NEW YORK – Before Shania Twain became Shania Twain, she was a child performing in Canadian bars, singing to miners, lumberjacks, fishermen and hunters drinking the night away.
“It was a bit more of a rugged crowd. And they were small crowds,” she says in a recent interview with The Associated Press. “I could only enter after the bar closed. That was after midnight because I was underage. And as long as the bar wasn’t still serving, then I could go in and play while everybody was finishing up their last call.”
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It was “character building,” she says, painting an image of a bygone era of her life in Northern Ontario and one dramatically opposed to the glitz and glamour associated with the five-time Grammy Award winning country musician. But those days were instrumental to what became her career. “I spent a lot of years dreaming about things that would eventually come but took a little while,” she says.
As Twain describes it, her latest album, “Little Miss Twain,” out Friday, is the period of her life from her earliest performances at age 8 all the way to her late-20s, when she inked her major label record deal.
“There’s this whole gap of life that I’ve never written,” she says. “I wanted to fill in story wise, personal story wise. … It’s a phase of my life that not a lot of my fans would know about.”
Revisiting the past — in more ways than one
A number of the songs on “Little Miss Twain” have been sitting with the singer for many years. “'Rockstars' I was writing probably 10 years ago now, and ‘Northern Town' is one that’s been around for a long time,” she says.
The title track of the record, “Little Miss Twain,” is its emotive heart — a song for her mother, who died in a car crash in 1987, alongside her stepfather, and never got to experience her success. For Shania, it was an opportunity to reflect on “my mother being my manager and my agent, my driver and my coach, even though she couldn’t sing a note,” she said. “She would drive me around to all these stages, underage in the bars, and that’s where I got my experience.”
The song was one of the last ones to make the collection, she says, but “it was this missing piece that came to me.” That's at least partially due to the inclusion of Tanya Tucker, who duets with Twain on the track.
On the chorus, Twain sings “According to my mother / I'm the next Tanya Tucker.”
Twain says of having Tucker on the record: “I don’t know if I would ever really be able to explain in words what it meant and what it would have meant to my mother.”
The song also features her son Eja D’Angelo Lange on background vocals; he appears on a few of the album's tracks. “I get to fulfill a lot of things that my mother would not have been able to share with me,” she says about working with her son. “It’s really beautiful.”
Genre explorations from a country music giant
Pulling from her early years allowed Twain to focus on some of her musical loves in and outside of country music. Listen closely and you'll hear “Motown, the country and western that my grandparents used to play like Marty Robbins” she says. “There’s a lot of rock edge stuff in there. ‘Faded Blue Jeans’ is very much a bluesy rock song” — it features Queens of the Stone Age's Josh Homme.
The multi-genre moments on the album, with credits that also include Ronnie Wood, work for Twain's current voice, which now features a wizened rasp. “I don’t have the little sweet sound I had years ago, but I have a new sound that I actually like,” she says. “And I think I write songs a bit differently because of it.”
A number of years ago, Twain contracted Lyme disease, which affected her voice. In 2018, she had implants placed in her larynx. “It’s a very unusual procedure to have for a singer,” she says. “I had damaged nerves in my larynx. So the vocal cords were perfectly fine.” The surgery worked, and the continued result is a kind of gravelly tone, a vocal fry, and additional distinction to her already unmistakable voice.
When her audience listens to “Little Miss Twain” for the first time, Twain hopes they will leave the experience with “a sense and a feeling of the atmosphere that I grew up in, the environment that shaped me, the experiences that developed me as a person and as an artist,” she says.
She wants them to get to know the cover singer at the local bar, the woman who didn't have childhood success. “I hope they learn,” she takes a beat, “about the missing chapter of who I am.”