FEATURE:
Violently Happy
PHOTO CREDIT: Kevin Cummins
Björk’s Debut at Thirty: Ranking Its Five Singles
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THIS is the second…
piece I have written about Björk’s amazing and unique debut album. Called Debut, it was unleashed into the world on 5th July, 1993. I wanted to look ahead to its thirtieth anniversary by taking a different approach this time. My first feature was a general overview of the album and how it was received. Seen as one of the best albums of the '90s, I remember when it came out. Many people had not heard Björk in The Sugarcubes, so here came this very unusual and different artist! I love every track on Debut. I think many of the non-singles deserve a lot more airplay. How often does one hear Crying, Aeroplane and The Anchor Song?! Each very different but equally spectacular, I do hope that the thirtieth anniversary allows stations to be a bit broader with their Debut selections! That being said, the five singles that were released from Debut show Björk at her very best. I am counting Play Dead. Even though it was released as a single from the soundtrack, The Young Americans, the song was included in the reissued version of Debut – so I think that counts as a Debut single too! They are extraordinarily powerful and wonderful songs. It is hard to pick between them because, when it comes to this incredible album, there are definitely no weak moments. I thought I would rank the five singles and, in each case, mention when they were released, where they charted in the U.K., and what critics made of them. From one of the music’s world’s most innovative and sensational people, here are the five singles from the magnificent debut ordered in terms of…
THEIR absolute brilliance.
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FIVE: Violently Happy
Track Position on Debut: 10
Release Date: 7th March, 1994
Producer: Nellee Hooper
U.K. Chart Position: 13
What the Critics Said:
“Violently Happy" received generally positive reviews from music critics. It was defined "bittersweet" by Heather Phares of AllMusic, and "insanely addictive" by Sean McCarthy of The Daily Vault, which also deemed its title as "one of the best song titles of all time". The Daily Telegraph's journalist Emily Bearn noticed that "Violently Happy" finds her making guttural noises at the sea: "I tip-toe down to the shore/Stand by the ocean/Make it roar at me/And I roar back". Brantley Bardin of Details commented that "songs like “Violently Happy” summed up a worldview that put all its faith in emotional abandon instead of logic. “Too much cleverness,” says Björk, “is the worst disease in the world. It ruins everything. Give us a laugh—make us happy". Brad Beatnik from Music Week's RM Dance Update wrote, "A typical fourth single, this might not be quite as immediate as her previous hits but it still has some damn fine moments." In particular, Simon Reynolds of The New York Times praised the song generally, "The title of 'Violently Happy' captures the Björk effect perfectly: a gush and rush of euphoria, a tidal wave of oceanic feeling. Over the song's brisk house beats, Björk stammers as she struggles to express feelings of excitement so intense she seems on the brink of leaping out of her skin: 'I'm driving my car too fast with ecstatic music on/I'm daring people to jump off roofs with me.' In the end, she and Mr. Hooper resort to studio wizardry to gesture at inexpressible feelings, sampling one syllable and turning it into a stuttering vocal tic". Johnny Dee from NME commented, "More fun, madness and surprise follows", noting its "pulsating grind". Sylvia Patterson from Smash Hits gave it four out of five, writing, "Not quite the jovial rejoicings of "Big Time Sensuality" but a giant of space-dance majesty, nonetheless." Troy J. Augusto from Variety described it as "a smoothly twisted tune". David Petrilla from The Weekender stated that the singer "is aiming directly at the dance floor" with the song” – Wikipedia
FOUR: Venus As a Boy
Track Position on Debut: 3
Release Date: 23rd August, 1993
Producer: Nellee Hooper
U.K. Chart Position: 29
What the Critics Said:
“Venus as a Boy" received positive reviews from music critics. Heather Phares of AllMusic complimented the song and its lyrics, stating that "the album's romantic moments may be its most striking; "Venus as a Boy" fairly swoons with twinkly vibes and lush strings, and Björk's vocals and lyrics -- "His wicked sense of humor/Suggests exciting sex"—are sweet and just the slightest bit naughty". Larry Flick from Billboard described it as a "hip-hop-splashed tune—easily the most accessible cut from her adventurous solo debut." Taylor Parkes from Melody Maker named it Single of the Week, adding, "It's pornography, naturally. Naturally as in, you know, naturally." Johnny Cigarettes from NME also named "Venus as a Boy" Single of the Week, praising the "bizarrely gorgeous, head-spinningly eclectic and exotic instrumentation and arrangement", Bjork's "incredible voice, more startling and spine-stroking than it's been since "Birthday" sent everyone into wibbling raptures", and her "beautifully peculiar way with a lyric". On the album review, another editor, Johnny Dee, felt the "wonderful" song "creates an Arabic mantra." Sam Wood from Philadelphia Inquirer named it one of the "high points" of the album, remarking that the song "marries a subtle reggae bassline with a deliciously sinuous string section reminiscent of classic Egyptian film scores". Gavin Reeve from Smash Hits complimented it as a "gorgeous and uplifting song". He added, "Just one of the brilliant swirling dance tracks on her album Debut, this is surely the sort of music that God plays on his/her stereo."[20] A less flattering review came from Rolling Stone reviewer Tom Graves, who discussed the singer's shift from rock to alternative music, commenting that the Indian orchestra in "Come to Me" and "Venus as a Boy" "[is] more intrusive than galvanizing". On a similar note, Kate Narburgh of The Chronicle, citing the "Mellow vibes accent "Venus as a Boy"", hoped that "Björk won't waste her vocal talent on such talentless music".
The song was nominated in the "Song of the Year" category at the inaugural Icelandic Music Awards in 1993” – Wikipedia
THREE: Play Dead (Included on the reissued edition of Debut)
Track Position on Debut: 12 (Reissued Release)
Release Date: 11th October, 1993
Producers: David Arnold/Danny Cannon/Tim Simenon
U.K. Chart Position: 12 (from the soundtrack, The Young Americans)
What the Critics Said:
“The track was well received by music critics. Derek Birkett described it as "one of the best things Björk’s ever done". Alexis Petridis of Blender stated that it "boasts a chorus that’s both original and implausibly epic". In his weekly UK chart commentary, James Masterton wrote that it is "a haunting beautiful piece of music to rank alongside anything she ever did with the Sugarcubes and becoming a bigger hit than she ever had with her former band in the first place.” Pan-European magazine Music & Media noted that "the clamour of Iceland's siren is in the air again, beautifully floating above superb rhythm tracks. Highly original; there's nothing like this on the entire planet." Tom Doyle from Smash Hits gave "Play Dead" four out of five, viewing it as "a grand sweeping groovy orchestral thing which sounds like an unhinged Bono theme and will make the hairs on the back of your neck tingle. Remarkable." The Tech journalist Fred Choi, while reviewing Greatest Hits stated that the song is "compelling but lesser-known". Mal Pearchey of Vox described it as "incredibly sophisticated after the eclectic drama of The Sugarcubes" – Wikipedia
TWO: Human Behaviour
Track Position on Debut: 1
Release Date: 7th June, 1993
Producer: Nellee Hooper
U.K. Chart Position: 36
What the Critics Said:
“The song was well received by music critics. In an retrospective review, Terry Nelson from Albumism said it is "brilliant", noting it as "a smart and quirky observation of us very strange humans as seen through the eyes of an animal." For AllMusic's Heather Pares, the song's "dramatic percussion provides a perfect showcase for her wide-ranging voice". Upon the single release, Larry Flick from Billboard wrote that it "has her ripping that harsh and distinctive voice over a stark, militaristic dance beat. Alternative programmers surely will be captivated by the mystical combo of what eventually become mantra-like vocals and an insinuating bassline." Dave Sholin from the Gavin Report stated that here, Björk "gets off to an awesome start", adding that "it's time to introduce her to Top 40 audiences, who can't help but be blown away by the lyrical power and originality of this fresh entry." Caroline Sullivan from The Guardian said, "Its combination of smoky, jazz-club vibe and a sound that's often more a laryngeal reflex than a voice is addictively strange. In a year of female experimentalism, Bjork is out there on her own, and sounds just fine."
In his weekly UK chart commentary, James Masterton felt it's "unfortunately a cacophonous mess". Dave Simpson from Melody Maker named it Single of the Week, writing, "This is wonderful, the sort of spooky and unique experience I thought pop had abandoned long ago. [...] Mostly, though, it's The Voice that gives "Human Behaviour" its near-intangible sparkle. I can't remember the last time I heard a voice so laden with intrique (sexual tension, outrage, fear—they're all in there) or an avant-garde record that made such sense as pop." In their review of Debut, Music & Media commented, "This solo album succesfully [sic] marries eccentricity to accesibility [sic]. The musical-esque song "Like Someone In Love" and the current single "Human Behaviour" with those thundering timpani are prime examples of this." Martin Aston from Music Week rated it four out of five, calling it a "sensual, subtle dance track that bodes well for the future." Simon Reynolds from the New York Times described the lyrics as a "parallel between the beastliness of humanity and the bestiality of nature. Johnny Dee from NME noted that "a swampy kettle drum jazz vibe circles around Bjork's rasping larynx, trying to find a melody but eventually settling for the search." Tom Graves from Rolling Stone wrote, "Only on the opening track, "Human Behavior", do we get a glimmer of what the fuss was all about." Sian Pattenden from Smash Hits gave it two out of five” – Wikipedia
ONE: Big Time Sensuality
Track Position on Debut: 6
Release Date: 22nd November, 1993
Producer: Nellee Hooper
U.K. Chart Position: 17
What the Critics Said:
“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'." 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". 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." Sean McCarthy of the Daily Vault defined the track as "insanely addictive". 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."
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." 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". Johnny Dee from NME commented, "More fun, madness and surprise follows", noting "the pulsating grind" of the song. Tim Jeffery from the RM 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." 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." Vox journalist Lucy O'Brien called it "saucy" – Wikipedia