Shania Twain

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 half an hour. Furthermore, all 16 songs are Lange-Twain originals, and Twain'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, Twain 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), delivered with conviction if not style by Twain, and that is enough to make it a thoroughly successful follow-up to the most successful country album by a female in history. [The Australian edition has a completely different track order and features three bonus tracks: "(If You're Not in It for Love) I'm Outta Here" and different versions of "Love Gets Me Every Time" and "Don't Be Stupid (You Know I Love You)."] ~ Stephen Thomas Erlewine, All Music Guide