YMMV / Shania Twain

• Critical Dissonance: Despite her phenomenal commercial success, her critical success was divisive to say the least. This is perhaps exemplified in the reviews of The Woman in Me — Allmusic gave it 4½ stars out of 5, while Entertainment Weekly gave it an "F".
  • Conversely, Come On Over is seen as a 90's classic by both critics and fans (not to mention the album that arguably paved the way for the whole feminist country movement of the Turn of the Millennium). In fact, Entertainment Weekly (who gave her prior album an "F") listed it as one of the 100 Greatest Albums From 1983 To 2008. It was also listed at number 300 on Rolling Stone's 2020 revision of the 500 Greatest Albums Of All Time.
• Genre Turning Point: While their had been crossovers between rock and country in the past, Come On Over marked the point where, in the US at least, country fully absorbed the remnants of the Classic Rock styles that had been pushed out of the rock mainstream by the rise of Alternative Rock. As such, it's been credited with turning a lot of older rock fans and musicians into country fans and musicians by carving out a place in mainstream music where those styles were still prevalent. On a personal level, Shania also codified the idea of female country singers as sex symbols in a way that not even Dolly Parton had before, paving the way for singers like Carrie Underwood, Kellie Pickler, and Maren Morris who would more openly flaunt their sex appeal.
• Growing the Beard: Shania Twain was a solid but unremarkable mid-'90s country album. The Woman in Me matched her with Robert John "Mutt" Lange, netting her 12-times platinum sales and some of the most iconic country hits of the '90s such as "Any Man of Mine". Come On Over sold 20 times platinum, becoming the second best-selling album of all time by a Canadian artist and the ninth best-selling in the US, thanks to a myriad of crossover hits (something which surprisingly, did not happen with The Woman in Me).
• Iconic Outfit: The leopard print◊ outift in "That Don't Impress Me Much" and the black outfit in "Man! I Feel Like a Woman."
• Nightmare Fuel: The deserted city Shania walks around in the video for "Ka-Ching". She eventually finds its denizens partying up in a casino. Close-ups reveal a couple of men having a Visual Compression-based Slasher Smile. It is also hinted that she is killed by a snake at the end as well.
• Refrain from Assuming: "Love Gets Me Every Time" was originally titled "Gol Darn Gone and Done It," but changed because Twain thought that the original title would be too difficult for disc jockeys to say. The latter phrase is more prominent in the chorus, furthering the confusion.
• Seasonal Rot: Both of her comeback albums received extremely divisive reception, with most thinking that she tried too hard to trend chase rather than embracing her status as an icon. Her health problems leading to a decline in vocal performance and more reliance on synthetic sounds also prove to be a huge sticking point between her pop and country fans.
• Sequel Displacement: The Woman in Me was her second album.
• Signature Song: Around the world, "That Don't Impress Me Much" and "Man! I Feel Like a Woman", and to a lesser extent "You're Still The One". In the US and Canada, "Any Man of Mine," her breakthrough song, is also significant.
• Suspiciously Similar Song: The song "C'est La Vie" from Up! is often cited as a likely case of plagiarism for its similarity to ABBA's "Dancing Queen."
• Tear Jerker: More frequent on Up! and Now. Examples include "It Only Hurts When I'm Breathing", "I Ain't Goin' Down" and "Poor Me"
• Tough Act to Follow: This was inevitable when you release the best-selling album (Come On Over) by a female artist of all time. The follow-up Up! might have downplayed this trope (going 11 times platinum to Come On Over's 20) but a 15-year gap, a bitter divorce and vocal issues resulted in Now playing this straight.

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