Hi-Res The Woman In Me – Shania Twain
Shania Twain
专辑价格：16.79欧元
Hi-Res | FLAC | 96kHz/24bit
规格：12首
流派： 流行
发布：1995-02-07
公司：Mercury Nashville
专辑介绍：
有时候，一个歌手要想成功，所需要的就是找到合适的合作者，而事实最明显的莫过于莎妮娅·吐温。经过多年的独立本地发行和试唱唱片，她于1993年在Mercury上发行了OK主要厂牌的首张唱片——这张唱片非常好，但并不那么令人难忘。不久之后，她与罗伯特·约翰·“穆特”·兰格（Robert John“Mutt”Lange）相遇，后者是硬摇滚史上一些最伟大专辑的制作人，包括AC/DC的《黑衣人》（Back in Black）和Def Leppard的《歇斯底里》（Hysteria）。基于此，兰格似乎不是吐温的理想伴侣，但事实证明，他们是专业的合作者，也是浪漫的伴侣；他们在为吐温的第二张专辑《我心中的女人》创作素材时结婚了。他们一起彻底改造了吐温，把她变成了一个大胆、粗鲁、性感、时髦的现代女性，唱的歌就像开玩笑的赋权歌曲，即使是关于心碎的歌。她要求“我的任何男人/最好遵守这条线，”告诉一个可怜的树汁“（如果你不是为爱而来）我在这里！”当她面对她的爱人问“你的靴子在谁的床下？”时，这听起来像是一种威胁，而不是悲伤。所有这些歌曲都是用粗粗的笔触描绘的，兰格使用了他从Def Leppard那里学到的所有竞技场填充技巧，赋予了这些稳定的节奏和旋律钩，只有在第一次听的时候，巨大的合唱才能将其压得粉碎，从而进入永久的记忆。这并不是说《我心中的女人》只不过是披着乡村曲调的严厉流行/摇滚歌手——他们擅长民谣，比如主打歌，但他们在《没人需要知道》中更令人印象深刻，因为这是新贝克斯菲尔德乡村的摇摆片段，太棒了，你会发誓德怀特·尤卡姆唱得很和谐。这说明了兰格作为制作人的技巧——这当然受到了流行音乐的影响，但他并没有把它推得太远，因为无论制作中有多少摇滚技巧，曲调有多罂粟花，它们仍然感觉像乡村歌曲，尤其是在《我的任何人》和《你的靴子在谁的床下，逐渐成为美国中产阶级成人流行音乐的声音。加思·布鲁克斯（Garth Brooks）开始了这场运动，但这正是这场运动获得动力的地方，尽管这不是一个纯粹的国家，但它的声音和感觉是一个国家，尤其是它如何捕捉到现代女性的立场和态度，这在很大程度上要归功于吐温，他充分发挥了这一作用。而且，就像所有最好的兰格作品一样，它从歌曲到声音都精心制作，不仅是一种即时的乐趣，而且是一种持续的乐趣。
Sometimes, all it takes for a singer to break it big is to have the right collaborator and nowhere is that truth more evident than with Shania Twain. After years of independent local releases and demo records, she released an OK major-label debut on Mercury in 1993 — a record that was perfectly fine but not all that memorable. Not long after that, her path crossed with Robert John “Mutt” Lange’s, the producer behind some of the greatest albums in hard rock history, including AC/DC’s Back in Black and Def Leppard’s Hysteria. Based on that, Lange didn’t seem like an ideal match for Twain, but they turned out to be expertly matched collaborators — and romantic partners, too; they married as they were working on the material that became her second album, The Woman in Me. Together, they totally reworked Twain, turning her into a bold, brassy, sexy, sassy modern woman, singing songs that play like tongue-in-cheek empowerment anthems even when they’re about heartbreak. She demands that “Any man of mine/better walk the line,” tells a poor sap that “(If You’re Not in It for Love) I’m Outta Here!” and when she confronts her lover asking “Whose Bed Have Your Boots Been Under?” it sounds like a threat, not a lament. All these songs are painted in big, broad strokes and Lange uses all the arena-filling tricks he’s learned from Def Leppard, giving these steady rhythms and melodic hooks that are crushed only by the mammoth choruses which drill their way into permanent memory upon the first listen. That’s not to say that The Woman in Me is nothing but heavy-handed pop/rockers dressed as country tunes — they are good at ballads like the title song, but they’re even more impressive on “No One Needs to Know,” as swinging slice of neo- Bakersfield country so good you’d swear that Dwight Yoakam is singing harmony. And that speaks to the skill of Lange as a producer — this is surely pop influenced, but he doesn’t push it too far, for no matter how many rock tricks are in the production or how poppy the tunes are, they still feel like country songs, especially on “Any Man of Mine” and “Whose Bed Have Your Boots Been Under?” anthems for the post-“Boot Scootin’ Boogie” era, when country slowly, steadily became the sound of middle-American adult pop. Garth Brooks started the ball rolling, but this is where the movement gained momentum, and although this isn’t pure country, it is country in how it sounds and feels, particularly in how it captures the stance and attitude of the modern women, thanks in no small part to Twain who plays this part to a hilt. And, like all the best Lange productions, it’s so exquisitely crafted from the songs to the sound that it’s not only an instant pleasure, it’s a sustaining one.
© Stephen Thomas Erlewine /TiVo
