Big Time Sensuality
"Big Time Sensuality" is a song by Icelandic singer and songwriter Björk, released in November 1993 by the labels One Little Indian and Elektra as the fourth single from the singer's debut album, Debut (1993). Written by Björk and staple collaborator Nellee Hooper and produced by Hooper, "Big Time Sensuality" is a house-influenced song that helped boost Björk's popularity worldwide, particularly in the US, where she charted for the first time. In Iceland, it was a number-one hit. The lyrics deal with her relationship with her friends and Hooper. The song features house grooves and electronic bass-sounds. Its music video was directed by French director Stéphane Sednaoui and filmed in New York City.
"Big Time Sensuality"
- "Síðasta Ég"
- "Glóra"
- "Come to Me"
22 November 1993
Olympic (London, England)
- 3:56 (album version)
- 4:54 (video version)
- 5:46 (alternate "night version" video)
- Björk
- Nellee Hooper
Nellee Hooper
Composition[edit]
The first two verses of "Big Time Sensuality" are underscored by upbeat keyboards that lead into electronica and techno-influenced grooves that Sandy Masuo of Option defined as "brooding".[5] Björk belts out the first lines accompanied by a base of percussion, while the chorus features stronger electronic beats. After the first two verses, Björk sings some sounds like moans or shouts. Ben Thompson defined the yells sequence as "sinuous pop-funk squawk".[6] After the interlude "I don't know my future after this weekend/And I don't want to!" funk-like sounds lead the song to an end.
The "Fluke Minimix" is composed on a series of synthesizers and by slower vocals. The remix features electronic bass and heavily uses reverb. The track ends with the lines "It takes courage to enjoy it/The hardcore/And the gentle/Of Big Time Sensuality" whispered by Björk.
Critical reception[edit]
The song was deemed as a highlight of Debut and was praised by critics. Reviewing the album, Heather Phares of AllMusic, noted that "Björk's playful energy ignites the dance-pop-like 'Big Time Sensuality' and turns the genre on its head with 'There's More to Life Than This'."[7] The website cites the track as an All Media Network-pick, and in a track review, Stacia Proefrock defined it as an "aggressive, screechy dance number" that "While not scraping the top of the charts[...] was part of an album unusual enough to stand out among its fellow pop releases as a quirky and complex experiment that worked most of the time".[8] Larry Flick from Billboard wrote, "Wiggly bass and heavy beat come to the fore here, unfortunately competing with Björk's voice for lead billing, when her vocal really should be allowed to steal the show."[9] Sean McCarthy of the Daily Vault defined the track as "insanely addictive".[10] John Hamilton from Idolator felt that "this dancefloor monster resembles the soulful American house sounds of Crystal Waters and Ultra Nate in its original album mix, but for the single, it was revamped into a storming trance jam by remix duo Fluke."[11] Taylor Parkes from Melody Maker named it Single of the Week, writing that the new remixes "burn with precisely the kind of firework-faced madness that the best dance music achieves almost effortlessly, metallic thunder and cyclones of percussion, Björk's urgent, foot-stamping voice bobbing and weaving inside it all like a heat-seeking dolphin."[12]
Martin Aston from Music Week gave it four out of five, stating that it "sees the ubiquitous star this time going for the big dancefloor smash", adding that "she can do no wrong right now."[13] Simon Reynolds of The New York Times stated that "the sultry 'Big Time Sensuality' has her vaulting from chesty growls to hyperventilating harmonies so piercing she sounds as if she's inhaled helium".[14] Johnny Dee from NME commented, "More fun, madness and surprise follows", noting "the pulsating grind" of the song.[15] Tim Jeffery from the Record Mirror Dance Update noted, "That soaring voice starts the track over swirling synths before a deep and rumbling bassline powers in and the rest is history repeated as Bjork heads for another smash."[16] German band Culture Beat reviewed it for Smash Hits, giving it four out of five. Tania Evans said, "She really knows how to express herself as an artist and I like the irregularity of her phrasing and the way she uses her voice. She is unique." Jay Supreme added, "I love her, her voice is real good. This song comes from a different angle but you can tell that it's definitely her."[17] Vox journalist Lucy O'Brien called it "saucy".[18]
"Big Time Sensuality" was nominated in the Best Song category at the 1994 MTV Europe Music Awards, losing to "7 Seconds" by Youssou N'Dour and Neneh Cherry.[19] In 1995, the song was awarded one of ASCAP's Rhythm & Soul Awards.[20]
Live performances[edit]
The song received a heavy promotion, and as such, Björk did numerous TV appearances. On 8 August 1993, she appeared on the UK show The Beat, performing the song along with "Venus as a Boy" and "Come to Me". Björk performed the song live on other British shows like Dance Energy, Top of the Pops and Smash Hits Poll Winners Party. She then performed the song live on The Tonight Show with Jay Leno, in one of her first appearance on the American broadcast. She performed the track on MTV's Most Wanted, where she performed also "Human Behaviour", and on The Grind. On a rare lip-synch performance, she sang the song on the Italian show Festivalbar. She also performed the song live, dressed in a big, red gown at the 1994 MTV Europe Music Awards, where she received two nominations. The song was part of her MTV Unplugged set list, where it received a different arrangement, accompanied by Indian instruments and a harpsichord. Its performance was released on Debut Live, which was included in Live Box.[26]
"Big Time Sensuality" was a staple performance at her Debut tour and Post tour. Notably, its performance during the Post tour at the O2 Shepherd's Bush Empire in London was released on her VHS and DVD release Live at Shepherds Bush Empire, with the same performance released on Post Live, where it was given a "much more minimal treatment"[27] accompanied by Leila Arab "gently hyperkinetic jungle beats".[27]