Robyn’s collaborative EP with Röyksopp was dark and haunted but out of that this menacing party song was born. “Come get your honey,” she sings, making it available but not without you coming to her. It’s still a gold-standard pop song and the lyric, “A freeze-frame of your eye in the strobe light,” may be the most perfect use of club imagery ever. Originally a chart-topper for Steve Lawrence in 1962 chart-topper, "Go Away Little Girl," became the first song of the rock era to be taken to #1 by two different artists when Donny Osmond's cover version also reached the summit in 1971. By its finish, the beat is at full force, the chorus is euphoric and the heart is larger than ever. Monument may be the darkest song Robyn has ever made.
The third verse of "Mmm Mmm Mmm Mmm" by Crash Test Dummies ("they shook and lurched all over the church floor...") was inspired by girl whose parents would speak in tongues at their Pentecostal service. Tears For Fears used it as the title of their 1985 hit. Directed by Per Åhlin, the film is loosely based on William Shakespeare's The Tempest. A history of songs dealing with transgender issues, featuring Pink Floyd, David Bowie, Morrissey and Green Day. As Procol Harum's lyricist, Keith wrote the words to "A Whiter Shade Of Pale." And even on the songs where she isn't so strong, like "Bum Like You" and "I Should Have Known"'s catchy recriminations, she's never the less than self-aware. We thought we’d take the chance to go back through her catalogue and pull out the best 20.
Love Is Free came in the middle of an experimental, collaborative period for Robyn and saw her team up with frequent collaborators Markus Jägerstedt and Christian Falk. It’s a subtle masterpiece and her greatest show of restraint.
Who writes a song about a name they found in a phone book? On paper, a song about calling your girlfriend to tell her that you’re leaving her … Love Kills does the latter, using that four-to-the-floor beat to create one of her most aggressive songs to date. It's not bragging if you can back it up, and Robyn does just that, channeling all the frustration of her creative differences with her previous labels into a freewheeling, accomplished pop album that is so fresh that it could pass for a debut -- and, as the first release for her own label, Konichiwa Records, it is a debut of sorts.
They were driven by a pulsating beat, elevated by a euphoric chorus and brought the heart to the centre of the dancefloor. “A selfish, narcissistic, psycho-freaking, boot-licking Nazi creep,” is one hell of an insult and the sort that only Robyn could fit into a pop song. “I’m so very hot that when I rob your mansion/You ain’t call the cops, you call the firestation,” is the sort of content we signed up for.
On The Radar: Erika De Casier – ‘No Butterflies, No Nothing’, The New Crop: Sloan Peterson, Josie Man And More New Songs We Love By New Artists. Find Robyn discography, albums and singles on AllMusic. On Honey, she does the opposite. Not every independent moment on Robyn is so lonely, however. "With Every Heartbeat," the epic, Kleerup-produced breakup song that was Robyn's breakthrough single in the U.K., pushes her forward on percolating, escalating synths and strings until it peaks with the chorus echoing all around her.
Michael tells the story of "Send Me On My Way," and explains why some of the words in the song don't have a literal meaning. Jeff Lynne sang the word "groose" in the chorus of "Don't Bring Me Down" as a nonsense placeholder, but left it in when he found out it means "greetings" in German ("gruss").
Anything in their field of vision or general scope of knowledge is fair game. Pool balls, magpies and thorns without roses - how well do you know your Tom Waits lyrics? "Who's That Girl," the song that her old label didn't want to release, and sparked her emancipation from them, is also here, and its distinctive skipping, tropics-go-Nordic rhythms and aggressively buzzy synths -- courtesy of the Knife -- sound great, but it isn't even the best song here. A danceable love song is certainly not a new concept or one that Robyn invented but each of her songs deal with nuanced complexities rather than sweeping generalisations. The critics credited Daft Punk with bringing human emotion to robots on Random Access Memories but Robyn and Röyksopp had already achieved it. She has a few words for the ladies as well: the cautionary tale "Crash and Burn Girl" is one of the album's funkiest tracks. Who’s That Girl may be Robyn’s most straight-forward pop moment but it’s no less glorious. Robyn used a robot metaphor to create a climaxing dance song about loneliness and neglect. The greatest pop song of the 21st century by a mile. Over a thumping, 80s-inspired beat she makes a song about insecurity strong and confident with a chorus that could break the speakers. Robyn Song list. Lucinda Williams wrote and recorded "Passionate Kisses" 4 years before it was a hit for Mary Chapin Carpenter. It’s a slow-moving, elongated epic that stretches over 10 minutes.
"I present to you/Unleashed in the East/Best dressed in the West/Sorted in the North/Without a doubt in the South/the queen of queen bees," intones the booming voice on Robyn's opening track, "Curriculum Vitae."
As mentioned above though, Robyn has this knack for creating pop songs about niche subjects and making it sound simple. gives us frantic verses and a confident chorus.
You could begin Honey at any point and it’s feeling would still be the same. A sci-fi love story that somehow manages to be devastating and danceable.
It’s still to this day one of the most affecting songs on the dancefloor helmed by a monstrous chorus and an instrumental break that should quite frankly be illegal. Even if it took a few years to put together the label and album (and a few more to get the album released everywhere), this is the pop tour de force that Robyn has always had in her.
Be Mine! They go toe-to-toe, bar-for-bar with Snoop shouting out Obama and Robyn saying, “We need a black pope and she better be a woman.” She’s right and we better get it done because we all know better than to fuck with Robyn. Like a more complex version of Icona Pop’s I Love It, together they captured the moment in a night where the euphoria peaks and you never want it to end. nails the complicated, sad yet liberated feelings surrounding an impossible relationship, celebrating "the sweet pain of watching your back as you walk away" as it propels itself on a buoyant rhythm. Snoop Dogg and Robyn is one of the stranger pop collaborations of the past decade but it just works so well on U Should Know Better. She doesn't mince words on "Handle Me," but she purrs "you're a selfish, narcissistic, psycho-freakin', boot-lickin' creep" so sweetly that it stings even more. The song has such a beautiful sincerity that’s translated through Robyn’s honest vocal delivery and Kindess’ retro stylings.
It’s a declaration of independence but Robyn’s never one to lie and her insecurities shine through at moments as she admits to being “helpless sometimes”. Along with Cobrastyle, it’s an outlier on the Robyn record but an important side of her nonetheless. It was used in the climactic dance scene at the end, which was actually the first scene shot for the movie.
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Hang With Me is a soaring, emotional pop song that sees Robyn let a love interest back into her live as long as it’s just as friends.
It’s a pulsating, emotional pop song that recalls the heartache of Dancing On My Own or the directness of Call Your Girlfriend but it’s gentler.
Call Your Girlfriend is a complete and utter triumph. According to Robyn, Missing U is an anomaly on her forthcoming album Honey but it was a necessary bridging for this new era.
Fembot, the opener to Robyn’s Body Talk, manages to combine both her attitude-driven rap stylings and her heart-on-the-dancefloor emotion. Strangely, nobody expected Robyn to come back from an eight year solo break with a song that recalled her biggest dancefloor hits. No one can make a tough guy look small quite like Robyn can.
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