Come On Over

by Shania Twain

Overview

Shania Twain's second record, The Woman in Me, became a blockbuster, appealing as much to a pop audience as it did to the country audience. Part of the reason for its success was how producer Robert John "Mutt" Lange -- best-known for his work with Def Leppard, the Cars, and AC/DC -- steered Twain toward the big choruses and instrumentation that always was a signature of his speciality, AOR radio. Come on Over, the sequel to The Woman in Me, continues that approach, breaking from contemporary country conventions in a number of ways. Not only does the music lean toward rock, but its 16 songs and, as the cover proudly claims, "Hour of Music," break from the country tradition of cheap, short albums of ten songs that last about a half-hour. Furthermore, all 16 songs and Lange-Twain originals and Shania's sleek, sexy photos suggest a New York fashion model, not a honky tonker. And there isn't any honky tonk here, which is just as well, since the fiddles are processed to sound like synthesizers and talk boxes never sound good on down-home, gritty rave-ups. No, Shania sticks to what she does best, which is countrified mainstream pop. Purists will complain that there's little country here, and there really isn't. However, what is here is professionally crafted country-pop -- even the filler (which there is, unfortunately, too much of) sounds good -- which is delivered with conviction, if not style, by Shania, and that is enough to make it a thoroughly successful follow-up to one of the most successful country albums by a female in history. ~ Stephen Thomas Erlewine

Product Details

Release Date:	11/04/1997
Label:	Mercury Nashville / Mercury
UPC:	0731453600324

Tracks

1. Man! I Feel Like a Woman!
2. I'm Holdin' on to Love (To Save My Life)
3. Love Gets Me Every Time
4. Don't Be Stupid (You Know I Love You)
5. From This Moment On
6. Come on Over
7. When
8. Whatever You Do! Don't!
9. If You Wanna Touch Her, Ask!
10. You're Still the One
11. Honey, I'm Home
12. That Don't Impress Me Much
13. Black Eyes, Blue Tears
14. I Won't Leave You Lonely
15. Rock This Country!
16. You've Got a Way

Album Credits

Performance Credits

Shania Twain   Primary Artist,Vocals,Vocals (Background)
Bryan White   Primary Artist,Guest Artist,Vocals,Featured Artist
Alison Krauss & Union Station   Primary Artist,Featured Artist
Synchrologic   Primary Artist
Cheat Codes   Primary Artist
Chris Martin   Primary Artist,Featured Artist,Vocals
Nick Jonas   Primary Artist,Vocals
White Broadway   Primary Artist
Elton John   Primary Artist,Vocals,Featured Artist
Backstreet Boys   Primary Artist,Featured Artist
Stuart Duncan   Guest Artist,Fiddle
Glen Duncan   Guest Artist,Fiddle
John Jarvis   Guest Artist,Piano,Wurlitzer
Brent Mason   Guest Artist,Guitar (Electric)
Aubrey Haynie   Guest Artist,Fiddle
Byran White   Guest Artist
Biff Watson   Guitar (Nylon String),Guitar,Guitar (Acoustic),Guitar (Electric)
John Hughey   Pedal Steel
Larry Franklin   Fiddle
Paul Leim   Bells,Drums
Joe Chemay   Fretless Bass,Guitar (Bass),Bass (Electric)
Carl Marsh   Strings
Robert John "Mutt" Lange   Vocals (Background)
Rob Hajacos   Fiddle
Olle Romo   Sequencing
Brian White   Vocals
Bill Watson   Guitar,Guitar (Rhythm),Guitar (Acoustic),Guitar (Electric)
Arthur Stead   Organ,Piano,Synthesizer
John Hobbs   Piano,Wurlitzer,Synthesizer
Eric Silver   Mandolin
Joe Spivey   Fiddle
Union Station   Featured Artist
Dann Huff   Guitar,Talk Box,Wah Wah Guitar,Guitar (Rhythm),Organ (Hammond),Sitar (Electric),Guitar (Electric),Guitar (12 String)
Bruce Bouton   Pedal Steel,Guitar (Steel),Lap Steel Guitar
Alison Krauss   Vocals,Featured Artist
Larry Byrom   Slide Guitar
Joey Miskulin   Accordion
David Hamilton   Strings
Michael Omartian   Piano
Hardy Hemphill   Percussion,Vocals (Background)
Paul Franklin   Pedal Steel,Pedal Steel,Guitar (Steel)

Technical Credits

Bob Bullock   Engineer
Carl Marsh   Arranger
Shania Twain   Composer,Performer
Robert John "Mutt" Lange   Arranger,Composer,Producer,Remixing
Mark Ralph   Mixing
Olle Romo   Mixing,Editing,Programming,Remix Engineer,Mixing Engineer
Mike Shipley   Mixing,Mixing Engineer
Jay Alverez   Programming
Jeff Balding   Engineer,Recording
Glenn Meadows   Mastering,Mastering Engineer
Bjorn Thorsrud   Pre-Production Programming
Chris Shepard   Recording
David Hamilton   Arranger
Mark Hagen   Assistant Engineer
George Holz   Photography
White Broadway   Performer
James Somberg   Programming
Gus Phillipas   Photography
Cheat Codes   Remix Engineer
Eilleen Regina Lange   Composer
Frank Walker   Remix Engineer
Bjorn Thornsrud   Programming
Synchrologic   Remix Engineer

Editorial Reviews

With her smooth vocals, sexy videos, and songs like "Black Eyes, Blue Tears," "Love Gets Me Every Time," and "From This Moment On," Shania Twain has captured the hearts of, and sold records to, millions of fans. Like a female Garth Brooks, Twain is a little bit country, a little bit pop, and -- as the seven-times-platinum Come on Over proves -- a whole lot superstar.

barnesandnoble.com

With Come On Over, Shania Twain positioned herself in the upper echelon of country music as a female counterpart to Garth Brooks' mega-selling pop legacy. The influence and input of husband/producer/co-writer Robert John "Mutt" Lange cannot be overstated, with his unique melodic panache and slick production techniques in evidence with each passing note of this album. His accomplishments here and on Twain's last effort are no less revolutionary in their pop sensibilities than his transformation of Def Leppard from a blues-based bar band into international superstars in the 1980s. Lange knows that even weak lyrics can come across as sincere when matched with a catchy hook, and Twain's energetic performance elevates such songs as "Black Eyes, Blue Tears" and "Love Gets Me Every Time" from passable fluff to infectious pop anthems. Together they pack Come On Over with 16 concise cuts that summarily best most artists' greatest-hits albums. There truly isn't a single mediocre track on the album, leaving the field wide open for constantly changing individual preferences. Twain's duet with Bryan White is the kind of epic ballad Celine Dion and Bette Midler are famous for, but without the overbearing melodrama of songs like Midler's "From a Distance," it seems natural and less forced than her adult contemporary peers are capable of. Despite the presence of a couple more ballads, the album is given over mostly to uptempo rockers, of which "Don't Be Stupid (You Know I Love You)" and "Rock This Country" are two of the best. With a running time of precisely one hour, Come On Over lacks a single minute of inessential listening for even casual country music fans. --All-Music Guide

Jeremy Ulrey