Tommy's #1 SHANIA TWAIN SuperSite Message Board

Tiiger wrote:

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It’s getting ridiculous with all these different vinyls. Only Americans or Canadians can buy them too.

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 Welcome to 2026 basically all artist are doing it and thats how they get a high charting debut. The fun part is that you are not required to buy all versions.

Honeyimhome wrote:

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Tiiger wrote:

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It’s getting ridiculous with all these different vinyls. Only Americans or Canadians can buy them too.

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 Welcome to 2026 basically all artist are doing it and thats how they get a high charting debut. The fun part is that you are not required to buy all versions.

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 Isn’t it marvelous that it’s 2026 and everyone’s entitled to their own opinion! Hurrah!

Tommy wrote:

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Honeyimhome wrote:

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Tiiger wrote:

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It’s getting ridiculous with all these different vinyls. Only Americans or Canadians can buy them too.

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 Welcome to 2026 basically all artist are doing it and thats how they get a high charting debut. The fun part is that you are not required to buy all versions.

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Aiming for one week of "glory" is ridiculous.

Queen Of Me debuted at No. 10 on the Billboard 200 chart, No. 2 on the Billboard Top Country Albums chart and No. 2 on the Billboard Canadian Albums chart.

After that, the album tanked. Week 2 the album fell 156 spots to No. 166 on the Billboard 200 chart and fell 16 spots to No. 18 on the Billboard Top Country Albums chart. Queen Of Me fell 30 spots to No. 32 on the Billboard Canadian Albums chart.

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And with the lack of promotion so far in the United States, I am worried the album won't even debut in the Top 20 on Billboard 200 (not that it matters but it is nice to see our favorites do well).

Who cares if she puts out 20 different versions of the album. There aren't any album releases next week that will get in the way. I bet the album goes to number 1 in Canada and maybe the UK. Her social media advertising for this album has been amazing. Next Friday this album will be number 1 in several countries. Shania is not some new artist who's just starting out. Little Miss Twain alone will be enough to sell then Shania Twain is just icing on the cake. Yall need to relax most artist fall down the charts fast these days. Shania isn't a streaming artist as she sells more records in stores versus online. I'm Canadian she has support here and we love her. It will do well in Canada 

Yeah I looked up all the artists she doesn't have much competition lol

Shania Twain @ShaniaTwain

Faded Blue Jeans is a song that has a little rock, a little blues and a lot of rebellion 😉 shaniatwain.lnk.to/fadedbluejeans

Video - https://www.facebook.com/reel/1710695916639768

10:01 AM ET - 15 Jul 26

http://facebook.com/ShaniaTwain

https://www.youtube.com/watch?v=Lg5TECdQcY8

Tiiger wrote:

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Guys! Very exciting news! The Fisherman's Edition will exclusively be available in Scandinavia.
I can arrange shipping service, if anyone's interested?

 

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Is this the only version where you can hear songs 12 and 13? 

Record Store Day US

LITTLE MISS TWAIN is coming and record stores around the country are toasting the return of SHANIA TWAIN. Find a store near you to celebrate the new album on release weekend — July 24, 25 and 26 — at special LITTLE MISS TWAIN events, complete with prizes, party favors* and a special gift* when you buy the new record on CD or Vinyl, and of course, a chance to hear new music from Shania together.

Find a store near you and catch up with them for dates, times and details

*While supplies last #listentogether #listentolittlemisstwain

List of record stores participating around the U.S. - https://www.instagram.com/p/Da3cxIZkfCJ/

Tommy wrote:

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matteotempo wrote:

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There's a, snippet of a new song in her latest Instagram/YouTube post. I wonder what song is

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Shania Twain @shaniatwain

One week until Little Miss Twain is yours ❤️ I can’t wait for you to hear the whole story. shaniatwain.lnk.to/littlemisstwain

Video - https://www.instagram.com/p/Da5-JL4t17J/

3:34 PM ET - 17 Jul 26

http://instagram.com/shaniatwain

https://www.youtube.com/watch?v=5s5dqAP-sP8

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 I think it's "I'd be loving me" as she seems to sing "it's just who I am".

I haven't been able to participate much here in the last few days because my computer is being repaired, but I'm reading. And I'm going to miss the release of LMT because I'll be in a distant country on vacation without internet from July 20th to 27th... I'll make up for it on the way back!

I really love "Faded Blue Jeans" although the transitions between verses and choruses are abrupt and artificial. Photos of Shania in the pickup of the video are beautiful and natural.

Stranger things sounds amazing. There are better videos of the song on Instagram and it sounds amazing. This album might due better than people think. I can't wait to hear the reviews of this album. She doesn't need mutt because she sounds so freaking good and her song writing is strong 

I think I will be obsessed with "Stranger Things". There are two videos on 2 different Instagram profiles where you can hear the beginning of the song up to the second verse and on the other one the second verse and the chorus and if you watch them one after the other you can have a pretty good idea of the song:

www.instagram.com/p/Da68JNpukoW/

www.instagram.com/p/Da61e9qtnJf/

It's a quite simple song, musically speaking, but it sounds really incredible. I can't wait to hear the whole song.

This one and "I'd Be Loving Me" sound much better than "Dirty Rosie" and "Faded Blue Jeans".

Absolute Radio Country @ARCountry (UK)

This week on the UK Country Radio Airplay Chart.

1:15 PM ET - 19 Jul 26

https://x.com/ARCountry/status/2078891393854918993

"Dirty Rosie" climbs 1 spot from last week to No. 6 (new peak) in its ninth week on the chart.

Shania Twain's nostalgia-tinted 'Little Miss Twain' proves more varied and entertaining than anticipated

By Thomas H. Green | The Arts Desk | July 20, 2026 

I didn’t want to review Shania Twain. My sense of her is of ancient mega-selling hits I can’t stand. I didn’t even go to her Sunday afternoon set at Glastonbury 2024. But it’s difficult to get most music writers to cover the biggest pop stars of our era. So here we are. And, you know what? It's a much better album than I was anticipating.

I wasn’t looking forward to slating a smorgasbord of nursery rhyme, line-dance cheese. Given her remit, it felt unfair and pointless. But I’m off the hook. Even the songs that head that way, such as the breakbeat-rolling “That’s the Money”, boast acceptable pop pep. Instead, while Twain loves an electronic rhythm track, most of her seventh studio album is dipped in a country-wrought combo of rhythm’n’blues and Memphis-style southern soul, with a dab of rock’n’roll.

On the downside, many of these songs would be improved by production that was earthier and less squeaky clean. On the plus side, Twain’s voice has famously suffered health depredations, and its slightly weathered edge suits this material.

The preceding singles give a good flavour. “Dirty Rosie” is an R&B-pop groover, “Faded Blue Jeans”, featuring Queens of the Stone Age’s Josh Homme, is catchy US trucker-radio rockin’ about a long-ago lover, and the title track, featuring outlaw country bad girl Tanya Tucker, is a wistful slowie about career-start smalltown dreaming.

Like much of the album, the latter is lyrically rich, and has the singer looking back. She’s happy to playfully take on a variety of genres, from the schmaltzy gospel-laced “Take It to the River”, with husband’n’wife soul duo The War & Treaty, to the Johnny Cash-like rockabilly shuffle of “Down the Middle”, which has a fab guitar solo. Other highlights include the funkin’, twangy swamp-blues chugger “Scary Thing” and the woozy slowie “Rockstars”.

The latter closes the album and, like “L.E.S. Girl” at the end of Madonna’s recent Confessions II, it sees a veteran singing star indulge in melancholy-tinged nostalgia for her young self’s pre-fame freedoms. It finishes a set that’s far more likeable than this committed non-fan was expecting.

https://theartsdesk.com/new-music/shania-twains-nostalgia-tinted-little-miss-twain-proves-more-varied-and-entertaining-anticipated

Tommy wrote:

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Shania Twain's nostalgia-tinted 'Little Miss Twain' proves more varied and entertaining than anticipated

By Thomas H. Green | The Arts Desk | July 20, 2026 

I didn’t want to review Shania Twain. My sense of her is of ancient mega-selling hits I can’t stand. I didn’t even go to her Sunday afternoon set at Glastonbury 2024. But it’s difficult to get most music writers to cover the biggest pop stars of our era. So here we are. And, you know what? It's a much better album than I was anticipating.

I wasn’t looking forward to slating a smorgasbord of nursery rhyme, line-dance cheese. Given her remit, it felt unfair and pointless. But I’m off the hook. Even the songs that head that way, such as the breakbeat-rolling “That’s the Money”, boast acceptable pop pep. Instead, while Twain loves an electronic rhythm track, most of her seventh studio album is dipped in a country-wrought combo of rhythm’n’blues and Memphis-style southern soul, with a dab of rock’n’roll.

On the downside, many of these songs would be improved by production that was earthier and less squeaky clean. On the plus side, Twain’s voice has famously suffered health depredations, and its slightly weathered edge suits this material.

The preceding singles give a good flavour. “Dirty Rosie” is an R&B-pop groover, “Faded Blue Jeans”, featuring Queens of the Stone Age’s Josh Homme, is catchy US trucker-radio rockin’ about a long-ago lover, and the title track, featuring outlaw country bad girl Tanya Tucker, is a wistful slowie about career-start smalltown dreaming.

Like much of the album, the latter is lyrically rich, and has the singer looking back. She’s happy to playfully take on a variety of genres, from the schmaltzy gospel-laced “Take It to the River”, with husband’n’wife soul duo The War & Treaty, to the Johnny Cash-like rockabilly shuffle of “Down the Middle”, which has a fab guitar solo. Other highlights include the funkin’, twangy swamp-blues chugger “Scary Thing” and the woozy slowie “Rockstars”.

The latter closes the album and, like “L.E.S. Girl” at the end of Madonna’s recent Confessions II, it sees a veteran singing star indulge in melancholy-tinged nostalgia for her young self’s pre-fame freedoms. It finishes a set that’s far more likeable than this committed non-fan was expecting.

https://theartsdesk.com/new-music/shania-twains-nostalgia-tinted-little-miss-twain-proves-more-varied-and-entertaining-anticipated

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 I'm getting more and more excited and impatient by the hour. Friday (well, Thursday afternoon 😅) can't come soon enough

​"I pre-ordered all seven CD and vinyl albums for Little Miss Twain from Universal Music Canada, which came out to a little over 300 Canadian dollars. Originally, I ordered four—the maximum allowed for a single purchase—but then I found another one, followed by another, and then one more after that in separate transactions. My question is: since I bought four on my first order and the remaining three across separate orders, will all seven count as pure album sales in Canada?

No I got all 7 of the different vinyl and Cds. Nothing the same. Collection 😆 All Little miss Twain hehe

Shania Twain @shaniatwain

Going into this week still flying from our special Little Miss Twain show at the legendary @horseshoetavern 🥰 I can’t wait for my album to come out now... Is it Friday yet??

"Stranger Things"/Horseshoe Tavern video clip - https://www.instagram.com/p/DbB5gN4toTw/

5:26 PM ET - 20 Jul 26

http://instagram.com/shaniatwain

Shania Twain on Her Most Personal Album Yet, ‘Little Miss Twain’: ‘It Brings Me Joy to Share That Part of Me’

With help from Ronnie Wood, Josh Homme, The War and Treaty and more special guests, the superstar digs deep into her past to reveal a side she hadn't previously shared.

By Melinda Newman | Billboard | July 22, 2026

Before there was Shania Twain, there was Eileen Regina Twain, a young girl growing up in the northern Ontario lumber and mining town of Timmins. And before she went on to become the best-selling female country artist of all time, there was an eight-year-old — “still smaller than her guitar,” as she sings on her new album’s title track — riding in her mom’s broken-down car to gigs, dreaming of a way out

On Little Miss Twain, Twain’s seventh album out Friday (July 24), the country-pop superstar takes listeners back to a time when success was far from certain, and everything seemed possible and impossible at the same time. It’s a stardom that her parents wouldn’t live to see, after they died in a car accident when she was 22, and Twain deferred her own ambitions to raise her younger siblings. Several years later, she was discovered in Nashville — and with her second album, 1995’s The Woman in Me, catapulted into the stratosphere.

The album is full of vulnerable, intimate details of Twain’s early years that she hadn’t shared before, because she thought they were too personal. “As a commercial songwriter, I always thought, ‘Well, nobody would really be able to relate to what I’m saying if I’m singing about that,’” she says. But as the songs took shape, Twain had faith that as unique as the details may be, the emotions of yearning, love and loss were certainly universal. Similarly, almost every song shifts to a different musical style, all reflective of the genres she embraced growing up from bluegrass, R&B, rock, country and even big band. “Musically, it’s very relatable to a lot of people’s love for mixed genres,” she says.

Working with a wide slate of songwriters and guest artists — ranging from Tanya Tucker and Ray Parker Jr. to The Rolling Stones’ Ronnie Wood, Queens of the Stone Age’s Josh Homme, T Bone Burnett, The War and Treaty and Justin Tranter — the five-time Grammy winner cast the album to reflect the diverse musical styles.

The Republic Records release comes after her stint opening for her good friend Harry Styles during his record-setting, 12-show Wembley Stadium run in London earlier this summer. Styles is not on the album: “I didn’t ask him. He’s invited me now so much, so I’m the next to invite!” she says with a laugh.

Twain radiated warmth as she talked to Billboard over Zoom from Ireland, where she had just played her own show at Thomond Park Stadium in early July, as she revisited not just the making of the album, but her youth.

What made you feel like this was the right time to do this kind of project?

Some of these songs have been around for a while. I didn’t really think they would ever end up on an album necessarily; they were just things I was enjoying writing and reflecting on. And then it just came to a point where I realized that there was such a collection of them that they could make an album. They were they were all about the same period of my life, and that is pre-Shania. So, before I was Shania Twain, I was just [performing as] Little Miss Twain, singing cover songs in remote parts of Canada. Things and places and emotions and experiences that nobody knew about. It made sense to make that a theme as a collection of music.

The title track is very visceral. You take the listener back to your being eight in the car with your mom, going to perform.

I was completely projecting myself in the moment. That was such a repetitive scenario in my childhood. We never had a new car. All of our cars had to be pushed to start. That was our life, so it wasn’t a one-time thing. It was part of our lifestyle to live in cold weather, and deal with the more rustic way of living. My music and performing classes would be a local bar in a remote gold mining town. Every [song on the album] is, in one way or another, reflective of my mindset and my environment as Little Miss Twain. My relationship with my mother was at the core of my development as a little singer that was never going to get discovered there, but that my mother always thought somewhere in the back of her mind it could maybe be possible.

On “Northern Town,” you describe these quotidian adventures, like going to the Dairy Queen with your dad, that you were robbed of once they died. You’ve always been fairly private about your growing up. Could you have released songs like this before?

It’s taken a lot of years of processing. Of course, death is something that we grieve forever. That never ends, but it does evolve. And where you can, you come to terms with various elements of grief, which is healthy and very natural. The difficulties and the challenges in our lives when I was a kid, some of that was very devastating. The fact that we all survived those difficult times, but then [my parents] die in a car accident that has nothing to do with our difficulties — and it can happen to anyone at any time — what that did was that prevented them from seeing this enormous, rare level of success that was so far from reality of what I talk about on this album.

If you’re a singer, you dream about Nashville, Tennessee. You know, there’s executives there sitting around a conference table, you’re imagining what it must be like — and then I actually get there, and it’s for real. It was only in my mother’s imagination. She didn’t really know anything about it. She just knew that Tanya Tucker was a good example of what she thought I could aim for.

And now you’re singing with Tanya on “Little Miss Twain.” Were you in the studio together? 

We were. This is, to me, country music history. This is Tanya Tucker we’re talking about here. Tanya Tucker was a child star with country music songs that were part of my repertoire, and she was the quintessential goal for me. Not necessarily my eyes, but in my mother’s eyes; like, “That is what you need to be, Eileen. You need to be the next Tanya.” And to finally not only to write this song that I think really captured that whole sentiment, but then for Tanya to actually agree and come to do it in the studio with me… I was there, producing her vocal, and I still can’t even believe it.

Had you met her before?

I met her backstage — I think it was at the Grammys — and I just passed her in the hallway, and I said, “Oh my God, I just want to talk to you. Is that possible?” And on our way out, we met in the alley at the garbage bins and took a photo, and I gushed out my love for her and my mother’s love for her.

It would be probably a couple years later that I would write “Little Miss Twain,” and I didn’t plan on her singing on the record. The record was already done, and I called her up and said, “By any chance, would you consider singing on this?” But I didn’t want to play her the song, because if she wasn’t able to do it, I didn’t want her to hear the song until after it was out, so that I could surprise her with it. But the fact that she did come without ever hearing it, I was able to play it for her in person. That was so beautiful.

Musically, “Stranger Things,” which opens the album, sounds like the rhythm of a chugging train, as if you’re taking the listener on a grand adventure. That seems like an intentional choice.

You are right. It is a chugging train, and this has always been my sound reference for so much of the North, because our roads were always so bad. For most of the year, most of our transport until the roads got bigger was relying on trains. Our trains run right through the middle of our towns, just like our river, because those were the big transport avenues. The train was always coming from somewhere I’d probably never been, and it was going somewhere I was maybe never going to ever go to.

So, there was always a mysterious element to trains, and I would imagine as a kid that I would just jump on the train and escape, and I didn’t care where it took me. So, the chugging train has an emotional rhythm to it for me.

There are also songs on here about first loves, like “Faded Blue Jeans” with Queens of the Stone Age’s Josh Homme. Do you still have those jeans?

Those jeans have been in my life since I was a teenager. These are the kind of jeans that came in style, went out of style and now everybody buys these jeans in vintage stores. Those jeans are in the “Any Man of Mine” video and then they come back again in the photography of the album Up. “Faded Blue Jeans” is very literal and true.

It’s your “Strawberry Wine.”

It’s true, it’s my northern “Strawberry Wine.” It doesn’t really place us anywhere, but it does take all of us back to that time when we were experimenting with boyfriends and girlfriends, and there was a freedom in it. That is one of the many songs on the album where it’s very descriptive.

Eja, your 24-year-old son, is on here as a co-producer and a co-writer on a few tracks. That must be a proud mom moment.

He does so many of the things that I don’t do, so it works well because he’s technical and I don’t know anything about the technology. I’m still stuck in my acoustic guitar singer, folk writing thing. But he operates everything and he plays all these instruments, and he works with so many different genres. He takes me somewhere that I wouldn’t go on my own, so we complement each other a lot. I think we’ll do more together in the future.

How do you get Ronnie Wood to write with you and play on your record?

It’s the strangest thing. We were both together over Easter, just by chance, at a beach resort and I went over and said hello. We just loved each other from the minute we met. I was working in the studio there on this record and I said, “I’m in the studio tomorrow if you want to come by and just hang out.” He came and he played bass, he played guitar, and we were having a really great fun time. Then the next night we had dinner together and we ended up jamming out the beginnings of what ended up to be “Take It to the River.”

What do you think made you ready to open up in this way, and what do you want listeners to get from this album?

Time definitely allows — or has allowed me — us as humans to come to terms with a lot of things, and we learn to stop taking time for granted, to enjoy our truth, and my youth. A lot of that part of my past is not necessarily relatable to a lot of people in the world. If you’re a commercial artist, for example, most people sing about Margaritaville, because that’s more relatable. I don’t think I’ve ever met anybody since I left my hometown that comes from a gold mining town. We just have gold and forests, moose, beavers and lots of lakes. We have beauty and we have a culture, but it’s a culture that nobody really knows much about. So as a commercial songwriter, I always thought, “Well, nobody would really be able to relate to what I’m saying if I’m singing about that.”

I was writing it all the time, but I was writing it not for any particular reason except for my own self-reflection. But it did make sense over time that, “Well, this is actually a project, and I think I can deliver it in a way that will be at least intriguing to people who don’t even know that Little Miss Twain exists.”  It brings me a lot of joy to share that part of me. Shania Twain was born out of this little singer who comes from somewhere that nobody really knows anything about.

Do you worry that people won’t be able to relate to it?

A lot of it musically is very relatable because there’s a lot of soul from the ‘60s. There’s a lot of southwest sounds, the baritone guitar. Musically, it’s very relatable to a lot of people’s love for mixed genres: bluegrass, the Motown era, and all of that is in there from my own youth and being raised with so many genres. I think even if you don’t really get some of the things I’m saying, you’ll relate to the music.

This album feels like it demands to be performed from start to finish. Any plans?

I would love to do a select group of shows of just this album live, and it would take a very specific group of musicians because there are some Motown things, there’s some horns, there’s bluegrass elements. That would be a dream scenario, so that’s a plan for sure.

https://www.billboard.com/music/country/shania-twain-little-miss-twain-new-album-1236300814/