Tommy's #1 SHANIA TWAIN SuperSite Message Board

ONE WEEK YA’LL!!!

Also as much as I'm loving her new music, I'm still waiting for that TWANGY sassy song Shania is known for. For me at least one song on the album should have it, im thinking Let's Kiss and Make Up. But until then we will all have to wait just one more week!!!!

The return of Shania Twain

The country star was ubiquitous until she fell silent in 2004. Now recovered from dysphonia and divorce, she has much to sing about.

By Michael Hann | Financial Times (UK) | September 22, 2017

Shania Twain has been away so long it’s easy to forget how inescapable she once was. Her third album, 1997’s Come On Over, is the ninth biggest-selling record ever, as well as the best-selling country album of all time, the best-selling studio album by a woman, and the best-selling album by a Canadian, which sounds like faint praise until you remember that Céline Dion is also from Canada. There were times in the late 1990s when it felt as if you encountered “Man! I Feel Like a Woman!” or “That Don’t Impress Me Much” or “You’re Still the One” every time you turned on the TV, went into a shop, drank in a pub. Wherever you were, Shania Twain was playing.

“I enjoy it now,” Twain says, looking back on that period of stardom for which the prefixes super and mega seem inadequate. “I wasn’t enjoying it at the time because I was so busy. I was over-working and over-focused and I wasn’t enjoying it. It felt like I wasn’t even in it. I feel like I was numb for years. I didn’t realise the impact it was having on music and culture. But now I see it from a different dimension, I guess.”

If that sounds like hyperbole for a pop-country record, it’s really not. The three records Twain made with her then husband, Robert John “Mutt” Lange — The Woman in Me, Come On Over and Up! — crossed country with rock and pop, creating hybrids that have dominated country music since, sometimes to the dismay of country purists. They set a template for scores of knowing young female country pop stars, notably Taylor Swift. Shania Twain was one of pop’s revolutionaries.

And then she stopped. Just like that, silence fell.

Near the end of the tour to support Up!, in 2004, she was bitten by a tick and contracted Lyme disease. Her voice seemed to be getting weaker, but she assumed that was just the effects of playing long shows in big arenas night after night. “But then my voice never came back.” A neurologist finally made the link between the Lyme disease and her dysphonia. “The two nerves that operate each vocal fold were damaged, so my vocal cords misfire, basically. I have to do a lot of vocal physiotherapy — it’s a permanent injury, but I’ve learned how to manage it.”

That was followed by the collapse of her marriage, in a fashion that would cause soap opera scriptwriters to dismiss the plot twist as far-fetched. Lange was having an affair with Twain’s best friend, which Twain learned about from said friend’s husband. She then fell in love with and duly married the other spurned partner.

The combination of grief — her word — over the loss of her voice, and her complicated personal life at least gave her material for her new album, Now. “It launched me into reflecting on my whole life, and more profound sadnesses than I’d felt in my life than just getting a divorce. It put it in perspective, because I realised, ‘Wow, I’ve already been through worse. This is not going to be the end for me.’ And that’s when I started focusing on the songwriting for an album.”

Indeed, she had been through worse. Twain was born Eileen Edwards, in Ontario. It was not an easy childhood: her father left when she was two, and her mother moved to the blue-collar town of Timmins, where she met and married Jerry Twain. There was domestic violence and poverty; from the age of eight Twain was earning money for the family by singing in bars, and would later speak of her discomfort at being the focus of leering men when still a child. By the mid-1980s she was pursuing music in earnest, and then, in 1987, her mother and stepfather were killed in a car accident, and at 22 Twain had to become the sole breadwinner for her two sisters and half-brother.

Once her siblings were old enough to take responsibility for themselves, Twain began pursuing her career in earnest. A first album attracted little attention, but was noticed by Lange, who offered to write with her and produce her. And, six months after meeting her, married her. Her career — her whole life — was transformed.

In interviews with Twain from that first flush of success, she would come across as businesslike to the point of hardness, whereas now she seems perfectly happy to talk about anything. She nods. “I think I can be hard. I swing with my eyes closed: I’ve gone through my whole life like that, having to move forward to survive. And that does give you an edge to your personality. I can be abrupt, for sure, but I can be hard and I think that’s part of being a survivor.”

In the past, she says, “I just never discussed my life with anybody — or very, very, few people. Once I became famous, I would only talk about things I felt would come out anyway, and I wanted to beat them to the punch. The divorce really changed my whole outlook on a lot of things. I felt, ‘Gee, it’s just a lot easier to be forthright’. It was easier than I expected.”

Her new openness can be surprising: Chris Evans was audibly taken aback when Twain appeared in his Radio 2 breakfast show recently and, in response to a soft query about what she had been up to, got the full story of the tick and the Lyme disease and the dysphonia. All before breakfast.

It doesn’t deny Twain’s own agency to note that Lange was crucial to her success. The South African had become the most commercially successful rock producer of the 1980s with his work on AC/DC’s Back in Black and Def Leppard’s Pyromania and Hysteria. He brought the same rigorous attention to detail to working with his wife. “When we were writing ‘Man! I Feel Like a Woman!’ Mutt had this riff. He wanted me to write something to that riff, and he said: ‘The phrasing has got to be: Da da-da da da da-da.’ I was coming up with all kinds of things. ‘No, that’s not it.’ And then I said, ‘How about, “Man, I feel like a woman”?’ He said: ‘That’s it!’ He was so excited, and he doesn’t get excited very often. He knew that was it.”

Making Now was a challenge. First, the dysphonia meant her voice has changed since she last recorded; second, because she was without her sounding board. “What was scary was, ‘Where do I begin to make an album?’ Mutt was not just my co-writer, he was my producer, and I didn’t know where to begin. Do I write the songs first, or do I find the producer? When I did play my songs to new producers, I was petrified. But it was also very liberating, very liberating, to not have any feedback and not have any limitations. It was a very uninhibited process. I wasn’t thinking, ‘Is Mutt going to like it? Is Mutt going to think it’s good?’ I wasn’t thinking any of that: I was just doing it.”

A couple of days later, Twain performed a couple of those new songs in front of 35,000 people on a grim, rainy Sunday in Hyde Park in London. She treated her 40-minute slot at the Radio 2 concert as if she were headlining (Take That were actually top of the bill). She entered on a platform that raised her up from beneath the stage; there were flames and confetti cannons. The crowd responded, singing along to the new songs. She finished with “Man! I Feel Like a Woman!” and it was pandemonium — or as close as you get to pandemonium when it’s bucketing down. Come the chorus, everyone joined in. I’ve never seen a wet afternoon crowd so enthused. Twain herself seemed both amused and surprised by the fervour.

But when you’ve been as inescapable as she was, you’re always welcome back.

‘Now’ is released on Virgin EMI on September 29.

https://www.ft.com/content/cd3d157c-99fe-11e7-8c5c-c8d8fa6961bb

Shania Twain @ShaniaTwain

ONE WEEK until #ShaniaNOW is out. I can't wait! Here's a little sneak peek at 'More Fun' from the album! 😘

Audio clip - https://twitter.com/ShaniaTwain/status/911292788767023104

2:15 PM ET - 22 Sep 17

http://twitter.com/ShaniaTwain

Q&A: Shania Twain on feminism and an album 15 years in the making

The songstress reflects on a long career ahead of her newest album, Now, coming out Sept. 29

By Elio Iannacci | Maclean's | September 22, 2017

It’s hard to believe that it has been more than 20 years since Shania Twain released Come On Over, a 16-track recording which remains the best-selling country album of all time. The country singer-songwriter, who hails from Timmins, Ontario, has songs from that 40 million-plus selling disc—particularly “From This Moment On,” “You’re Still The One,” “Man! I Feel Like A Woman!”—that get enough radio and Spotify play to give hits on the Billboard charts today a run for their money. Twain’s return to the studio with her new disc, Now (which is slated for release September 29), was no easy feat as the record has been 15 years in the making. Twain’s main delays stem from a diagnosis of lyme disease and a neurological voice disorder called dysphonia. Her health issues also follow a rather painful—and public—divorce with former producer/husband Mutt Lange in 2010 (chronicled in her revelatory autobiography of 2011). Days before Twain announced her recent world tour, she spoke to Maclean’s about her turbulent past, her trek to self-improvement and on finally gaining the respect she feels she deserves.

Q: It has taken you 15 years to record this new album. Are you more comfortable with singing about what you consider some of the most challenging moments in your life?

A: I’m getting there. I know it took a while and a whole lot of introspection but lately I’ve been more at ease with touching on things that can be difficult, dark, or painful. I believe doing this highlights the other end of the spectrum—the one that’s positive. There is a freedom to talking about survival. On this album, I’ve given that contrast on purpose.

Q: What would you say has been the biggest risk you’ve taken?

A: Putting out “Man! I Feel Like a Woman.” There was such a sassy, feminist spirit to the song. Feminism has evolved so much since then—it has been 20 years since that song was on the charts! You know the perception of feminism back then was really different. It is shocking that I had to keep repeating myself to people and say stuff like “just because you’re feminist or even if you don’t consider yourself a feminist or you’re just a strong woman, it doesn’t make you angry” or “You don’t have to be resentful to believe in equality.” Some people still didn’t get it.  They thought I was anti-men. It felt a little too ahead of the curve in some ways. I think it could be released today and easily fit in with the times.

Q: Loretta Lynn once said she felt it was her responsibility to sing for women in bad relationships. Do you feel that’s your duty as well?

A: I have done that before but I’m not an actress. When I’m writing music, I’m not acting it out—it’s all me. I feel that my responsibility is to be truthful about myself, first and foremost. I’m not going to sing things I don’t believe in no matter who is benefitting from it.

Q: The last time we spoke, you told me, “I didn’t get to enjoy the rewards of being a boundary pusher because I was in a conservative music industry.” Has this changed?

A: Oh yes. Now that I’m resurfacing again with an album after 15 years, all these artists are coming out of the woodwork and saying exactly what I wanted to hear back then. Things like “Shania influenced me. She was a trailblazer.” I’m enjoying the compliments and enjoying the fact that I don’t have to fight for that place. It’s just where I’m at. My place in music is not something I have to defend now.

Q: One of your new tracks called “Home Now” contains the lyric: “sold my soul to a new religion.” Are you talking about about the cult of fame or the church?

A: It’s not about fame at all. I’ve been a seeker for all my youth. I went through a phase of going to church a lot. Then I went through a phase of deliberately not going to church. I’ve been questioning religion. I took world religion in school and was searching for the purpose in my life through some of it. I feel that I’ve found some answers… but not enough. It’s neverending, though. I’ve learned that purpose is an ongoing search. It’s an evolution.

Q: Yet you’ve been in the business for a while and have seen artists who fall into a rut because they start worshipping the limelight. Did you ever see yourself becoming one of those people?

A: I could feel the tug. When I started touring with “Come on Over”… that was when I started to sense the true meaning of mass adulation. There was a big machine around me then. It’s such a huge operation. When I’d be in a town with a show, I couldn’t just go to the pharmacy by myself. I needed to tell people where I was, I needed security around me. My life started to get very isolated. I stopped doing things for myself. It’s a bubble that’s a dangerous one. I forget how to live in the real world outside that bubble. When that bubble stops or the tour stops with all that deliberate attention…it’s for a reason. I realized I was just doing a job. When that stops a lot of artists get very depressed. That’s why so many artists have become addicted to fame. For me, it was the other way around. I was very lonely on the road. I was very lonely as a workaholic. I said to myself, “There’s got to be more to life than this.” To me, that wasn’t living. I was drowning in this unreal life that I didn’t want. You don’t want to be someone where somebody isn’t doing everything for you. I could see it happening to other people and I didn’t want it happening to myself.

Q: There are so many famous workaholics in country music. Patsy Cline took to the stage, singing with a broken rib. For years, Loretta Lynn opened her home to visitors, almost all year round, seven days a week. Dolly Parton once told me she considers herself an industry. Are there days where you feel like you are running a corporation?

A: Well, I am an industry too. I think that all people that get to a certain level of their celebrity are brands. I accept that. I don’t value it in any personal way. I value it as an element of my work. I’m more pragmatic in that sense. She’s very pragmatic, Dolly. Although, I do get very rattled if I don’t get enough [normalcy] in my life. I like solitude. I can’t even write music if I’m not isolated.

Q: For this album, where did you hide away to keep away from social media feeds? Did you turn off the WiFi?

A: I tried. I did most of my songwriting in Nassau, Bahamas. It’s very quiet and there’s very little distraction there. It’s peaceful [and has] great views…nowhere that I’d be worried about what I was wearing. I needed that.

Q: You once said that you may regret being as candid as you were in your autobiography, From This Moment On since you included a letter to your former husband’s mistress in the book. It has been five years. Has that day ever come?

A: No. It’s helped me more than anything. I was concerned at the moment but I’m not anymore. I feel very good about it. I think it’s so important. You have to set your own boundaries. We all do. You have to self-check. At the same time, the transparency is liberating. It is so much easier than screening every little thing you do and say. There’s got to be some fluidity to self-expression without constantly editing things. The older I get, the more confident I feel in that. The filters are just flung away… lets face it, filters interrupt the flow of sincerity. If you’re embarrassed about something you’ve done, then just say it.

Q: Due to social media, so many artists are afraid of sharing an opinion. Audiences are realizing that many interviews feel scripted and not genuine. Should an artist feel the need to be so protected in this day and age?

A: You have to make up your mind. You also have to be prepared for fallout. You have to accept the industry you’re in. People are going to write and say things you don’t like. They’re going to take things out of context. What are you going to do? You can’t let it destroy your life. That’s their problem. They’re going to go on and not be respected for what they do. Just worry about what you do.

Q: What kind of role would you say your 16-year-old son has in your career right now?

A: He helped pick my producers for this album. He listens to songs. He helps me with tempos. He’ll give me feedback on sound. He’s a producer, writer, and arranger. He doesn’t want to perform.

Q: The Country Music Museum has planned an exhibit on your career and life. What items in the exhibit would you consider to be the most personal?

A: My mother, who was manager, wrote a biography for me when I was 12. She wrote this all out. It was very innocent and naïve and touching. Her coffee cup stain is on it. It’s cute and precious. It’s amazing. She prophesized this little career I had. That was really the one thing that symbolized the professional child’s career I was having and the beginning of everything.  There’s a line in there that says, “She’s very accomplished for only being 12 years old.”  Then there is that leopard outfit from “That Don’t Impress Me Much”—I’m glad I still kept it.

Q: A couple of the looks you are known for in the ’90s have been interpreted on fashion runways. Is this surreal to see?

A: Yes! I’m reliving my own period. I’m surprised the ’90s are back so quickly. It’s kind of cool. The ’90s was interesting because there were so many genres bursting through and so many different cultural influences that bubbling up into the mainstream at the same time. Fashion-wise, the urban influence, the dance music club clothes and the country music looks in the ’90s were all so strong. Everybody now has something to take from the ’90s because it introduced all the things and sometimes blended them together.

Q: Your first single, “What Made You Say That,” was released in 1993 and certain television stations banned the video because of your outfits revealed your midriff. Did you get sick of having to explain why you dressed the way you did for the video?

A: Sometimes. I’d often be confronted in interviews but it was very easy to defuse. In other genres the midriff thing was so not a new thing. It was just a new thing to country. I think the acceptance of it from me just came with the fact that I was not traditional in so many ways. It was just part of who I was. They eventually embraced who I was, creatively and artistically.

Q: Did you feel the confrontation was misogynist?

A: There was some pushback from traditionalists. I’d say it was a sexist thing. That sexist attitude? Even some women supported that! There weren’t many, but the odd one would be like, “Well, good thing she’s got such a great stomach.” Stuff like that.

Q: Artists such as Joni Mitchell have stated they could not start a career today because of the amount of social media’s ongoing gaze. If Now was your debut disc, do you think you’d be able to face the industry the same way?

A: I don’t find it different. The scrutiny is the same. It’s always going be there. It’s just more immediate, that’s all. Criticism is always going to be painful. You live through it. I lived through it then. I’ll live through it now. It’s even harder when you’re younger. You don’t have the maturity. You’re still developing. If you get damaged while you’re developing, it’s a psychological battle after that. Today, if I get the criticism, I’m not bothered…if I wear the wrong thing, I’m not going to lose sleep over it. Maybe when I was younger, I might have been more affected by that.

Q: For the album cover of The Woman In Me, you were photographed by John Derek and he berated you on set for not being the conventional model’s body or face. After that experience, how differently did you approach photo shoots? 

A: He was very critical! After that experience, to be honest, I learned so much. I learned more than any damage. It made me stronger. I took all of that with me into the future. It was a good education for me. I learned a lot about photography and lighting. I learned the psychology of the relationships between art directing and being a subject. I learned how to say no.

Q: Which of the songs on this album pushed you to the brink of emotion?

A: “Soldier” made me cry a lot. I really had trouble finishing that one. I cried in moments of “I’m Alright.” Writing those verses for “Life’s About to Get Good,” there was a lot of frustration there. “Poor Me”—I was feeling sorry for myself! I really questioned who I was and went through the “do I really want to write this song?” debate. It really felt good to get it all out.

Q: In terms of new artists out there that you listen to, does one stand out as someone you really connect to?

Alessia Cara is wonderful—her voice is so soulful and she’s Canadian. I love Shawn Mendes too. I haven’t met Shawn yet but we text sometimes.

Q: You’ve never recorded an original song for a soundtrack yet. Does performing at the Oscars seem like something you’d be into?

A: I want to. That would be wonderful. I’d like to get more involved with film. These days I think it would probably be for a dramatic movie. I think I’d really enjoy that and get it off my list… but you know what? I’ve got a long list.

http://www.macleans.ca/culture/arts/qa-shania-twain-on-feminism-and-an-album-15-years-in-the-making/

Angelo1985 wrote:

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Tommy wrote:

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Shania Twain @ShaniaTwain

ONE WEEK until #ShaniaNOW is out. I can't wait! Here's a little sneak peek at 'More Fun' from the album! 😘

Audio clip - https://twitter.com/ShaniaTwain/status/911292788767023104

2:15 PM ET - 22 Sep 17

http://twitter.com/ShaniaTwain

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OMG...is horrible...another crap song...I don't know, somethin' doesn't work...

where are YOU WIN MY LOVE, WHATEVER YOU DO DON'T! OR ROCK THIS COUNTRT! choruses! Where????

Only beats and beats and beats...words without any kind of musicality, just words with no rythm...

And that stripped sound is awful with mechanic voice.

Such disappointed...

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 Here we go again!

and i thought YOU WIN MY LOVE and ROCK THIS COUNTRY were some of Shania's weakest songs. And Deary as you say lol that is only a clip of the song without the Chorus lol But I love More Fun, an excellent song 😁😁😁

i have to admit I like most songs on this album than most on up. i liked about 7 songs on up. These songs on now are lyrically better and are more organic. Let's be honest everyone the song UP off her up album was one of the worst songs i have ever heard and lyrically too but nobody complained here lol Shania's Up album had so many bad reviews but sold well initially because of her name and one excellent song she released FOREVER AND FOR ALWAYS. But most songs on that album were so over produced and shania sounded automated. I immediately like more songs on this album than i did on up

-- Edited by HumbleKevy on Friday 22nd of September 2017 04:09:04 PM

 Deary they are all A sides and puts up to shame 😁😁😎😎🍸🍷🍻🥂

I hope there is a beat drop right after that last line of More Fun... Don't tell me we need "More Fun" and then deliver the most drab chorus of my life.

LJ-R wrote:

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Need to hear more of the song to have a full judgement. So far this is my top of the album:

1. Life's About To Get Good
2. Home Now
3. Who's gonna be your girl
4. Swingin' with my eyes closed

Can't decide order of the next 3:
5. We got something they don't
6. Soldier
7. More fun

For now not so favourite:
8. Roll me on the river (autotune overkill)
9. Poor me

Based on the lyrics I think "You can't buy Love" could have that sassy Shania edge some of us are waiting for.

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 I don't know if you've notice or not, but on all previews that we've heard to date, they've sounded like autotune overkill but once you actually hear the HQ version, it's really not bad at all. I think the LQ of these makes it sounds way worst than it actually is.

Honeyimhome wrote:

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LJ-R wrote:

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Need to hear more of the song to have a full judgement. So far this is my top of the album:

1. Life's About To Get Good
2. Home Now
3. Who's gonna be your girl
4. Swingin' with my eyes closed

Can't decide order of the next 3:
5. We got something they don't
6. Soldier
7. More fun

For now not so favourite:
8. Roll me on the river (autotune overkill)
9. Poor me

Based on the lyrics I think "You can't buy Love" could have that sassy Shania edge some of us are waiting for.

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 I don't know if you've notice or not, but on all previews that we've heard to date, they've sounded like autotune overkill but once you actually hear the HQ version, it's really not bad at all. I think the LQ of these makes it sounds way worst than it actually is.

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The only auto tune overkill was on Mutt's records. Her voice was really distorted on up and gh cd on many songs

HumbleKevy wrote:

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The only auto tune overkill was on Mutt's records. Her voice was really distorted on up and gh cd on many songs

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 At least Mutt produced songs that had GREAT musical arrangements and harmonizing. For the most part, the songs from NOW are a mess production-wise!

HumbleKevy wrote:

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Tommy wrote:

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HumbleKevy wrote:

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The only auto tune overkill was on Mutt's records. Her voice was really distorted on up and gh cd on many songs

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 At least Mutt produced songs that had GREAT musical arrangements and harmonizing. For the most part, the songs from NOW are a mess production-wise!

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 disagree 100 percent, you are not a producer. She chose successful producers who know how to produce songs. i love the production on lots of her new songs. Mutt's songs became over produced.  i think you need to stop looking in the past but as i recall you were negative on many of the up songs too.  Sorry Tommy you can continue to trash Shania's new album all you want. The old kevy wouid of sent off on you but now I give my opinion and leave. It is Friday and kevy has positive exciting people to be with 😊🍷🍸🍺🍻🥂 so enjoy your last negative word lol kevy has a weekend to take care of 😁

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Wrong! Up! is a great album! Love it! 

HumbleKevy wrote:

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Tommy wrote:

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HumbleKevy wrote:

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Tommy wrote:

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HumbleKevy wrote:

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The only auto tune overkill was on Mutt's records. Her voice was really distorted on up and gh cd on many songs

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 At least Mutt produced songs that had GREAT musical arrangements and harmonizing. For the most part, the songs from NOW are a mess production-wise!

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 disagree 100 percent, you are not a producer. She chose successful producers who know how to produce songs. i love the production on lots of her new songs. Mutt's songs became over produced.  i think you need to stop looking in the past but as i recall you were negative on many of the up songs too.  Sorry Tommy you can continue to trash Shania's new album all you want. The old kevy wouid of sent off on you but now I give my opinion and leave. It is Friday and kevy has positive exciting people to be with 😊🍷🍸🍺🍻🥂 so enjoy your last negative word lol kevy has a weekend to take care of 😁

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Wrong! Up! is a great album! Love it! 

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 first of all I never said it was a bad album, i liked a few songs on it. i said i like her new songs and diversity she is showing now better. i don't live in the past. Also my opinion can't be wrong since it is opinion just like your constant negative opinion can't be wrong. We like what we like. Now argue and be negative by yourself lol i really have to go, Enjoy your weekend 😁😁

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We now have 9 out of 16 songs that have been released (or samples). There's not one GREAT SONG out of 9. That's a problem. Anyone who can't see that is delusional or just won't admit it. 

One huge issue I see here is I think we forget that everybody has different tastes in music. I know that my music taste has evolved drastically over the 15 years I've waited for a new Shania album. I went from listening to solely country music to listening to a wide range of artists now. Just for an example, here's a short list of artists that I have on my phone: Lady Gaga, Sam Hunt, The Weeknd, SoMo, Kid Ink, Lorde, Thomas Rhett, and many many more. So for me, I genuinely appreciate the diversity in Shania's new music. With that being said, I do think there are some strange production choices.

I am in no way a music producer, but things I hear I don't necessarily find pleasing. For example, I LOVE the first 20 seconds of WGSTD, but then it's like the music shifts to something totally different. It's like two different songs were meshed together and I don't understand that. I didn't necessarily like it at first, but upon multiple listens, it's become one of my favorite songs from the new album.

Me personally, I believe I entered the "Now" era with the mindset Shania's music would be like her old stuff, even though she said not to do that. Realistically, I think that's what most people will do. They'll associate the name "Shania" with old hits and expect her new music to sound that way. That's not saying her new music is bad, but it's definitely not what people will expect. I know each song I've had to listen to multiple times before I can say, "Alright, this is pretty good," just because I still expect to hear that rock influence that Mutt put into each of her songs.

In short, I love what I've heard from the new album and cannot wait to hear more. It's definitely nothing like what I expected from Shania, but I'm still pleased with what I've heard. It just takes getting used to her new sound because...well, this is Shania Now.

Tommy wrote:

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HumbleKevy wrote:

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you have no right to call someone delusional if they think a song is great. Music is subjective , what you think is great i may think is mediocre and vise versa. Some of the hits songs today are not great and trash in my opinion. You have no right to tell me what I should think a great song is. Give it a rest, we
know you don't like her new songs and you are entitled to that opinion but you are not the authority on anythng.

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Okay. Then name a GREAT SONG. Go for it.

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Tommy, just because you don't think they're great songs that doesn't mean others share the same opinion as you. I don't think I have to tell you this for you to know that. You're coming off like a bully, to be honest. 

RiteChappy wrote:

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Tommy wrote:

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HumbleKevy wrote:

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you have no right to call someone delusional if they think a song is great. Music is subjective , what you think is great i may think is mediocre and vise versa. Some of the hits songs today are not great and trash in my opinion. You have no right to tell me what I should think a great song is. Give it a rest, we
know you don't like her new songs and you are entitled to that opinion but you are not the authority on anythng.

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Okay. Then name a GREAT SONG. Go for it.

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Tommy, just because you don't think they're great songs that doesn't mean others share the same opinion as you. I don't think I have to tell you this for you to know that. You're coming off like a bully, to be honest. 

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No, I'm not. I'm asking him to name a song from NOW he thinks is great. I'll clarify, production-wise. Just curious. 

Look, we all have our own opinions. And that's great. All I've been saying since day 1 is for Shania to be releasing her first album in 15 years, and for her to be a self-proclaimed perfectionist, I (as well as MANY others) was expecting a whole hell of a lot more. Most of the songs have this "strange vibe" to them. I do give Shania all the credit in the world for making an album on her own.

RiteChappy wrote:

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Tommy wrote:

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RiteChappy wrote:

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Tommy wrote:

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HumbleKevy wrote:

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you have no right to call someone delusional if they think a song is great. Music is subjective , what you think is great i may think is mediocre and vise versa. Some of the hits songs today are not great and trash in my opinion. You have no right to tell me what I should think a great song is. Give it a rest, we
know you don't like her new songs and you are entitled to that opinion but you are not the authority on anythng.

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Okay. Then name a GREAT SONG. Go for it.

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Tommy, just because you don't think they're great songs that doesn't mean others share the same opinion as you. I don't think I have to tell you this for you to know that. You're coming off like a bully, to be honest. 

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No, I'm not. I'm asking him to name a song from NOW he thinks is great. I'll clarify, production-wise. Just curious. 

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I'm not Humblekevy and this might be a bit premature but Home Now might end up becoming my favorite Shania song right next to Forever and For Always. I think Roll Me On The River sounds brilliant and I still love LATGG. I do strongly dislike Poor Me and More Fun, though. 

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from what we've seen and heard from the trailer, i can see "soldier" getting universal acclaim. i know of personally/read comments from people who were moved to tears by the clip. that's the sign of a GREAT song. another great song is "swingin' with my eyes closed." production wise, as you've clarified, it pulls off an arena rock-outlaw country-reggae fusion--and i consider that a creative triumph.

my personal favourite is "we got…" but i know it's very likely someone's least favourite and that's how people begin to talk in circles. so for that, i'll leave it there. i answered a question posed to the forum to name a great production from NOW, and i offered two. one, for being emotionally stirring; the other for daring to be sonically adventurous, and effectively so.

LET'S GO FANS.....................

So. I am a little slighted by all these comments, posts, and attitudes here on Tommy's forum...

1. I told you so a few post back about all the worry of liking the songs or not, connecting with the songs or not, the generation gap, the exposure, x, y and z!

Didn't anyone read my worries and my thoughts?

2. I told you so about the sales, charts, and headlines.....

Didn't anyone read that to ask some of my questions?

3. I told you about the whole new material somewhat not connecting with the audience and her fans. I am thinking she should have had some writers/producers around her to make her legit for 2017 and beyond...

Didn't anyone understand how important what everyone is saying right NOW?


I am so sorry to be a little worried, little concerned and a little hopeful but a few of you told me to calm down and well dare do I type what I want to type about this whole thing...

HERE ME OUT!!! AND LISTEN THE BLEEP UP!!!


It was 1 am on a Saturday morning after a busy Friday night. Understand this and listen. When you do dishes, clean up the house, put clothes away and begin to relax before a busy weekend doesn't anyone throw on some music and jam? I mean we all put on our favorite music and jam to make the time more lovely (move fast). So I listened to Taylor new songs and a few new songs that I like my other favorite artists like Pink and The Killers. I so wanted to just put on Hamilton the Soundtrack but I challenged myself. I was just being me and nothing but an average ordinary 36-year gay man living his life on a Friday night. So I put on Shania's new material that I have been listening to every since her management released the promos and singles. I acted like I was not the Shania nut fan I am and acted like a 36-year-old listening to Shania for the first time or a new fan. Hey lyrics are confusing sometimes, her thought pattern is confusing sometimes and her message might have gotten lost somewhere but I understood and interpreted the way I can to feel something. I did not force anything upon me to connect but I tried my best to list the words, melody, and music. I loved it and I would say I would buy her album just to see what the big deal is all about because the curiosity got to me, the feeling got to me and the just being happy in my heart, my mind and myself came naturally while I was listening to the new stuff which proves the point about why Shania is so amazing etc etc. She is connecting with the new sounds and keeping up the times as much as she can because she will come with more new songs and albums

Funny thing is this which is a serious question! WHY DIDNT SHE LOOK BACK IN HER SONG CATALOG, HER SONGS SHE HAS WRITTEN BEFORE TO PUT OUT? LIKE SHE HAS POSSIBLY HUNDREDS SONG WRITTEN BY HER ALONE WITH OUT MUTT???

Just my thought and I

@Angelo you can't decide who can and who can't like specific music. Taste is different for everyone. Still I agree with you that Up is a better cd (so far) then now is going to be. But let's see what the 29th brings us! Excited

Angelo1985 wrote

 

I will buy standard edition and will be a sacrifice already; 12 songs that way will enough.

And I am a fan since 1999, so you could imagine my disappointin'...

ps: here in Italy they play Shania in the clubs, here in Florence just yesterday night they played MIFLAW! And people SAAANG it!

ps2: UP is an amazing album and a very huge catalog of great songs; the only mistake was conceive it as a double disc and full it with songs good to be b-sides (She's not just a pretty face / C'est la vie / Waiter!) but songs like FAFA, WYKM, UP, IAGD, TYB they all eat over these brand new crap songs...AND YOU KNOW THAT, dears...

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Before you say you'll only buy the standard edition, at least wait and see what the album sounds like in whole. I know I'd be quite disappointed buying a standard edition just to find out that the bonus tracks are awesome. 

Fair enough