Shania Twain discography
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\n| Shania Twain discography | |
|---|---|
![](\"/wiki/File:ShaniaTwain3.jpg\") Twain performing at Wembley Stadium | |
| Studio albums | 6 |
| Live albums | 2 |
| Compilation albums | 3 |
| Music videos | 38 |
| Singles | 44 |
| Remix albums | 3 |
| Box sets | 1 |
| Promotional singles | 6 |
| Other appearances | 9 |
Canadian singer Shania Twain has released six studio albums, three compilation albums, three remix albums, one box set, two live albums, 45 singles, 38 music videos, six promotional singles, and made six guest appearances. Twain's repertoire has sold over 34 million albums in the United States alone, placing her as the top-selling female artist in country music.[1] Moreover, with 48 million copies shipped, she is ranked as the 26th best-selling artist overall in the US, tying with Kenny G for the spot.[2] She is also recognized as one of the best-selling music artists in history, selling over 100 million records worldwide and thus becoming the top-selling female artist in country music ever.[3]\n
In 1992, Twain signed to Mercury Records Nashville in the United States and released her eponymous debut studio album, Shania Twain, the following year. It was a commercial failure, peaking at number 67 on Billboard's Top Country Albums chart,[4] and produced three singles, which were also commercial failures. However, the album attracted the interest of record producer Robert John \"Mutt\" Lange.[5] He and Twain collaborated on her second release, The Woman in Me, which was released in 1995. The Woman in Me commenced with small sales[6] but eventually led Twain to commercial success. It topped Top Country Albums[4] and peaked at number five on the main-genre Billboard 200.[7] The album was certified 12 times platinum (diamond) by the RIAA[8] and sold over 7.6 million copies, according to Nielsen SoundScan.[9] Furthermore, The Woman in Me led to success in the singer's native country, Canada, where it was certified double diamond by Music Canada[10] and was once the best-selling album by a female country singer; Twain later surpassed herself.[11] The album spawned eight singles, four of which (\"Any Man of Mine\", \"(If You're Not in It for Love) I'm Outta Here!\", \"You Win My Love\", and \"No One Needs to Know\") topped the US Hot Country Singles & Tracks.[12]\n
In 1997, Twain followed with Come On Over, which topped Top Country Albums for a record 50 non-consecutive weeks and had tremendous pop crossover success.[1] It peaked at number two on the Billboard 200[7] and remained in the top 10 for a total of 53 weeks, making it the longest-running top 10 album by a country artist at the time.[13] Certified 20 times platinum (double diamond) by the RIAA[8] and with 15.5 million copies sold,[1] Come On Over established itself as one of the best-selling albums of all time in the US and was once the best-selling album of the Nielsen SoundScan era;[14] it now ranks second behind Metallica's 1991 eponymous album.[1] In Canada, it reached similar success and was certified double diamond by Music Canada.[10] In 1998, Come On Over was released internationally, duplicating the commercial success it encountered in North America. It became one of the best-selling albums in several countries, including Australia[15] and the United Kingdom.[16] With a total of 40 million copies sold worldwide, Come On Over also became one of the best-selling albums worldwide.[17][18] Furthermore, the album is the second best-selling album by a female artist in any genre[11] and the best-selling country album of all time.[19] A total of 12 singles were released from the album. Three (\"Love Gets Me Every Time\", \"You're Still the One\" and \"Honey, I'm Home\") topped Hot Country Singles & Tracks.[12] A total of 10 songs charted within the top 10 of the chart, marking the most top 10 appearances from one album on Hot Country Singles & Tracks.[1] Several performed well internationally, namely \"You're Still the One\", \"From This Moment On\", \"That Don't Impress Me Much\", \"Man! I Feel Like a Woman!\", and \"Don't Be Stupid (You Know I Love You)\", all of which received platinum certifications by the ARIA (ARIA).[20][21]\n
In 2002, five years following the original release of Come On Over, came the release of the double-disc album Up!. The release became Twain's first number-one album in the US, topping the Billboard 200 for five consecutive weeks.[7] Up! sold over 5.4 million copies,[9] yet was certified 11 times platinum (diamond) by the RIAA for being a multi-disc release with over 100 minutes in length (see RIAA certification).[8][22] Nevertheless, as Twain's third diamond album, it made her the only artist to have three consecutive diamond RIAA certified albums.[11] Like her two previous albums, Up! was also certified double diamond in Canada.[10] Despite achieving much commercial success, Up! was unable to duplicate the tremendous outcomes of Come on Over. It produced eight singles, led by \"I'm Gonna Getcha Good!\", a song that became the singer's first number-one in Canada.[23] In 2004, Twain released a Greatest Hits package that was certified quadruple platinum by the RIAA[8] and spawned three new singles, including the hit \"Party for Two\". Concluding a six-year hiatus, Twain released the single \"Today Is Your Day\" in 2011. On September 29, 2017, Twain released her fifth studio album, Now. The album peaked at number one on the Billboard 200, becoming her second album to top the chart.\n
\n\n| Title\n | \nAlbum details\n | \nPeak chart positions\n | \nSales\n | \nCertifications\n | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| CAN [24]\n | \nAUS [25]\n | \nGER [26]\n | \nIRL [27]\n | \nNLD [28]\n | \nNOR [29]\n | \nNZ [30]\n | \nUK [31]\n | \nUS [7]\n | \nUS Country [4]\n | ||||
| Shania Twain\n | \n\n
| \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n40 | \n\u2014 | \n113 | \n\u2014 | \n67\n | \n\n | \n\n\n |
| The Woman in Me\n | \n\n
| \n6 | \n17 | \n72 | \n60 | \n46 | \n5 | \n38 | \n7 | \n5 | \n1\n | \n\n
| \n\n\n |
| Come On Over\n | \n\n
| \n1 | \n1 | \n8 | \n1 | \n1 | \n1 | \n1 | \n1 | \n2 | \n1\n | \n\n\n | \n\n\n |
| Up!\n | \n\n
| \n1 | \n1 | \n1 | \n3 | \n8 | \n2 | \n1 | \n4 | \n1 | \n1\n | \n\n
| \n\n\n |
| Now\n | \n\n
| \n1 | \n1 | \n12 | \n4 | \n22 | \n21 | \n3 | \n1 | \n1 | \n1\n | \n\n | \n\n\n |
| Queen of Me\n | \n\n\n | \n2 | \n5 | \n13 | \n15 | \n53 | \n\u2014 | \n\u2014 | \n1 | \n10 | \n2\n | \n\n | \n\n |
| \"\u2014\" denotes releases that did not chart or were not released.\n |
| Title\n | \nAlbum details\n | \nPeak chart positions\n | \nCertifications\n | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| CAN [24]\n | \nAUS [25]\n | \nGER [26]\n | \nIRL [27]\n | \nNLD [28]\n | \nNOR [29]\n | \nNZ [30]\n | \nUK [31]\n | \nUS [7]\n | \nUS Country [4]\n | |||
| The Complete Limelight Sessions\n | \n\n
| \n93 | \n\u2014 | \n\u2014 | \n\u2014 | \n65 | \n\u2014 | \n\u2014 | \n62 | \n\u2014 | \n43\n | \n\n
|
| Greatest Hits\n | \n\n
| \n1 | \n10 | \n3 | \n6 | \n14 | \n14 | \n10 | \n6 | \n2 | \n1\n | \n\n\n |
| Not Just a Girl (The Highlights)\n | \n\n
| \n49 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n34 | \n48 | \n131 | \n15\n | \n\n
|
| \"\u2014\" denotes releases that did not chart or were not released.\n |
| Title\n | \nAlbum details\n | \nPeak chart positions\n | \nCertifications\n | ||||||
|---|---|---|---|---|---|---|---|---|---|
| CAN [49]\n | \nAUS [25]\n | \nNLD [28]\n | \nNOR [29]\n | \nNZ [30]\n | \nUS [49]\n | \nUS Country [4]\n | |||
| VH1 Divas Live\n | \n\n\n | \n12 | \n12 | \n7 | \n9 | \n10 | \n21 | \n\u2014\n | \n\n\n |
| Still the One: Live from Vegas\n | \n\n
| \n8 | \n78 | \n\u2014 | \n\u2014 | \n\u2014 | \n55 | \n2\n | \n\n |
| \"\u2014\" denotes releases that did not chart or were not released.\n |
| Title\n | \nYear\n | \nPeak chart positions\n | \nCertifications\n | \nAlbum\n | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| CAN [23]\n | \nCAN Country [53]\n | \nAUS [25]\n | \nGER [54]\n | \nIRL [27]\n | \nNLD [28]\n | \nNZ [30]\n | \nUK [31]\n | \nUS [55]\n | \nUS Country [12]\n | ||||
| \"What Made You Say That\"\n | \n1993\n | \n\u2014 | \n70 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n55\n | \n\n | \nShania Twain\n |
| \"Dance with the One That Brought You\"\n | \n\u2014 | \n77 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n55\n | \n\n | ||
| \"You Lay a Whole Lot of Love on Me\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014\n | \n\n | ||
| \"Whose Bed Have Your Boots Been Under?\"\n | \n1995\n | \n\u2014 | \n11 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n31 | \n11\n | \n\n
| \nThe Woman in Me\n |
| \"Any Man of Mine\"\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n118 | \n31 | \n1\n | \n\n
| ||
| \"The Woman in Me (Needs the Man in You)\"\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n74 | \n14\n | \n\n | ||
| \"(If You're Not in It for Love) I'm Outta Here!\"\n | \n\u2014 | \n1 | \n5 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n74 | \n1\n | \n\n
| ||
| \"You Win My Love\"\n | \n1996\n | \n\u2014 | \n1 | \n67 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[A] | \n1\n | \n\n | |
| \"No One Needs to Know\"\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n1\n | \n\n | ||
| \"Home Ain't Where His Heart Is (Anymore)\"\n | \n\u2014 | \n7 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n28\n | \n\n | ||
| \"God Bless the Child\"\n | \n\u2014 | \n7 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n75 | \n48\n | \n\n | ||
| \"Love Gets Me Every Time\"\n | \n1997\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n25 | \n1\n | \n\n
| \nCome On Over\n |
| \"Don't Be Stupid (You Know I Love You)\"\n | \n\u2014 | \n1 | \n32 | \n\u2014 | \n15 | \n19 | \n42 | \n5 | \n40 | \n6\n | \n\n | ||
| \"You're Still the One\"\n | \n1998\n | \n7 | \n1 | \n1 | \n68 | \n3 | \n10 | \n9 | \n10 | \n2 | \n1\n | \n\n\n | |
| \"From This Moment On\" (solo or with Bryan White)[B]\n | \n13 | \n1 | \n2 | \n\u2014 | \n\u2014 | \n53 | \n7 | \n9 | \n4 | \n6\n | \n\n\n | ||
| \"When\"\n | \n14 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n18 | \n\u2014 | \n\u2014\n | \n\n | ||
| \"Honey, I'm Home\"\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n1\n | \n\n
| ||
| \"That Don't Impress Me Much\"\n | \n5 | \n2 | \n2 | \n8 | \n1 | \n2 | \n1 | \n3 | \n7 | \n8\n | \n\n\n | ||
| \"Man! I Feel Like a Woman!\"\n | \n1999\n | \n18 | \n2 | \n4 | \n33 | \n8 | \n10 | \n1 | \n3 | \n23 | \n4\n | \n\n\n | |
| \"You've Got a Way\"\n | \n17 | \n1 | \n28 | \n\u2014 | \n\u2014 | \n\u2014 | \n17 | \n\u2014 | \n49 | \n13\n | \n\n | ||
| \"Come On Over\"\n | \n\u2014 | \n1 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n58 | \n6\n | \n\n | ||
| \"Rock This Country!\"\n | \n2000\n | \n\u2014 | \n3 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n30\n | \n\n | |
| \"I'm Holdin' On to Love (To Save My Life)\"\n | \n\u2014 | \n4 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[C] | \n17\n | \n\n | ||
| \"I'm Gonna Getcha Good!\"\n | \n2002\n | \n1 | \n3 | \n14 | \n15 | \n7 | \n15 | \n4 | \n4 | \n34 | \n7\n | \n\n\n | \nUp!\n |
| \"Up!\"\n | \n2003\n | \n2 | \n2 | \n29 | \n42 | \n\u2014 | \n\u2014 | \n27 | \n21 | \n63 | \n12\n | \n\n
| |
| \"Ka-Ching!\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n3 | \n27 | \n11 | \n\u2014 | \n8 | \n\u2014 | \n\u2014\n | \n\n
| ||
| \"Forever and for Always\"\n | \n5 | \n* | \n45 | \n9 | \n6 | \n44 | \n17 | \n6 | \n20 | \n4\n | \n\n
| ||
| \"Thank You Baby! (For Makin' Someday Come So Soon)\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n20 | \n23 | \n48 | \n\u2014 | \n11 | \n\u2014 | \n\u2014\n | \n\n | ||
| \"She's Not Just a Pretty Face\"\n | \n\u2014 | \n* | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n56 | \n9\n | \n\n | ||
| \"When You Kiss Me\"\n | \n\u2014 | \n\u2014 | \n47 | \n30 | \n41 | \n\u2014 | \n\u2014 | \n21 | \n\u2014 | \n60\n | \n\n | ||
| \"It Only Hurts When I'm Breathing\"\n | \n2004\n | \n4 | \n4 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n71 | \n18\n | \n\n | |
| \"Party for Two\" (with Billy Currington or Mark McGrath)\n | \n2 | \n3 | \n\u2014 | \n7 | \n25 | \n44 | \n\u2014 | \n10 | \n58 | \n7\n | \n\n
| \nGreatest Hits\n | |
| \"Don't!\"\n | \n2005\n | \n10 | \n4 | \n\u2014 | \n58 | \n48 | \n\u2014 | \n\u2014 | \n30 | \n\u2014[D] | \n24\n | \n\n | |
| \"I Ain't No Quitter\"\n | \n\u2014 | \n8 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n45\n | \n\n | ||
| \"Shoes\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n29\n | \n\n | \nDesperate Housewives\n | |
| \"Today Is Your Day\"\n | \n2011\n | \n14 | \n18 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n66 | \n36\n | \n\n | \nNon-album single\n |
| \"Endless Love\" (Lionel Richie featuring Shania Twain)\n | \n2012\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[E] | \n\u2014[F]\n | \n\n | \nTuskegee\n |
| \"Life's About to Get Good\"\n | \n2017\n | \n70 | \n26 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[G] | \n\u2014 | \n33\n | \n\n | \nNow\n |
| \"Swingin' with My Eyes Closed\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[H] | \n\u2014 | \n\u2014\n | \n\n | ||
| \"We Got Something They Don't\"\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[I]\n | \n\n | ||
| \"Who's Gonna Be Your Girl\"[66]\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014\n | \n\n | ||
| \"Hole in the Bottle\" (with Kelsea Ballerini)[67]\n | \n2020\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014\n | \n\n | \nNon-album single\n |
| \"Forever and Ever, Amen\" (with Ronan Keating)[68][69]\n | \n2021\n | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014\n | \n\n | \nTwenty Twenty\n |
| \"Waking Up Dreaming\"\n | \n2022\n | \n72 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[J]\n | \n\n | \nQueen of Me\n |
| \"Giddy Up!\"\n | \n2023\n | \n70 | \n43 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014 | \n\u2014[K] | \n\u2014 | \n\u2014 | \n\u2014[L]\n | \n\n | |
| \"\u2014\" denotes items which were not released in that country or failed to chart. \"*\" denotes items which are unverifiable.\n |
| Title\n | \nYear\n | \nPeak chart positions\n | \nCertifications\n | \nAlbum\n | ||
|---|---|---|---|---|---|---|
| IRL [27]\n | \nNZ Hot [72]\n | \nUK [31]\n | ||||
| \"Unhealthy\" (Anne-Marie featuring Shania Twain)[73]\n | \n2023\n | \n10 [74] | \n10 | \n18\n | \n\n
| \nUnhealthy\n |
| Title\n | \nYear\n | \nPeak chart positions\n | \nAlbum\n | |
|---|---|---|---|---|
| CAN Digital [75]\n | \nUS Dance [76]\n | |||
| \"For the Love of Him\"\n | \n1999\n | \n\u2014 | \n\u2014\n | \nThe Complete Limelight Sessions\n |
| \"It's Alright\"\n | \n2001\n | \n\u2014 | \n25\n | |
| \"The Heart Is Blind\"\n | \n\u2014 | \n\u2014\n | ||
| \"Poor Me\"[77]\n | \n2017\n | \n\u2014 | \n\u2014\n | \nNow\n |
| \"Not Just a Girl\"\n | \n2022\n | \n32 | \n\u2014\n | \nNot Just a Girl (The Highlights)\n |
| \"Last Day of Summer\"[45]\n | \n\u2014 | \n\u2014\n | \nQueen of Me\n | |
| \"\u2014\" denotes items which were not released in that country or failed to chart.\n |
| Title\n | \nYear\n | \nPeak chart positions\n | \nAlbum\n | ||
|---|---|---|---|---|---|
| CAN [23]\n | \nCAN Country [78]\n | \nUS Country [12]\n | |||
| \"If It Don't Take Two\"\n | \n1997\n | \n\u2014 | \n80 | \n\u2014\n | \nThe Woman in Me\n |
| \"Coat of Many Colors\" (with Alison Krauss & Union Station)\n | \n2003\n | \n\u2014 | \n\u2014 | \n57\n | \nJust Because I'm a Woman: Songs of Dolly Parton\n |
| \"White Christmas\" (with Michael Bubl\u00e9)\n | \n2011\n | \n86 | \n\u2014 | \n\u2014\n | \nChristmas\n |
| \"Say All You Want for Christmas\" (Nick Jonas featuring Shania Twain)\n | \n2017\n | \n\u2014[M] | \n\u2014 | \n\u2014\n | \nIsland: This Is Christmas\n |
| \"\u2014\" denotes items which were not released in that country or failed to chart.\n |
| Title\n | \nYear\n | \nNotes\n |
|---|---|---|
| \"Amneris' Letter\"\n | \n1999\n | \n\n
|
| \"Coat of Many Colors\"\n | \n2003\n | \n\n
|
| \"Blue Eyes Crying in the Rain\"\n | \n\n
| |
| \"You Needed Me\"\n | \n2007\n | \n\n
|
| \"White Christmas\"\n | \n2011\n | \n\n\n |
| \"You're Still the One\"\n | \n2014\n | \n\n
|
| \"Say All You Want for Christmas\"\n | \n2017\n | \n\n
|
| \"Legends Never Die\"\n | \n2020\n | \n\n
|
| Studio albums | \n\n |
|---|---|
| Live albums | |
| Compilation albums | |
| Video albums | |
| Concerts and residencies | |
| Television | |
| Film | |
| Related articles | |
\n\n |
\n\t\n\t\t\n\t\t\n\t\n\n\n\t\t| Now | |||
|---|---|---|---|
![](\"/wiki/File:Shania_Twain_-_Now_(Official_Album_Cover).png\") | |||
| Studio album by | |||
| Released | September 29, 2017 | ||
| Recorded | 2014\u20132017 | ||
| Genre | |||
| Length | 41:25 | ||
| Label | Mercury Nashville | ||
| Producer | \n
| ||
| Shania Twain chronology | |||
\n
| |||
| Singles from Now | |||
\n
|
Now is the fifth studio album by Canadian singer and songwriter Shania Twain and her first in 15 years. It was released on September 29, 2017 by Mercury Nashville.[2] The album was produced by Twain alongside Ron Aniello, Jake Gosling, Jacquire King and Matthew Koma. Following a severely weakened singing voice caused by Lyme disease and dysphonia, Twain took an indefinite hiatus from music beginning in the mid-2000s, and at one point was unsure if she would ever be able to sing again.[3][4] Following intense vocal rehabilitation and a successful concert residency in Las Vegas, Shania: Still the One, she began planning a new studio album in 2013.[5] Written solely by Twain, Now is her first studio album in which she assumed an integral role in its production, co-producing every track. It is also Twain's first album since her 1993 self-titled debut studio album to not be co-written with or produced by her ex-husband Robert John \"Mutt\" Lange.\n
Her first studio album since Up! (2002), Twain has named Now her most personal album. The album received mixed reviews from music critics, with some complimenting the album's production and Twain's long-awaited return to music, while others criticized her vocals and the album's lyrics. Now debuted at number one on the Billboard 200, Canadian Albums and Top Country Albums charts and has since reached number one in several countries worldwide, as well as being certified platinum in Canada. Four singles, \"Life's About to Get Good\", \"Swingin' With My Eyes Closed\", \"Who's Gonna Be Your Girl\" and \"We Got Something They Don't\", were released in promotion for the album. The first two singles, \"Life's About to Get Good\" and \"Swingin' With My Eyes Closed\", as well as the unreleased track \"Soldier\", were all given music videos. Twain further promoted the album with television performances, festival appearances, interviews, and the successful Now Tour in 2018.\n
\n\nAfter releasing the compilation album Greatest Hits in 2004, Twain released the single \"Shoes\" for the soundtrack to the television series Desperate Housewives. Later, experiencing the breakdown of her marriage, Twain divorced her longtime husband and songwriting partner, music producer Robert John \"Mutt\" Lange, in 2008. She remarried to Fr\u00e9d\u00e9ric Thi\u00e9baud, the husband of her former best friend, in 2011. The same year, she released the promotional single \"Today Is Your Day\", which had a moderate impact on the charts.\n
Twain underwent vocal therapy after being diagnosed with dysphonia and Lyme disease, which caused her to nearly lose her singing voice;[6] she embarked on a concert tour and Las Vegas residency before revealing that new music would arrive in 2017.\n
\nTwain premiered \"Life's About to Get Good\", the album's lead single, at the Stagecoach Festival in April 2017 before officially releasing it as a single on June 15, 2017. The single debuted and peaked at number 36 on the US Billboard Country Airplay chart. A music video for the song, directed by Matthew Cullen, was released in July. \"Swingin' With My Eyes Closed\" was released as the second single from Now on August 18, 2017, later accompanied by a music video.[7][8][9] \"We Got Something They Don't\" was released as the third single from the album on October 30, 2017, followed by \"Who's Gonna Be Your Girl\" as the fourth single on December 17.[10][11]\n
Two tracks from Now were released as promotional singles ahead of the album's release: \"Poor Me\" was released as the first promotional single on July 20, 2017, accompanied by an official lyric video, followed by \"We Got Something They Don't\" on September 15.[12][13]\n
\n| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 5.0/10[14] |
| Metacritic | 58/100[15] |
| Review scores | |
| Source | Rating |
| AllMusic | ![\"\"](\"//upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png\"){kind=spacer} ![\"\"](\"//upload.wikimedia.org/wikipedia/commons/thumb/8/81/Star_half.svg/11px-Star_half.svg.png\"){kind=spacer} ![\"\"](\"//upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png\"){kind=spacer} [16] |
| Consequence of Sound | C[17] |
| Entertainment Weekly | B+[18] |
| The Guardian | [19] |
| Pitchfork | 6.6/10[20] |
| Rolling Stone | [21] |
Now received mixed reviews from music critics. At Metacritic, the album received a weighted score of 58 out of 100 from review aggregate website Metacritic, indicating \"mixed or average reviews\", based on 11 reviews from music critics.\n
Robert Crawford of Rolling Stone called the album \"dramatic and diverse\", but affirms \"Now continues the exploration we last saw with 2002's Up!.\"[22] Sounds Like Nashville's Annie Reuter says \"Twain proves herself relevant on Now\", noting the production of the album as a standout piece. \"[A] cutting-edge production that reminds the listener exactly why she is the best-selling female country artist of all time,\"[23]\n
Sputnikmusic gave the album 4/5, claiming \"There isn\u2019t a bad song on \"Now\". In a perfect world this album will pop up on a number of end of year top 10 lists. But as it is Shania's body of modern work will have to settle for being recognized as the best pop-country/Americana record to come out so far this decade. It's a welcome return to form for one of the best voices working in any genre.\"[24] Conversely, Mikael Wood of the Los Angeles Times criticized Twain's vocal delivery on the uptempo tracks as \"flat and robotic\",[25]\n
The Wall Street Journal writer Barry Mazor says the album finds Twain \"singing in a somewhat lower register\u2014audible, but not dramatically different.\" Mazor also praised Twain's sonic direction saying, \"If it was commonly suggested during her hit run that the sounds and video images were manipulative concoctions developed by Mr. Lange, and Ms. Twain was merely his puppet, that charge is certainly well-debunked now.[26]\n
\nNow debuted at number one in the United Kingdom, becoming her second album to top the UK Albums Chart after\nCome On Over.[27] It also entered at the top position in Australia, becoming her third album after Come On Over and Up! to reach the summit of the ARIA Albums Chart.[28] In the United States, it opened atop the Billboard 200 with 137,000 album-equivalent units, which included 134,000 album sales, and became her second number-one album in the country after Up!.[29] Now descended to number 29 the next week, earning 15,000 album-equivalent units and selling 14,000 copies.[30] As of August 2018 the album had sold 233,800 copies in the United States.[31]\n
The record additionally debuted at number one on the Canadian Albums Chart with 72,000 copies sold and 73,000 album-equivalent units in its first week, becoming Canada's biggest album opening since Drake's Views (2016)[32] and her fourth entry to reach its summit after Come On Over, Up!, and Greatest Hits.[33] As of December 2017 the album has sold 106,000 copies in Canada, making it the best selling Canadian CD that year.[34]\n
\nAll tracks are written by Twain.\n
\n| No. | Title | Producer(s) | Length |
|---|---|---|---|
| 1. | \"Swingin' with My Eyes Closed\" | 3:33 | |
| 2. | \"Home Now\" |
| 3:21 |
| 3. | \"Light of My Life\" |
| 3:36 |
| 4. | \"Poor Me\" |
| 3:21 |
| 5. | \"Who's Gonna Be Your Girl\" |
| 4:13 |
| 6. | \"More Fun\" |
| 3:38 |
| 7. | \"I'm Alright\" |
| 3:51 |
| 8. | \"Roll Me on the River\" |
| 3:06 |
| 9. | \"We Got Something They Don't\" |
| 3:28 |
| 10. | \"You Can't Buy Love\" |
| 2:39 |
| 11. | \"Life's About to Get Good\" |
| 3:40 |
| 12. | \"Soldier\" |
| 2:59 |
| Total length: | 41:25 |
| No. | Title | Producer(s) | Length |
|---|---|---|---|
| 1. | \"Swingin' with My Eyes Closed\" | 3:33 | |
| 2. | \"Home Now\" |
| 3:21 |
| 3. | \"Light of My Life\" |
| 3:36 |
| 4. | \"Poor Me\" |
| 3:21 |
| 5. | \"Who's Gonna Be Your Girl\" |
| 4:13 |
| 6. | \"More Fun\" |
| 3:38 |
| 7. | \"I'm Alright\" |
| 3:51 |
| 8. | \"Let's Kiss and Make Up\" |
| 3:59 |
| 9. | \"Where Do You Think You're Going\" |
| 3:22 |
| 10. | \"Roll Me on the River\" |
| 3:06 |
| 11. | \"We Got Something They Don't\" |
| 3:28 |
| 12. | \"Because of You\" |
| 3:47 |
| 13. | \"You Can't Buy Love\" |
| 2:39 |
| 14. | \"Life's About to Get Good\" |
| 3:40 |
| 15. | \"Soldier\" |
| 2:59 |
| 16. | \"All in All\" |
| 3:43 |
| Total length: | 56:16 |
Adapted from AllMusic.[37][38][39]\n
Vocals\n
\nMusicians\n
\nProduction and imagery\n
\n\nWeekly charts[edit]\n
| \n\nYear-end charts[edit]\n
\n \n |
| Region\n | \nCertification | \nCertified units/sales\n |
|---|---|---|
| Canada (Music Canada)[63]\n | \nPlatinum\n | \n80,000\u2021\n |
| United Kingdom (BPI)[64]\n | \nSilver\n | \n60,000\u2021\n |
| United States\n | \n\u2014\n | \n233,800[31]\n |
| Summaries\n | ||
| Worldwide\n | \n\u2014\n | \n600,000[65]\n |
| \n \u2021 Sales+streaming figures based on certification alone.\n \n |
| Region\n | \nDate\n | \nFormat(s)\n | \nLabel\n | \nEdition(s)\n | \nRef.\n |
|---|---|---|---|---|---|
| Canada\n United States\n \n | \nSeptember 29, 2017\n | \n\n\n \n | \nMercury Nashville\n | \n\n \n
| \n[35][36][66]\n |
| Studio albums | \n\n |
|---|---|
| Live albums | |
| Compilation albums | |
| Video albums | |
| Concerts and residencies | |
| Television | |
| Film | |
| Related articles | |
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\n \n \n \n \n ![\"A](\"https://i.cbc.ca/1.6738373.1675774907!/fileImage/httpImage/image.jpg_gen/derivatives/16x9_780/shania-twain-albums.jpg\")
Now 40 years into her career, Shania Twain shows no sign\u00a0of slowing down. The queen of country pop\u00a0recently released her sixth studio album, Queen of Me, one\u00a0that Twain has described as "unapologetic and empowered," two words that can easily describe some of her best work \u2014 and a combination that\u00a0has led Twain to become one of the best-selling artists of all time.
Whether you're a country fan or a pop music enthusiast, Twain's decades-spanning discography has something for you. To mark the release of Queen of Me, CBC Music looked back at Twain's impressive career and reflected on all the releases the singer has put out so far. Below, we've ranked Twain's albums from worst to best.\u00a0
Share your rankings with us @CBCMusic.\u00a0
Fifteen years passed between Twain's 2002 album,\u00a0Up!, and 2017's Now, and in that span of time, she grappled with a series of life-upending events: her husband and creative partner, Mutt Lange, allegedly had an affair with her best friend, resulting in their divorce, and dysphonia attacked her vocal cords.\u00a0Twain's\u00a0music was put on pause while she had throat surgery to repair the damage, and she had to contend with the fact that she might never sing again. Twain recovered and rediscovered her voice after those setbacks, though, and eventually\u00a0put\u00a0out an album with a triumphant narrative \u2014 but a sound that ultimately falls\u00a0short.
From the very first track \u2014 the anthemic, reggae-tinged "Swingin' With my Eyes Closed" \u2014 you know you're in for something a little bit bland, and constructed with heavy radio play in mind. Each song shows off Twain's huskier, post-surgery vocals, which is great, but lyrically there isn't much to chew on.\u00a0Now is clearly a comeback album that strives to honour all Twain fought through to get back in the studio, and while that resilient undercurrent holds the entire project together, in the end it\u00a0lacks originality. Now\u00a0is, overall,\u00a0polished, but\u00a0in a way that makes each\u00a0song sound like it could have been done by someone else, not the\u00a0certified country superstar we know and love. The album does get\u00a0a few extra points by reminding listeners that finding happiness again is something to sing loudly about \u2014\u00a0even though Twain refrains from mixing it with\u00a0the innovation that set her apart on previous albums.\u00a0\u2014 Natalie Harmsen
Twain's latest album opens with a distinctly upbeat country moment as she encourages listeners to "Up in your giddy up, giddy, giddy up," a fun refrain that is immediately dampened by the followup line: "Drunk in the city, got litty in the cup." Queen of Me is Twain's first album in six years, coming out at a time that has been described by some as the Shaniassance. Not that Twain didn't get enough credit back in the day for her talent and innovation \u2014\u00a0bridging country and pop to create a new path that many have since taken, from Kacey Musgraves to Taylor Swift \u2014\u00a0but it's nice to see her influence be carried into a new generation thanks to stars like Harry Styles, Orville Peck and Post Malone.\u00a0
Pop has changed a lot since Twain topped the charts with "That Don't Impress me Much" and "Man! I Feel Like a Woman," though. And on Queen of Me, Twain's ratio of pop to country feels off. In fact, country takes a backseat on several tracks \u2014\u00a0including\u00a0"Best Friend," "Pretty Liar" and "Number One" \u2014 with each of those songs trying on a different pop sound from recent years, whether it's a Meghan Trainor bouncy bop or Dua Lipa's disco-inspired melodies.
What gets lost here is what made Twain such a star earlier in her career: songwriting that felt more personalized;\u00a0that country sensibility that rooted her performances;\u00a0and a voice that is now drowned out with vocal effects, especially the tracks that lean uncomfortably toward electro-pop. There are still glimpses of that old Shania on the album's more low-key moments, such as the sunny ease of "Last Day of Summer," but overall, Twain is too caught up in the present sound of others when she's clearly best at being herself.\u00a0\u2014 Melody Lau
Twain's 1993 self-titled debut is one full of promise. It didn't land with the fanfare or commercial success\u00a0of her subsequent albums,\u00a0The Woman in Me and Come on Over, but it undoubtedly included glimpses of what was to come. Shania Twain was a mostly enjoyable riff on country standards\u00a0that eventually went double platinum in Canada and platinum in the U.S. in 1999, as the popularity of later albums stirred up interest in her back catalogue.\u00a0
Twain's vocal prowess is immediately resonant on this debut,\u00a0though\u00a0the songs fall a bit flat. The simple melodies don't suit Twain's\u00a0bombastic vocals, and her voice demands more of the production that\u00a0it just doesn't deliver. There isn't a distinct identity to the music, which could be because five out of the album's 10 songs were previously recorded by other artists \u2014 including the biggest hit, "What Made you say That," a cover of Wayne Massey's 1989 song. Still, Twain's\u00a0voice is gripping, and rich with enough texture to make a listener curious\u00a0to hang on through to the end. In terms of the songwriting, there isn't a lot of room for Twain's own creative freedom, and the original songs don't seem to be written with her particular skills in mind. In fact, Twain only has writing credits for one song on the album, "God Ain't Gonna Getcha for That," which hints\u00a0at the slick country pop and lyrical playfulness that was biding its time. On Shania Twain, the singer\u00a0was following a well-trodden path, rather than blazing a bold new one. But, if her debut proved anything, it's that the bones for greatness were there \u2014\u00a0they just needed to be excavated. \u2014 Kelsey Adams
Expectations couldn't have been higher for Twain after the mega-success of her 1997 album, Come on Over. The late-'90s cemented Twain as one of the world's biggest pop stars, and while country still formed the backbone of her hits, 2002's Up! unquestionably capitalized on her superstar status to build bigger, stadium-worthy anthems. That's best reflected on the album's first two singles,\u00a0"I'm Gonna Getcha Good" and "Up!," the former\u00a0a stomping number that wraps Twain's country twang in glossy, millennium pop production, while the latter title track is a cheery, optimistic jam to sing along to. (Twain's then-husband,\u00a0Mutt Lange, returned to produce the entire album.)\u00a0
While some critics complained about its generic songwriting, Up!'s universality showed the world Twain's ambitions to continue raising her mainstream platform. And even though Up! never surpassed Come on Over in sales, it did extend her\u00a0reign on the charts, earning Twain her third diamond album in a row in the U.S.; in Canada, the album was certified diamond just 17 days after its release. Two months later, Twain was dominating one of North America's biggest stages: the Super Bowl halftime show alongside No Doubt and Sting.
It's also quite representative of its time \u2014\u00a0when genre distinctions were still firmly enforced by both the media and its consumers \u2014\u00a0that Up! was awkwardly released as three different editions: a red disc pop version; a green disc country version; and a blue disc version that was described at the time as "more rhythmic with an Eastern influence." (Noted music critic Robert Christgau wrote, "I'll take the 'green' mixes, and f--k you for asking.") But the album's strength lies in the Venn diagram of its red and green versions:\u00a0that seamless, alchemical mix of country and pop, together in one irresistible package. \u2014 ML
While Come on Over may be Twain's biggest album by all measure, The Woman in Me is where the country singer truly started to stretch herself into the country-pop crossover queen she would become \u2014 and it was her first release to sell millions. It was also the first of three albums that Twain would write with now ex-husband Lange (who previously had worked with AC/DC and Def Leppard), a writing partnership that resulted in a wedding before the majority of the songs for this album were formed. The Woman in Me is barely a country record, but Twain knew how to keep the necessary twang and ratchet up the pop-rock to produce an album that would effectively change the genre \u2014 and spawn an army of songs that are still earworms today.
Half of The Woman in Me's singles hit No. 1 on the Billboard Hot 100: "Any Man of Mine," "(If You're Not in it for Love) I'm Outta Here," "You Win my Love" and "No one Needs to Know" (which also found a home on the soundtrack for the 1996 film Twister). The (slightly clich\u00e9d) laundry list of things that a man needs to be or do on "Any Man of Mine'' further introduced fans to Twain's brand of feminism, a line in the sand drawn by a woman who had been pushed around in a misogynistic industry since she was a kid. The singer detailed her perspective in her 2022 documentary, Not Just a Girl: "I was always very bold and straightforward about what I thought and my point of view on things as a woman particularly. My point of view in relationships, the way I felt that women should be treated, respected, and I still feel the same way." Paired with the sassiness of "Any Man of Mine" and "Whose Bed Have Your Boots Been Under?" were Twain's more vulnerable ballads, including "Home Ain't Where his Heart is (Anymore)" and "Leaving is the Only Way Out," proving that this woman who could clearly kick up dust on the dance floor had incredible range to offer.\u00a0
Not everyone loved what Twain (and by extension, Lange) were creating: one Entertainment Weekly review from 1995 said, "What do you get when you pair a former Canadian resort singer with a Karen Carpenter fixation and an over-the-top pop producer who thinks it would be fun to work in country? The Woman in Me (Mercury), one of the worst records of the decade." But The Woman in Me would age much better than that review, and showed us who Twain really was \u2014 and who she wanted to become. \u2014 Holly Gordon
If you're Shania Twain and it is 1997, the journey between homespun honkey-tonker and high priestess of country-pop can sometimes be travelled in the thrust of a hip or the heroic toss of a lush head of hair. That duality, and the fearless and unabashed ways in which she negotiated and crafted paths between the two, laid the foundation for the defining record of Twain's career: Come on Over.\u00a0
The album's title tells us what we need to know before we even press play. Come on Over is an invitation that reads as both folksy and wholesome but also as a dare, a subversive temptation to the other side. With tracks like the raucous instant classics "Man! I Feel Like a Woman!" and "That Don't Impress Me Much,"\u00a0as well as the traditional gender role-reversal tunes "Don't Be Stupid (You Know I Love You) and "Honey I'm Home", Twain follows in the path of Loretta Lynn, Tammy Wynette\u00a0and many of country music's rebellious and most successful solo women artists. On\u00a0Come on Over,\u00a0Twain is crafting and performing songs that articulate the power, importance\u00a0and autonomy of women in a world (and genre) where white straight men are still gatekeepers. She's also making room for the liberating joy of love ("You're Still the One" and "Love Gets Me Every Time"), consent ("If You Want to Touch Her, Ask!") and the lonely devastation of gendered violence ("Black Eyes, Blue Tears").
The scope of Come on Over's success was unrivalled, and its reach and influence unparalleled. With more than 40 million copies sold, Come on Over is the biggest-selling album by a female solo artist in the world, and it's easy to understand why. Twain presents as authentic and real but still aspirational. She is alluring and cheeky, and she's also a wise woman-of-the-world who has survived poverty, the death of her parents, and sexual assault. She's a class-chameleon who has refused to let go of her softness. Twain's unapologetic, squishy romanticism is a radical act, but so too is her command of her career, her craft\u00a0and her songwriting. Decades later, Come on Over is still an invitation that's impossible to resist.\u00a0\u2014 Andrea Warner
\n\t\n\t\t\n\t\t\n\t\n\n\n\t\t| Greatest Hits | |||
|---|---|---|---|
![](\"/wiki/File:Shania_Twain_-_Greatest_Hits.png\") | |||
| Greatest hits album by | |||
| Released | November 8, 2004 | ||
| Recorded | 1994\u20132004 | ||
| Genre | |||
| Length | 77:45 (North American edition) 77:07 (International edition) | ||
| Label | Mercury Nashville | ||
| Producer | Robert John \"Mutt\" Lange | ||
| Shania Twain chronology | |||
\n
| |||
| Singles from Greatest Hits | |||
\n
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| Review scores | |
|---|---|
| Source | Rating |
| AllMusic | [1] |
| PopMatters | ![\"\"](\"//upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/7px-Star_full.svg.png\") ![\"\"](\"//upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/7px-Star_empty.svg.png\"){kind=spacer} [2] |
Greatest Hits is the first greatest hits album by Canadian country-pop singer Shania Twain, released on November 8, 2004, by Mercury Nashville. The album contains seventeen of Twain's top ten hits, including all of her seven number one hits on the Hot Country Songs. Excluded from the track list is Twain's self-titled debut album, of which no songs were included. Some songs are included in their pop versions such as \"That Don't Impress Me Much\" and \"I'm Gonna Getcha Good!\".\n
Three new songs were recorded specifically for the compilation and were all released as singles: \"Party for Two\" (featuring either Mark McGrath or Billy Currington), \"Don't!\", and \"I Ain't No Quitter\". \"Party for Two\" went on to peak at number seven on the Hot Country Songs chart and peaked within the top ten in six other countries. \"Don't!\" was a moderate hit, peaking within the top twenty on the Adult Contemporary chart and the top 40 in the UK. \"I Ain't No Quitter\" was one of Twain's least successful singles, becoming her first since \"God Bless the Child\" to miss the top 40 at US country.\n
Greatest Hits was a commercial success; It debuted at number two on the Billboard 200 chart and at number one on the Top Country Albums chart with 530,000 copies sold, staying there for eleven consecutive weeks. The album was also the highest selling country album in the US for 2005, and was certified 4\u00d7 platinum in the US and 3\u00d7 platinum in the UK. Additionally, Greatest Hits was recognized by Guinness World Records as the fastest-selling greatest hits album by a female artist in the US.[3] As of December 2019, the album has sold 4.4 million copies in the US.[4]\n
Greatest Hits was released on vinyl for the first time on November 17, 2023. It is available in four versions: a standard black vinyl, and three limited editions vinyls: opaque blue, baby pink, and Coke bottle clear. The vinyl release contains two additional songs from Twain's studio albums released after Greatest Hits initial release: \"Life's About to Get Good\" from Twain's fifth studio album Now (2017) and \"Giddy Up!\" from her sixth studio album Queen of Me (2023).[5]\n
\n\nGreatest Hits goes chronologically in reverse; the opening track is \"Forever and for Always\" which is in its \"red\" (pop) version. Next is the European top ten hit \"I'm Gonna Getcha Good!\" which is also included in the \"red\" version. \"Up!\" is the final song from Twain's 2002 album Up! included on the compilation; North American and Australian versions include the \"green\" (country) version while the European version includes it in its \"red\" version. \"Ka-Ching!\" was included exclusively in the European version of Greatest Hits due to its success there.\n
Country top ten hit \"Come On Over\", the title track from Twain's 1997 album of the same name follows. UK top three and country top five hit \"Man! I Feel Like a Woman!\" is next; the European version uses the international mix while the North American and Australian version use the original country version. After is \"That Don't Impress Me Much\", which is notably included in its dance mix/pop version instead of the country version. \"From This Moment On\" is included in its solo version; the version included on Greatest Hits does include the initial featured artist Bryan White on background vocals. Next on the track list is Twain's seventh and most recent country number one \"Honey, I'm Home\". \"You're Still the One\" follows after; the North American and Australian versions of Greatest Hits include the country version without the intro while the European version uses the pop radio edit without the intro. After is the UK top five and number six country hit \"Don't Be Stupid (You Know I Love You)\" which is included as the country version and not the dance mix which was released internationally. The final song from Come On Over to be included in Greatest Hits is \"Love Gets Me Every Time\", which was a five-week runner of the number one spot on the Hot Country Singles & Tracks chart.\n
Country number one hit \"No One Needs to Know\" is the first song from Twain's sophomore album The Woman in Me to be included in the compilation. \"You Win My Love\" is next, with the radio edit being used instead of the album version. North American number one and Australian top five hit \"(If You're Not in It for Love) I'm Outta Here!\" follows after, also being included in its radio edit. The country power-ballad \"The Woman in Me (Needs the Man in You)\" is also included in its radio edit. After is \"Any Man of Mine\", which was Twain's first country number one hit. The final song that is included before the new recordings is Twain's breakout hit \"Whose Bed Have Your Boots Been Under?\", which was her first hit single, reaching number 11 on the country charts.\n
Notably absent from the track list is Twain's 1993 self-titled debut album, in which no songs were included. Other songs that were excluded from Greatest Hits include \"Home Ain't Where His Heart Is\", \"God Bless the Child\", \"When\", \"Rock This Country!\", \"I'm Holdin' On to Love\", \"Thank You Baby!\", \"When You Kiss Me\", \"She's Not Just a Pretty Face\", and \"It Only Hurts When I'm Breathing\".\n
Three new songs were recorded for the compilation. The first of the new tracks is \"Party for Two\". Twain recorded it as a duet with Sugar Ray lead singer Mark McGrath and country musician Billy Currington. The song is lyrically about Twain enticing a guy to come to a party, which he's at first hesitant but when Twain shows it's just for the two of them he decides to join. The pop mix featuring McGrath was released to pop, adult contemporary, and international markets; likewise, the country version featuring Currington was released to country radio. The country version was not included in the European version of Greatest Hits but was included as a b-side on the CD single of \"Party for Two\". The second song included on the compilation is the adult contemporary influenced country ballad \"Don't!\". \"Don't!\" lyrically involves Twain wishing a partner for forgiveness. The third and final song included on Greatest Hits is the pure-country \"I Ain't No Quitter\". The song lyrically speaks of Twain sticking with an overconfident and brassy man because she is not \"a quitter\".\n
In the 2023 reissue of Greatest Hits, two songs from Twain's later career were included. The first is \"Life's About to Get Good\", which was originally on her fifth studio album Now. The second song that was included in the reissue is \"Giddy Up!\", included on her sixth and most recent studio album Queen of Me.\n
\n\"Party for Two\" was released as the lead single from Greatest Hits, released on September 7, 2004, to country radio first. The single proved to be a hit for Twain and one of her last major hits. The song debuted at number 39 on the Hot Country Songs the week of September 18, 2004 and later reached its peak of number seven on December 25, 2004,[6] marking Twain's 16th and final top ten hit on the chart. The song also reached number 16 on the Adult Contemporary chart.[7] It later led the single to reach number 58 on the mainline Billboard Hot 100. Internationally, the song also proved to be a success. It reached number eight and ten in Scotland and the UK, number six in Austria, number four in Denmark, and number two in Canada.\n
\"Don't!\" was released as the second single from the album on January 10, 2005. It proved to have moderate success on the charts. It peaked at number 24 on the country charts, her first since \"Rock This Country!\" to miss the top twenty; it however was a success in Canada, reaching number four on the Radio & Records Canada Country Top 30. It had some success on adult contemporary radio, reaching number 18.[7] It was also her first single officially released in the United States to not chart on the Hot 100 since \"I'm Holdin' On to Love (To Save My Life)\", instead reaching number 22 on the Bubbling Under Hot 100 chart, effectively reaching number 122 if combining both of the charts. Internationally, it also wasn't as successful as \"Party for Two\". The song did enter the top 40 in Canada, Scotland, the UK, and Belgium but didn't have much staying power.\n
\"I Ain't No Quitter\" was released as the third and final single from the compilation, released on May 2, 2005. Despite positive reception, it was one of her least successful singles. Entering at number 55 on the Hot Country Songs on May 21, 2005, it only reached as high as number 45 and only spent eight weeks on the chart; it marks her second lowest peaking single on the country charts only above the number 48 peak of \"God Bless the Child\". It did however, reach number eight on the Radio & Records Canada Country Top 30 chart.[8] It also reached number 22 on the Canadian Singles Chart.\n
\nGreatest Hits debuted at number two on the Billboard 200, selling 530,000 copies in its first week. The album was blocked from the number one spot by Eminem's Encore, which sold 710,000 copies in its debut week. The Guinness World Records recognizes Greatest Hits as the fastest-selling greatest hits album of all time by a female artist in the US. On the Top Country Albums chart, Greatest Hits immediately debuted at number one. Greatest Hits spent eleven non-consecutive weeks at number one and was the best selling country album of 2005. It has spent 256 weeks on the chart to date.[9] Greatest Hits debuted at number one on the Canadian Albums Chart on November 27, 2004, and spent five weeks at number one. It has charted for 115 weeks in the country.[9]\n
Internationally, the compilation was a success. Greatest Hits debuted at its peak position of number six on the UK Albums Chart on November 20, 2004; it spent two non-consecutive weeks at its peak and spent 28 weeks on the chart. The album debuted at number three in both Germany and Austria while debuting at number four in Switzerland. The album also cracked the top ten in Australia, France, Ireland, and Scotland.\n
\nAll tracks are written by Shania Twain and Robert John \"Mutt\" Lange, except for \"You Win My Love\" written by Lange
| No. | Title | Original album | Length |
|---|---|---|---|
| 1. | \"Forever and for Always\" (red radio edit) | Up! (2002) | 4:03 |
| 2. | \"I'm Gonna Getcha Good!\" (red radio edit) | Up! | 4:02 |
| 3. | \"Up!\" (green album version) | Up! | 2:53 |
| 4. | \"Come On Over\" | Come On Over (1997) | 2:54 |
| 5. | \"Man! I Feel Like a Woman!\" | Come On Over | 3:54 |
| 6. | \"That Don't Impress Me Much\" (dance mix, Australian tour edit) | Come On Over | 4:27 |
| 7. | \"From This Moment On\" (the right single mix) | Come On Over | 3:55 |
| 8. | \"Honey, I'm Home\" | Come On Over | 3:37 |
| 9. | \"You're Still the One\" (country version w/o intro) | Come On Over | 3:15 |
| 10. | \"Don't Be Stupid (You Know I Love You)\" | Come On Over | 3:35 |
| 11. | \"Love Gets Me Every Time\" | Come On Over | 3:33 |
| 12. | \"No One Needs to Know\" | The Woman in Me (1995) | 3:03 |
| 13. | \"You Win My Love\" (radio edit) | The Woman in Me | 3:45 |
| 14. | \"(If You're Not in It for Love) I'm Outta Here!\" (radio edit) | The Woman in Me | 3:48 |
| 15. | \"The Woman in Me (Needs the Man in You)\" (radio edit) | The Woman in Me | 3:57 |
| 16. | \"Any Man of Mine\" | The Woman in Me | 4:06 |
| 17. | \"Whose Bed Have Your Boots Been Under?\" (radio edit) | The Woman in Me | 3:59 |
| 18. | \"Party for Two\" (with Mark McGrath) | Previously unreleased | 3:31 |
| 19. | \"Don't!\" | Previously unreleased | 3:56 |
| 20. | \"Party for Two\" (with Billy Currington) | Previously unreleased | 3:31 |
| 21. | \"I Ain't No Quitter\" | Previously unreleased | 3:30 |
| Total length: | 77:45 |
| No. | Title | Original album | Length |
|---|---|---|---|
| 1. | \"Forever and for Always\" (red radio edit) | Up! | 4:03 |
| 2. | \"I'm Gonna Getcha Good!\" (red radio edit) | Up! | 4:02 |
| 3. | \"Up!\" (red album version) | Up! | 2:53 |
| 4. | \"Ka-Ching!\" (red album version) | Up! | 3:21 |
| 5. | \"Come On Over\" | Come On Over | 2:54 |
| 6. | \"Man! I Feel Like a Woman!\" (international version radio edit) | Come On Over | 3:54 |
| 7. | \"That Don't Impress Me Much\" (dance mix, Australian tour edit) | Come On Over | 4:27 |
| 8. | \"From This Moment On\" (the right single mix) | Come On Over | 3:55 |
| 9. | \"Honey, I'm Home\" | Come On Over | 3:37 |
| 10. | \"You're Still the One\" (international radio edit w/o intro) | Come On Over | 3:15 |
| 11. | \"Don't Be Stupid (You Know I Love You)\" | Come On Over | 3:35 |
| 12. | \"Love Gets Me Every Time\" | Come On Over | 3:33 |
| 13. | \"No One Needs to Know\" | The Woman in Me | 3:03 |
| 14. | \"You Win My Love\" (radio edit) | The Woman in Me | 3:45 |
| 15. | \"(If You're Not in It for Love) I'm Outta Here!\" (radio edit) | The Woman in Me | 3:48 |
| 16. | \"The Woman in Me (Needs the Man in You)\" (radio edit) | The Woman in Me | 3:57 |
| 17. | \"Any Man of Mine\" | The Woman in Me | 4:07 |
| 18. | \"Whose Bed Have Your Boots Been Under?\" (radio edit) | The Woman in Me | 3:59 |
| 19. | \"Party for Two\" (with Mark McGrath) | Previously unreleased | 3:31 |
| 20. | \"Don't!\" | Previously unreleased | 3:56 |
| 21. | \"I Ain't No Quitter\" | Previously unreleased | 3:30 |
| Total length: | 77:07 |
| No. | Title | Original album | Length |
|---|---|---|---|
| 22. | \"Life's About to Get Good\" | Now (2017) | 3:43 |
| 23. | \"Giddy Up!\" | Queen of Me (2023) | 2:42 |
| Total length: | 84:10 |
\nWeekly charts[edit]\n
| \n\nYear-end charts[edit]\n
\n \n |
| Region\n | \nCertification | \nCertified units/sales\n |
|---|---|---|
| Australia (ARIA)[76]\n | \n3\u00d7 Platinum\n | \n210,000^\n |
| Austria (IFPI Austria)[77]\n | \nGold\n | \n15,000*\n |
| Belgium (BEA)[78]\n | \nGold\n | \n25,000*\n |
| Brazil (Pro-M\u00fasica Brasil)[79]\n | \nGold\n | \n50,000*\n |
| Canada (Music Canada)[80]\n | \n6\u00d7 Platinum\n | \n600,000^\n |
| Denmark (IFPI Danmark)[81]\n | \nGold\n | \n20,000^\n |
| Germany (BVMI)[82]\n | \nPlatinum\n | \n500,000\u2021\n |
| Ireland (IRMA)[83]\n | \n3\u00d7 Platinum\n | \n45,000^\n |
| New Zealand (RMNZ)[84]\n | \n2\u00d7 Platinum\n | \n30,000^\n |
| Portugal (AFP)[85]\n | \nSilver\n | \n10,000^\n |
| Switzerland (IFPI Switzerland)[86]\n | \nPlatinum\n | \n40,000^\n |
| United Kingdom (BPI)[87]\n | \n3\u00d7 Platinum\n | \n900,000\u2021\n |
| United States (RIAA)[88]\n | \n4\u00d7 Platinum\n | \n4,446,200[4]\n |
| Summaries\n | ||
| Europe (IFPI)[89]\n | \nPlatinum\n | \n1,000,000*\n |
| \n * Sales figures based on certification alone. |
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\n\t\t\t\n\t\t\t{{cite magazine}}: Missing or empty |title= (help)\n| Studio albums | \n\n |
|---|---|
| Live albums | |
| Compilation albums | |
| Video albums | |
| Concerts and residencies | |
| Television | |
| Film | |
| Related articles | |
\n\n |