Robyn Is Here | ||||
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Studio album by Robyn | ||||
Released | October 14, 1995 | |||
Recorded | Radio Nova, Softsound Studios, Cheiron Studios, Soundtrade Studios, Polar Studios, BAG Studios | |||
Genre | Pop, dance-pop, R&B | |||
Length | 55:43 | |||
Label | BMG, RCA, Ariola | |||
Producer | Ghost, Christian Falk, Anders Bagge, Harry Sommerdahl, Denniz Pop, Max Martin, Peter Swartling (exec.), Alex Strehl (associate exec.) | |||
Robyn chronology | ||||
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Singles from Robyn Is Here | ||||
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Alternative cover | ||||
1997 U.S. cover
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Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic | |
Robert Christgau | B+ |
Melody Maker | (positive) |
Robyn Is Here is the debut album by Swedish pop singer Robyn. It was released by Ariola Records in 1995 in Sweden, in 1996 in Japan by Sony Music Japan, and in the United States on 21 June 1997 by BMG with an alternate track listing. In 1998, the album was certified platinum in the U.S, and has sold more than 922,000 copies according to Nielsen SoundScan. Worldwide, the album has sold over 1.5 million copies. The album is mainly written and produced by Swedish production team Ghost, with all songs co-written by Robyn. Denniz Pop and Max Martin produced two of the album's four singles, "Do You Know (What It Takes)" and "Show Me Love". Both peaked at number seven in the U.S., while the latter peaked at number eight in the UK.
Writing for Melody Maker in February 1998, Peter Robinson described Robyn Is Here as an "impressive album" and highlighted it as an alternative to other contemporaneous pop acts; "While the music loses its edge stretched over 13 tracks, and at the same time surrenders its subtlety when heard on a song-by-song basis, Robyn Is Here is nonetheless a slinky, funky album, and for all those disappointed by the weediness of Louise, disillusioned by the Spice Girls, or distracted by the hastily drafted in Kim Wilde lookalike factor of All Saints, Robyn's your gal." In his consumer guide for MSN Music, critic Robert Christgau gave the album a B+ rating, indicating "remarkable one way or another, yet also flirts with the humdrum or the half-assed". Christgau described it as "So front-loaded it could almost be a vinyl album with a hot side and a cool side", but commented that "a few spins in, you notice a hint of velvet in her timbre—more like suede, really—that suggests not sensuality but emotional depth".