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Apple Music 100 Best Albums

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Body Talk

Robyn

100

Why choose between dancing and crying when you can do both?

Early on in her seventh full-length album—and international breakthrough—the Swedish pop star makes a declaration: “Fembots have feelings, too.” And, boy, does Body Talk have feelings. The album launched two of the 21st century’s definitive “sad bangers”—“Dancing on My Own” and “Call Your Girlfriend”—inspiring a wave of aching but triumphant crying-on-the-dance-floor anthems.

A photograph of Robyn.

But Body Talk’s emotional core is embodied by more than just those two instant classics. On “Love Kills” and “Hang With Me,” Robyn reminds listeners to steel themselves against the potential hurt and heartbreak of love. Alongside those considerable moments of vulnerability, there are also songs that teem with strutting, defiant confidence: the stark “Don’t Fucking Tell Me What to Do” and the bizarre but wonderful Snoop Dogg collaboration “U Should Know Better,” with its pulsing beats and playful boasting. (Few pop stars save for Robyn could successfully deliver a line like “Even the Vatican knows not to fuck with me.”) And every single track here is an airtight addition to the vision articulated on “Fembot”: This is an album that’s immaculate and poised, featuring a protagonist unafraid to bare her soul.

“Any great pop writer will tell you that Robyn is a huge inspiration.”

Niall Horan

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Hotel California

Eagles

99

A snapshot of ’70s excess and the soundtrack to the comedown.

In early 1976, the Eagles released Their Greatest Hits 1971-1975, a compilation that would spend the next half decade on the Billboard 200 and go on to become the biggest-selling album of the 20th century in the United States. But the band’s most popular, career-defining song was still months away: the title track to Hotel California, the record where the Eagles expunged any lingering trace of their country-rock roots and took up residence in the football stadiums of the world.

A photograph of Eagles.

That shift can be largely attributed to the new kid in town: guitarist Joe Walsh, who added the exclamation point to Don Henley’s eerie narrative with one of the most dramatic guitar solos in the rock canon. That swagger spills over into the brontosaurus stomp of “Victim of Love” and the disco-fied “Life in the Fast Lane,” a—the?—definitive account of Hollywood hedonism. Hotel California is both a portrait of ’70s excess from behind the velvet rope and the soundtrack to the inevitable cruel comedown.

“There was some friction but that was all creative. After that, we achieved an amount of success beyond our wildest imagination, and there was no turning back.”

Joe Walsh

Eagles

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Hotel California by Eagles