ABSTRACT
In 2002, country-pop superstar Shania Twain released her fourth major album, the third of her collaborations with husband and producer, Robert John “Mutt” Lange.1 Th e optimistically titled Up! satisfi ed hungry fans for whom fi ve years had passed without a new Twain release. Music critics generally lauded the album, while fans of more traditional and honky-tonk-infused country bemoaned the continued reign of the pop-crossover diva. But through an unexpected marketing strategy, the album also challenged complacent notions of musical style and the very concept of what comprised a “song”: the album was released in three color-coded versions, each with an ostensibly diff erent stylistic version of the same lineup of nineteen songs. Th e red disc featured pop-rock mixes, the green, country-pop, and the blue, world music. All three were a thorough repackaging of the same vocals. Ironically, across all these stylistic treatments of the songs, what remained most salient were the songs’ hooks: the attention-getting musical devices and elements of form and structure that captured and held the listener’s focus.
