasure,” but then I realized that it’s such a great fun record that I don’t really feel guilty at all about loving it. Silly “sexy in your socks” line aside, “Party for Two” is fun flirty tune that Twain and Currington sell with charm and enthusiasm. Though more of a pop song than a country song, “Party for Two” is best heard in its country mix, as the pop version with Sugar Ray’s Mark McGrath tries a little too hard to sound pop, demonstrating that Shania often sounded best when still keeping a toe in country territory. “Party for Two” served as Twain’s last Top 10 country hit to date.
#24
“Blues Eyes Crying In the Rain” (with Willie Nelson)
Willie Nelson & Friends – Live and Kickin’ – 2003
Twain’s pop sensibilities certainly have no ill effect on her ability to tackle a traditional country classic with grace and ease, as evidenced by her beautiful cover of this beloved Willie Nelson hit, accompanied by the man himself.
#23
“Ka-Ching!”
Up! – 2002
Though largely known for her lighthearted frivolous side, “Ka-Ching!” – a deft takedown of commercial materialism – shows that Twain was still perfectly capable of addressing relevant social themes.
#22
“It Only Hurts When I’m Breathing”
Up! – 2002
Though known for her positivity, Twain could still be surprisingly effective at conveying heartbreak. Such is demonstrated by this Top 20 hit in which the protagonist strives to maintain optimism as she moves on after a breakup. Still, the title hook shows that her heavy emotional pain remains constant.
#21
“Love Gets Me Every Time”
Come On Over – 1997
Hey, if you’re going to write a silly, cheesy song, you might as well do it thoroughly and shamelessly. “Love Gets Me Every Time” combines a hillbilly catchphrase with an unshakable two-step-friendly musical hook to make a delightful ditty that just never seems to get old.
#20
“Coat of Many Colors” (with Alison Krauss & Union Station)
Just Because I’m a Woman: Songs of Dolly Parton – 2003
It’s easy to see how Twain’s own impoverished upbringing might give her a special connection to this classic song, and to its timeless theme of love and family being worth far more than material possessions. Indeed, “One is only poor only if they choose to be.” Twain delivers the revered Dolly Parton lyric with authenticity and deep sincerity, while the unique touch of Alison Krauss’s backing vocal elevates the record further.
#19
“You Win My Love”
The Woman In Me – 1995
Written by Twain’s then-husband/producer Mutt Lange, this is the only song on Twain’s last three studio albums that she didn’t have a hand in writing. The lyric is full of clever automobile-related metaphors, while the driving arrangement and the “Rev it up, rev it up ‘til your engine blows” hook practically beg to be blasted out one’s car windows.
#18
“That Don’t Impress Me Much”
Come On Over – 1997
The sentiment is clear: Shania Twain is not impressed by guys who are overly impressed with themselves. One part sing-along, one part spoken word, with some steel guitar and cowbell hooks thrown in, it all adds up to one heck of a fun record.
#17
“Shoes”
Desperate Housewives soundtrack – 2005
It may have been recorded for a soundtrack, but make no mistake about it: A song that compares finding the right man to finding the ideal footwear, noting that “Some you can’t afford, some are real cheap, some are good for bummin’ around on the beach” is classic Shania. A clever song loaded with humorous double entendres, “Shoes” is good for a chuckle any day.
#16
“(If You’re Not In It for Love) I’m Outta Here!”
The Woman In Me – 1995
The dance-friendly beat is hooky and infectious, but the content runs deeper. At the heart of the song is a confident female protagonist who refuses to be taken advantage of. If the guy’s not in it for love… she’s outta here. This chart-topping hit established Twain’s distinct songwriting point of view, while helping to power her The Woman In Me album to 12x platinum sales.
#15
“I’m Gonna Getcha Good!”
Up! – 2002
Not really much to say about this one except that, as far as great pop-country hooks go, they don’t come much catchier than this.
#14
“Nah!”
Up! – 2002
A kiss-off tune that’s not nearly as bitter as such songs usually are, but that doesn’t make it any less delicious. Twain almost seems to casually enjoy the moment of letting her no-good ex know that she’s done being mistreated by him. She admits “I miss you now and then, but would I do it all again?” The band abruptly stops playing as if to await her answer: “Nah!” Ouch.
#13
“Home Ain’t Where His Heart Is (Anymore)”
The Woman In Me – 1995
It’s a shame this song didn’t make a bigger dent in history. I’ve always considered it one of Twain’s most subtly moving performance as the female narrator mourns the deteriorating state of her marriage; while the song offers no full resolution of the story, save for Twain hoping “If we could only find that feeling once again… If we could only change the way the story ends.”
#12
“Don’t Be Stupid (You Know I Love You)”
Come On Over – 1997
Because it makes me happy. So there.
#11
“Leaving Is the Only Way Out”
The Woman In Me – 1995
The only song on any of Twain’s albums on which she takes sole writer’s credit, this is one of her best songs, as well as one of her countriest. The refrain “If cryin’ is the only way into your arms, then leavin’ is the only way out” is nothing short of heartbreaking.
#10
“You’ve Got a Way”
Come On Over – 1997
Though I would recommend steering clear of the hokey Notting Hill pop remix, “You’ve Got a Way” remains one of Twain’s most beautifully understated, sincere performances on record, with the acoustic arrangement allowing her to positively shine.
#9
“Forever and For Always”
Up! – 2002
A gem of a love song with an effortlessly endearing melody and a deeply heartfelt performance on Twain’s part. Though the song was remixed into an international pop smash, it remains best heard in its country form, in which Twain’s sentiments are driven home by subtle, beautiful strains of banjo and steel.
#8
“Whose Bed Have Your Boots Been Under”
The Woman In Me – 1995
Right out of the starting gate, Shania’s first major hit, and first Lange-produced single release, delivers a powerful punch of her priceless personality. With a bouncy fiddle-driven production, silly rhyme schemes involving the names of the cheating lover’s mistresses, and the delightfully cheesy bridge (“So next time you’re lonely/ Don’t call on me/ Try the operator/ Maybe she’ll be free”), “Whose Bed” is both shamelessly campy and tons of fun as a result.
#7
“Is There Life After Love”
The Woman In Me – 1995
A rare thematic venture on Twain’s part to the wrong side of cheating. She regrets her tryst, but regrets coming forward and confessing it even more, bemoaning “You gave me forgiveness, but you could not forget/ I should never have told you what I’ll live to regret.”
#6
“Man! I Feel Like a Woman!”
Come On Over – 1997
Well of course! Who could leave out one of Shania’s most energetic, free-spirited, entertaining performances of her career?
#5
“Dance with the One That Brought You”
Shania Twain – 1993
An early Twain record from the days before she was singing her own self-written material, “Dance with the One That Brought You” marries twain’s beautifully nuanced vocal performance to a charming Gretchen Peters lyric and a gorgeous piano and steel-driven waltz of an arrangement. It just might be one of Twain’s best moments on record, and yet Mutt Lange had absolutely nothing to do with it. Who’da guessed?
#4
“You’re Still the One”
Come On Over – 1997
I love this song so, so much. An unabashedly sincere vocal, shimmering production, and a lyric that encapsulates the firm commitment, pride in having overcome obstacles, and deep, genuine love of a couple that has remained together against all odds and expectations. While I’ve long believed that commercial success does not equate to quality, I still say that this song was a massive hit because it deserved to be a massive hit. A timeless, universal sentiment that touched pop fans and country fans alike, “You’re Still the One” is pure pop-country perfection.
#3
“No One Needs to Know”
The Woman In Me – 1995
The best country songs are those that rely, not on words themselves, but on the feelings that the words and melodies tap into. “No One Needs to Know” absolutely radiates with the giddiness and joy of a newfound love that only the narrator herself is to know of (which suggests that Taylor Swift is not kidding when she cites Twain as a major influence). The infectious, stripped down acoustic arrangement, complete with dobro and steel chords, is a pure and simple delight.
#2
“Up!”
Up! – 2002
Twain has long been known for her incessant positivity – a consistent thread that ran throughout the Come On Over and Up! albums in particular, but was nowhere more concentrated than on the title track of Up! It comes as a fist-pumping pop-anthem on the red disc; a sprightly banjo rocker on the green disc. “Up!” is a hugely lovable ball of energy either way. The production pulses with urgency as it underscores Twain’s spirited performance. No matter what it is that’s got you down, Twain shouts “Up! Up! Up! There’s no way but up from here!” until she has you believing it too.
#1
“Any Man of Mine”
The Woman In Me – 1995
Is there any other song in her catalog that so thoroughly sums up everything one could love about Shania Twain? The energy of this performance leaps out your speakers, along with boot-stomping rhythm, the awesome fiddling, and all the signature Twain wit in the humorous lyrics. I’m not the least bit ashamed to admit that the line dance breakdown just might be my favorite part.
It was a bold artistic move and a substantial risk at the time of its release, yet it helped blaze a trail that female country artists are still following today. But even when bringing it down to a personal, individual level, there are simply few other Shania Twain songs, hits or not, that put a skip in my step like this one does. Shania’s cheeky delivery makes me smile. The lyrics make me laugh. The beat makes me want to dance. Any way you look at it, this song hits me just right.
The critic in me respects it. The fan in me adores it. Now if you’ll excuse me, I think it’s time for some kicking, turning, and stomp-stomping…
Shania is far from one of my favourites, but I do appreciate her now and then. I remember thoroughly enjoying “I’m Gonna Getcha Good” when it came out (Gosh, I musta been barely 10 or 11 at the time). “That Don’t Impress Me Much” is, of course, a classic for its amusing humour and cleverness. And lately I keep getting caught up in how just plain cheerful and fun “Man, I Feel Like a Woman” is.
Whilst I’m sure she’s a lovely person, a good Mum and all round kind person, I just don’t like her voice or her banality.
I’d much rather listen to strong, earthy female voices like Ronnie Gilbert (Weavers), Linda Rondstadt, Gogi Grant, Kathy Matea and Trisha Yearwood.
Nice list, Ben. Shania’s voice has never done much for me, but I do like a good number of her songs. I know when the Retro Single review for the title track to The Woman in Me was posted, it received a rather poor grade, but I’ve always liked that one and it would have definitely secured a place on my personal list of favorite Shania songs (maybe even Top 10).
I did enjoy reading this Ben and it got me to go through my iTunes library and play a few of these songs (a few too many times haha).
Growing up, Shania Twain, Alan Jackson and Dwight Yoakam were the three contemporary artists I distinctly remember my parents always playing, so listening to some of these tunes really brings back great memories. Although, being grown up (more or less), it’s great to finally see these songs as more than just ear candy and see there really is some substance behind them. A joy to listen to. I especially love the steel guitar in “Any Man of Mine” :D
where is “God Bless The Child?”, the song length version?
I like “God Bless the Child,” but it’s not in my personal Top 25.
I appreciate hearing everybody’s feedback. A few have mentioned Shania’s voice, and I’ll just say I really do love her voice, both on its own merits, and in terms of how she uses it. I’ve always thought it had a unpolished and accessible quality to it that I find very appealing.