Canadian singer Shania Twain signed to U.S. label Mercury Nashville Records in 1991, and released her eponymous debut studio album in April 1993.

[7][8] However, the music video for the album's lead single, "What Made You Say That," and Twain's singing voice attracted the interest of Zambian record producer Robert John "Mutt" Lange.

[29] As a result of the positive response to The Woman in Me, she also felt "freer and more comfortable" to continue writing songs that expressed her personal beliefs and attitudes.

[34] Wanting to capture "a real fun Motown feel," Lange had several conversations with audio engineer Jeff Balding, singing and detailing the musical direction.

[39] Additional engineer Bob Bullock noted that this technique made the instruments sound big without being cluttered, creating a different effect than "simply doubling or tripling a part by the same player.

[note 2] Christopher O'Connor of MTV News and Miriam Longino of The Atlanta Constitution remarked that the songs combined country music instruments, such as fiddles, pedal steel, and acoustic guitars, with radio-friendly pop hooks.

[43][48] Pitchfork's Allison Hussey stated that "fiddles are the key element in transmitting Come On Over's country core," but the "smeared edges of [Twain and Lange's] production [...] master the illusion of genre.

[note 3] Twain described Come On Over as a diverse and upbeat album that equally combined elements of country, pop, and rock music.

[note 4] According to Jon Pareles of The New York Times, the verses on Come On Over contained "a big, blunt rock beat," while the choruses were country, with fiddles and pedal steel guitars.

I Feel Like a Woman!," uses twang vocal delivery,[58] synthesized strings,[59] and electric guitar,[43] which some journalists compared to Norman Greenbaum's "Spirit in the Sky" (1969).

[27][75] The tongue-in-cheek "That Don't Impress Me Much" depicts her indifferent attitude toward self-absorbed men who emphasize material things, intelligence, or physical beauty, rather than personality and heart.

It contained an additional single mix of "God Bless the Child" (1996), a live medley of "Home Ain't Where His Heart Is (Anymore)," "The Woman in Me (Needs the Man in You)" (1995), and "You've Got a Way," and the original country version of "From This Moment On.

[113] In July 2023, during the Queen of Me Tour, Twain announced Come On Over: Diamond Edition, to celebrate the album's 25th anniversary, released on August 25, 2023.

[117] For the international release in Europe, she conducted press interviews and performed "You're Still the One" on The National Lottery Live in the U.K.[118] On February 26, 1998, Twain appeared on TNN's Prime Time Country.

[168][169] Music critics appreciated Twain's energetic performances as she refuted those earlier accusations of being unable to sing live, and they praised the show's production.

[45][76] Stephen Thomas Erlewine from AllMusic remarked that Come On Over transcended boundaries due to its rock-oriented production,[42] writing that despite the relative absence of country elements, Twain "sticks to what she does best, which is countrified mainstream pop.

[57] Conversely, J. D. Considine of Entertainment Weekly cited the country chorus on "Honey, I'm Home" as an example of how "superficial Twain's rock trappings are," concluding that "Lange has no need to countrify every arrangement for credibility's sake.

"[60] Reviews in the Dayton Daily News, The Philadelphia Inquirer, the Vancouver Sun, and The Washington Post praised the album's mainstream appeal[45] and catchy melodies,[85][183] and touted Lange's production.

[184] Other reviews from The Atlanta Journal-Constitution, the Austin American-Statesman, the New York Daily News, and Q were negative, dismissing the album as "unforgivably bland,"[185] forgettable,[48][186] and uninspired.

[187] Twain's lyrical content drew criticism for lacking depth,[186][187] and some called it "predictable" (the Los Angeles Times)[178] and "cliched" (the Springfield News-Leader).

"[49] In the Miami Herald, Howard Cohen disliked the album's "lazy" production and "insipid" lyrics, but complimented the international version for removing "the forced country instrumentation" and revealing "the finely crafted pop it really is.

"[102][189] The Sydney Morning Herald's Mary Tartaglione and The Guardian's Adam Sweeting were critical, deeming the international version's production "overly polished" and "manufactured.

[205] Mase's debut studio album Harlem World, which sold 3,000 more copies than Come On Over, held it off from reaching the top spot.

[212] The Recording Industry Association of America (RIAA) certified the album 20× platinum (double diamond), denoting 20 million units shipped.

"[245] Ron Corbett from the same publication considered Twain's crossover success to be the first of its kind: "In Nashville, they say the streets are littered with the bones of artists who tried to cross over to pop, only to end up killing their careers.

[251] Taylor Weatherby of Billboard called Come On Over "a brilliant fusion of country, pop and rock that it quickly solidified Twain's legacy.

[49] According to her, Twain set a new standard of country-pop crossovers, recognizing her influence on subsequent careers of Bomshel, Rascal Flatts, Faith Hill, and Underwood.

"[249] National Post's Jeff Breithaupt accredited the success of Come On Over to the marketing strategy of "slow roll-outs of hit singles and expensive videos," and compared it to Michael Jackson's Thriller (1982).

"[258] Editor Natalie Weiner found the songs "addictive," and commended both the "wild creativity" and Twain and Lange's "dangerously sharp commercial instincts," as well as their "fearless embrace of an audience too often overlooked by country music: women.

[1] Musicians "Bow Bros." gang fiddles on tracks 1, 3, 4, 8, 11, 13, 15 performed by Rob Hajacos, Joe Spivey, Glen Duncan, and Aubrey Haynie.