Tommy's #1 SHANIA TWAIN SuperSite Message Board

portacoino wrote:

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where this editions is sold ?



unboxing of a 15 tracks edition, maybe the spotify phisical edition?

 maybe cd editions are 15 tracks and exclusive editions 16?

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It says TARGET at the top of screen when video starts playing. Target doesn't sell CD with bonus track, only vinyl. So this must be the CD they sell with all 15 tracks! I ordered it the other day by mistake thinking it had a bonus track!

Here’s a link to a clip of the Target bonus track "Trippin' On Good Luck".
www.tiktok.com/t/ZP8tmG9SA/

I love the song!

schnetzka wrote:

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czm8888 wrote:

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Here’s a link to a clip of the Target bonus track "Trippin' On Good Luck".
www.tiktok.com/t/ZP8tmG9SA/

I love the song!

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She said in one interview that the vinyls had lyrics in the booklet but that clip shows otherwise.

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Yeah the lyrics were not in the vinyl. I was disappointed about that.

Introducing ‘Little Miss Twain’, Shania Twain’s New Album

Music and Tour News | July 24, 2026

It’s been more than three years since Shania Twain last released a record, with the number 1 ‘Queen Of Me’ LP having been released back in February 2023, and now Twain is back with her rootsy revival ‘Little Miss Twain’ that delves deeper into her sonic and personal roots.

In the buildup to this album release, the Canadian legend has promised fans a deeper look into her early troubled years growing up in rural Timmins, Ontario, against the backdrop of longing musical dreams and childhood poverty and abuse laced with simpler living and loss.

And while the LP does deliver on much of what was promised, on some of the tracks the depth does seem to be lacking a little, but this is punctuated with up-tempo hooks, tongue-in-cheek humour and pure Shania Twain sass. It’s clear that during her harder years, little Eileen used humour and music to cope with what was happening in the background, and that definitely comes through in ‘Little Miss Twain’.

Fans may have been expecting a little more of an autobiographical style from Twain on this record, but it’s important to remember that these are her memories and stories to tell, and it’s entirely up to her how much of the curtain she wants to lift. The record is filled with heart and a rawness that’s often found lacking in country songs today and also features bold productions, fantastic collaborations, and authentic storytelling.

Shania Twain is an icon, and ‘Little Miss Twain’ hits the mark of 90s nostalgia, with a hint of bluegrass and roots combined with a modern-day pop edge. It’s a record that will delight fans who have been with her from the start, and new listeners she’s picked up along the way.

https://musicandtournews.com/introducing-little-miss-twain-shania-twains-new-album/

Shania Twain's seventh studio album, Little Miss Twain, released on July 24, 2026, is projected on tracking and prediction platforms like ⁠Kalshi to exceed 30,000 pure sales for its opening tracking week (July 24–30, 2026). [1, 2, 3] If this site is legit that's impressive because it doesn't include streams. Maybe Tommy can look into this better.

czm8888 wrote:

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Here’s a link to a clip of the Target bonus track "Trippin' On Good Luck".
www.tiktok.com/t/ZP8tmG9SA/

I love the song!

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 This already sounds so much better than some of the other songs on the album. Love it!

Shania Twain: Little Miss Twain Album Review

With guests including Tanya Tucker, T Bone Burnett, and Josh Homme, the country star’s seventh album trades the pop sheen of recent releases for rootsy, candidly autobiographical songwriting.

By Amanda Wicks | Pitchfork | July 25, 2026

RATING: 6.8

Shania Twain has performed in stadiums around the world and carried off not one but two Las Vegas residencies, but this summer, a smaller stage felt like a dream come true. For the first time in her career, the 60-year-old songwriter played Toronto’s storied Horseshoe Tavern—an intimate venue that’s been a rite of passage for many Canadian artists. Not so Twain. She never got to realize her early wish of singing at the 500-capacity back bar because she “wasn’t established enough,” she told the crowd: “I feel it’s a very full-circle moment.”

That homecoming instinct runs strong on her seventh album, Little Miss Twain. After adding pop and rock hyphens to country’s sound over the course of her first three albums, Twain gradually veered away from the genre, ultimately landing far afield with the synth-fueled haze of 2023’s Queen of Me. In the rootsy arrangements of Little Miss Twain, her voice—weightier from dysphonia and the surgery she underwent to address it—finds a fitting home for its impressive force. But the more striking shift is what she’s willing to say with it.

Twain wrote or co-wrote the majority of the album, borrowing heavily from country, blues, gospel, soul, and rock—textures better suited to her lower register than the pop stylings of her last two releases. Some of the best tracks offer a lived-in reality to the stories she’s long shared in interviews about her childhood singing in bars to help support her family. She wanders through memories of that small-town Ontario upbringing on “Northern Town,” singing with a crackling edge to her voice: “Dad pulls up to the bar/Us kids wait in the car while he has a beer.” The song picks up a locomotive rhythm, as if the only way to reflect on those scenes is with the momentum of having escaped them.

On “Little Miss Twain,” she sits closer to her memory. Twain reminisces about hoping that her prodigious talent—“According to my mother, I’m the next Tanya Tucker,” she sings—will be enough to overcome the poverty surrounding her. The song clutches onto a riveting, escalating tension. It’s like she’s still singing from the uncertainty of reaching for her dreams rather than the hindsight of having achieved them. Her voice’s raspier quality matches T Bone Burnett’s grizzled electric guitar, while the actual Tanya Tucker deepens the effect, braiding alongside Twain’s for a heavy-throated hymnal. “Little Miss Twain” resists the easy arc of vindication. That release comes instead from Tucker’s presence—when she sings the line, all these decades later, it’s a nod to the fact that Twain’s aspirations would lead her to become an icon in her own right.

https://pitchfork.com/reviews/shania-twain-little-miss-twain/

Tommy wrote:

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Little Miss Twain Bonus Tracks

"We Just Met" - Mattagami River vinyl & iTunes/Apple Music
"Hate That Way" - Amazon
"Trippin' On Good Luck" - Target
"What's Going On In There" - Walmart & HMV

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I was at Wal-Mart this morning and they didn't have the album on the shelves. Not sure if that's the fault of the store or her label/team.

Shania isn't a streaming artist she sell pure albums more then anything. The album is apparently doing amazing in Canada. Definitely will get to number one here on the Canadian hot 100 albums chart.

I’m not sure if that is something to consider. Celine is also not very streamed artist as they are not “on vogue” I would say. Celine is not making hits since more than 20 years. Same for Janet Jackson. 

the London shows with harry styles won’t help a lot. Most of the attendees won’t like her new album. Maybe they will listen to man I feel like a woman. 

im quite sure there won’t be a hit on little miss twain. I wish I am wrong. 
but as even radio stations won’t play here in the us even though its country now. 
we need a hit (worldwide) not sure which song would have potential. 

czm8888 wrote:

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Walmart is “online only”. They aren’t carrying it in stores.

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That is so weird!! (I guess with how much they have cut back their music area it makes sense tho).

Francesco86 wrote:

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GermanFan wrote:

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I’m not sure if that is something to consider. Celine is also not very streamed artist as they are not “on vogue” I would say. Celine is not making hits since more than 20 years. Same for Janet Jackson. 

the London shows with harry styles won’t help a lot. Most of the attendees won’t like her new album. Maybe they will listen to man I feel like a woman. 

im quite sure there won’t be a hit on little miss twain. I wish I am wrong. 
but as even radio stations won’t play here in the us even though its country now. 
we need a hit (worldwide) not sure which song would have potential. 

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It’s nearly impossible for a female singer over 50 to get a good airplay and to hit the top 100…even Madonna isn’t getting radio airplay despite her collab with Sabrina Carpenter.

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 Is radio still important though? I can't see radio make much of a difference.

World Music Awards

Shania Twain's new Album 'Little Miss Twain' scores the Top New Entry on iTunes Canada and the 3rd Highest New Entry on the Worldwide & European iTunes Album charts, debuting at #5 & 7 respectively, after reaching the Top 5 on US iTunes.

https://www.facebook.com/theworldmusicawards

Parker wrote:

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Why wasn't Quit My Life not released as the lead single? I can see this song being a hit. What was her record label thinking. Like am I the only one thinking this?

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I agree. “Dirty Rosie” is definitely in my bottom two or three songs on the album.

Does anyone else hear similarities in the rhythm, melody, and phrasing of the chorus “Quit My Life” to “Stop! In The Name of the Love” by the Supremes? I also find the opening of “Problematic“ to be very similar to the opening of “Purple Rain” by Prince.

From Donnell Spencer Jr's Instagram Stories

https://www.instagram.com/dsjr/

More music still to come?

Absolute Radio Country @ARCountry (UK)

This week on the UK Country Radio Airplay Chart.

1:19 PM ET - 26 Jul 26

https://x.com/ARCountry/status/2081429112107704485

"Dirty Rosie" falls 2 spots from last week to No. 8 in its tenth week on the chart.

Today, Little Miss Twain is No. 13 on the overall iTunes U.S. chart and No. 3 on the Country iTunes U.S. chart. Still No. 1 on iTunes Canada chart.

New Album Review: Shania Twain- Little Miss Twain

The 706 | July 26, 2026

Shania Twain- Little Miss Twain

Label: Republic

Producers: Shania Twain, Zach Dawes, David Paich, Justin Tranter, Ammo, Gitty, Eja Lange

The gritty and primitive roots of Shania Twain’s youth have always been well-known, and a central pillar of the triumphant, storybook tale that proved to be one of the most lucrative music careers of its generation. Her formative days in the frigid mining town of Timmins, Ontario were plagued with poverty, domestic violence, and ultimately tragedy, with the death of her parents as a result of an automobile crash when Twain was just 22. Her ability to transcend above it all resulted in a modern country music rags-to-riches story on the scale of her idols like Loretta Lynn and Dolly Parton, and certainly the makings for a canon of classic country story-songs. But while Twain has always talked about her past in candid, confessional manner via interviews, documentaries and her unflinchingly dark 2011 autobiography, she’s rarely tapped into it as source material for her records. After-all, her ability to subvert all of these somber origins with her signature, arena-sized country-pop anthemia is the premier building-block in her legacy. But on this, her seventh studio album and the first released in her sixties, Shania finally pulls back the curtain musically on this insurmountable road to superstardom. It expectedly results in one of the most explicitly personal records of her career, as well as a glorious and long-awaited return to her core sonic influences, making for what is easily her rootsiest and most organically country-oriented record since her 1995 breakthrough, The Woman In Me.

From a songwriting perspective, the album glowingly offers the most gorgeously evocative lyricism of her career, with a vibrant imagery that is both gritty and lovely in its intimacy. On opening track “Stranger Things”, you feel like her younger self’s drinking buddy at the Malemute Saloon, and subsequently awe-struck by the sight of the Northern Lights glimmering off the unforgiving Timmins ice, or filled with a childlike wonder as you race the sun to devour that Klondike bar before it melts. On the title track–inarguably the crown-jewel of the album–you feel like you’re riding along with Twain and her dream-stricken mother to the local tavern, where you likewise cough through the cigarette smoke to watch the young child sing country songs and themes well beyond her years. The C&W-tinged noir of “Northern Town” is easily the album’s most haunted and transformative, with its vivid rendering of a small Canadian town defined by raging rivers, crawling locomotives, and “gold veins in the ground”. But it’s most defined by the various characters that appear here; parents and relatives, lovers and friends. Intimate and formative life moments that are as long gone as many that she shared them with. They seem to give her a soulful longing and appreciation for this chapter of her life, despite all of the suffering that they accompanied.

Because while this album directly aims to explore and reflect on those turbulent origins, you still won’t find a dark tour de force of devastation like her aforementioned autobiography. While something that overtly dark certainly would have made for captivating music, it wouldn’t have necessarily aligned with the connective fabric throughout the Shania canon. There’s certainly palpable pain and sadness bleeding through Little Miss Twain, but in classic Shania fashion, even her most somber musings are underscored with an undeniable sense of scrappy perseverance and glorious triumph. But most centrally, there is a bittersweet appreciation for her humble beginnings, the fact that she escaped them, and the nostalgia that her survival and success imbues within her reflections of youth. Again, that gorgeously bittersweet thread is most prominent on the song “Little Miss Twain”, a stirring tribute to the mother who spearheaded the singer’s musical path, and tragically never lived to see it come to fruition. But the appearance of country legend Tanya Tucker brings a wonderful moment of full-circle joy to the story, and symbolizes the escapism that Twain’s musical aspirations provided both her and her mother during a challenging life. A legend of musical escapism, then it’s no surprise that she finds plenty of straight-up joy and survivalist positivity on fresh bops that will slide naturally into her hit-stacked set-lists. Tracks like the sun-kissed “Right Time”, the blissfully defiant “Quit My Life”, and lead single, “Dirty Rosie”, where she drives circles around all the country-bros of the last decade in terms of crafting an genuine, anthemic country “truck” song.

Little Miss Twain is more a thematic album, rather than one that is strictly conceptual. And like any other teenager, Twain’s troubled home-life didn’t spare young romance, and subsequently heartbreak, from being definitive themes of her upbringing. Consequently, these emotions also take a defining role throughout the record. And in actuality, young lust is what really permeates these numbers, from the slow-dripping burn of “Problematic”, to the sultry and brassy, soul-tinged flirtation of “Scary Little Thing”, to the sensational doo-wop-country hybrid of “I’d Be Loving Me”, which immediately soars as one of her most thrilling vocal performances ever. Elsewhere, the shuffling, Cash-recalling honky tonk of “Down the Middle” conjures up the addictive nature of heartbreak in vintage country style, while “New Love” is conversely pure, unadulterated romantic euphoria, wrapped in the boot-stomping, fiddle laced Shania sound of old. Finally, there’s the swampy, blues heat of “Faded Blue Jeans”, an exhilarating, coming-of-age tale that finds the surprising appearance of Queen of the Stone Ages’ Joshua Homme superbly paring his searing rock guitars against Twain’s raspy twang and a barrage of randy banjo and fiddle.

As revelatory as these songs and vocal performances are, the sonic direction and production thankfully prove to be just as rewarding. There’s nary a synth or a dance-beat to be found throughout, with the synthetic production that was so central to Now and Queen of Me completely replaced by an organic fortune of banjo, fiddle, pedal-steel, slide & acoustic guitars, harmonica, piano, and organ. Not only is this country & folk-centric palette the perfect backdrop for these particular songs, but also showcases Twain’s current-day voice in such fabulous fashion. This record reaffirms that not only can Shania Twain still sing, but there is a wondrous, new wealth of character to be found within her evolved voice, especially when its given the breathing room not often provided by the glossy-albeit delightful production of her post-Mutt efforts. She positively thrives in this loose and rustic setting, and it lends the music a delicious layer of burning grease and grit. She also surrounds herself with a onslaught of ace guests and musicians, including the aforementioned Tucker and Homme, as well as The War & Treaty, T-Bone Burnett, Mountain Grass Unit, The Rolling Stones’ Ronnie Wood, Greg Leisz, and The Milk Carton Kids (and in a truly sweet full-circle moment, her son, Eja Lange). They each provide their own touch and influence into Twain’s ever varied hotbed of sonic stylings. Country & western may be the primary anchor, but she branches off of it as ever before, this time into a retro treasure trove of touches ranging from straight-up rock & roll to blues, bluegrass, gospel, folk, soul, R&B, and Motown. It’s a record that truly earns distinction as a cornerstone moment of the 2026 Americana and roots-music scene.

The album fittingly closes on the dreamy, melancholy “Rockstars”, which finds Twain returning to the rugged scenery of her teen-years, imagining a world where “rockstars never get older”. That notion is of course underscored by both the ambience of the song, but likewise by the overall spirit of Little Miss Twain. This record finds Shania Twain gracefully acknowledging that being a star has not prevented her from getting older, but it also demonstrates that an artist can remain vibrantly inspired, creative, and relevant in the face of progressing age. And in her case with Little Miss Twain, that’s sometimes accomplished by returning to where it all started, with the wisdom, perspective, and appreciation that such time has provided. This is the epitome of not just a roots-revival moment, but a classic legacy-era album, and one that would be perfectly-timed with a Country Music Hall of Fame induction, for what it’s worth. Within the context of Shania Twain’s catalog, it earns its own unique significance on the same essential level as the three legendary blockbusters of her imperial era.

Track Listing:

1. “Stranger Things” (Shania Twain, Ammo, Jacob Kasher Hindlin, Jake Torrey)
2. “Right Time” (Twain, Eja Lange, David Paich)
3. “Little Miss Twain” featuring Tanya Tucker (Twain)
4. “Dirty Rosie” (Twain)
5. “Quit My Life” (Twain, Blush, Eren Cannata, Justin Tranter)
6. “Problematic” (Blush, Cannata, Tranter)
7. “Scary Little Thing” (Twain, Cannata, Tranter)
8. “I’d Be Loving Me” (Twain, Tyler Carter, Dru DeCarol, Lange, Ray Parker Jr., Gianna Taylor)
9. “Faded Blue Jeans” featuring Josh Homme (Twain)
10. “Northern Town” (Twain)
11. “That’s the Money” (Twain)
12. “Down the Middle” (Twain, Blush, Cannata, Tranter)
13. “Take It to the River” featuring The War & Treaty (Twain, Ronnie Wood, Denise Rich)
14. “New Love” (Twain, Blush, Cannata, Tranter)
15. “Rockstars” (Twain)

https://the706.blog/2026/07/26/new-album-review-shania-twain-little-miss-twain/

kittycommittee wrote:

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Honeyimhome wrote:

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Anybody know the lyric from New Love “Your mother watches with a stare. I was too ____ for her, but you didn’t care.” It almost sounds like “die” but I know that can’t be it as it doesn’t make sense. I was too dumb for her? Some say “young” or “poor” but it’s def not “poor”.

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 I just approved "dark" as an edit on Genius. That fits very well with a comment she made a couple years ago about neighbors referring to them as "the savage family."

What I'm really unsure about is the second half of "That's The Money" verse 1, if anyone has thoughts.

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Hahaha... I made that suggestion before bed last night and was coming here to try and delete my question. I tend to agree with what I assume you have on Genius for "That's The Money". Amazon says, and I don't think I agree, "Sometimes a kind face or a dark place could be a fist or face. At least it's fix by fishing in the bay." I think it's either "faith" or "foot". Foot could make sense because it's after  "could be a fist", but it still sounds like "faith" to me. It's definitely "a" fix by fishing in the bay and not "it's". 

I'm also looking for the missing word in the first/second verse of "We Just Met" but no one seems to know it either. "From no ____. Oh, where this road is gonna end."

I'm doing a digital booklet for the album and I'm damn near done but I want the lyrics to be as close to right as possible. I'm also looking for the lyrics and credits for the bonus tracks that I would like to eventually add. I'll likely try to share it on here once it's done. I'm trying to keep the design of the actual booklet but adding photos from the LMT photoshoot.

DJAULB wrote:

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I think the We Just Met lyrics are “Don’t know when or where this road is gonna end’

That’s the Money: ‘Sometimes a kind face or a dark place can be a fist or fate, at least a fix by fishing in the bay’. Not sure if that’s accurate though.

Still don’t know what the line in New Love is.

I love the idea of a digital booklet. Yes, please share it when it’s done.

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Yes I will share! For now it will be the standard 15 tracks.

I also meant Fate and not faith lol. Don't know when sounds like it could work!