The baseball-capped, baggy-shorted EMF-- standing for either 'Epsom Mad Funkers' or, in the words of their eponymously titled song, 'Ecstasy Mother Fuckers' (the band could never quite make up their minds)-- made their first attack on the U.K. music scene in the autumn of 1990 with the Jesus Jones-influenced Top 10 single "Unbelievable." Sampling hard-hitting U.S. comic Andrew Dice Clay, the single was a catchy pop pile-up featuring fresh-faced vocalist James Atkin's sneery schoolboy vocals, band leader Ian Dench's swaggering rock guitar and a booming bassline, courtesy of Zac Foley. mischief-maker Derry Brownson (keyboards), and Mark Decloedt (drums).
The new social scene of 'Madchester' had exploded in 1990, and every previously no-hoper band with half an idea sold their souls to hitch a ride on the ensuing 'indie dance' bandwagon. EMF's ideas were better formed than most, despite the fact that they had been signed by a major label (EMI/Parlophone) after only a handful of gigs. Denounced as beered-up party animals by some and cider-drinking country bumpkins who'd struck lucky by others, the group cultivated a hedonistic young upstart image that ensured that they felt as at home on the cover of Smash Hits as they did the NME.
Steered through these giddy times by the older, somewhat Svengali-like figure of guitarist and songwriter Dench, who had already enjoyed previous limited success with the band Apple Mosaic, the quintet quickly dispatched identikit follow-up singles in "I Believe" and "Children," with little drop in quality or commercial impact. By this stage, "Unbelievable" was breaking the band in the U.S., but their debut single's worldwide success was to hang heavy on their shoulders in years to come. In May 1991, EMF released their debut album, titled 'Schubert Dip' ("If ever I'm short of a chord sequence, I nick one from Schubert", Dench was quoted as saying), which contained all the band's singles to date and already felt like a greatest hits collection. Similarly it topped the charts, although the fourth single, "Lies," like much of the rest of the album (with the possible exception of the slower tune "Girl of an Age"), paled in comparison with their initial batch of exuberant singles. It also drew attention from Yoko Ono's lawyers, who objected to the single's use of a sample of John Lennon lyrics recited by her husband's murderer, Mark Chapman.
With 'Schubert Dip' becoming a million-selling album, the group's members were international superstars, the album hitting #12 on the Billboard 200 in the U.S. while tracks such as the aforementioned I Believe" and "Lies" being Top 40 American hits as well. The band then took to hanging out in L.A. with such luminaries as Perry Farrell of Jane's Addiction, getting tattoos, getting high and talking big about making a 'real' rock record. When second album 'Stigma' appeared in late 1992, heralded by the noisy single "They're Here" and the 'Unexplained' EP (containing a rowdy cover of seminal proto-punk band the Stooges' "Search and Destroy"), it was interpreted by many as a deliberate attempt by EMF to distance themselves from their teenage fan base.
Though they may have won some respect from the critics by going for a harder, less straightforward sound, the album wasn't received as well as hoped, sliding quickly out of the charts and selling only a fifth of its predecessor's total. The limitations of Atkin's voice were also readily apparent against the crunchier guitar backing. Perhaps the band had been partying too hard and simply forgot to write some tunes; "Around the time of Stigma, I was pumping myself full of anything", bassist Foley would later admit. At any rate, listeners that had bought into the band's ethos of catchy pop meets indie-fueled dance music flocked to other groups, and the band's success had been crippled.
With the band either touring or doing nothing during 1993–94, there was a hiatus in the group's recording career, and many assumed that EMF had simply split up until the single "Perfect Day" appeared from nowhere in early 1995. Though it was the band's breeziest, grooviest single for a long while, it failed to recapture their previous fortunes. The album that followed, 'Cha Cha Cha'-- from which Massive Attack/Neneh Cherry producer Johnny Dollar had walked out during the sessions-- stubbornly refused to shift units. "Bleeding You Dry", the next single to be pulled from the album, seemed titled perversely appropriate.
The summer of 1995 saw the band abandoning promotion of 'Cha Cha Cha' and teaming up with comics Vic Reeves and Bob Mortimer on a quirky cover of The Monkees' pop rock hit "I'm a Believer". Although this commercial move ensured the band appeared on Top of the Pops again-- wearing gaudy Mike Nesmith wigs and miming badly no less-- many critics smelled the stench of desperation. Their self-promoted follow-up, "Afro King", seen in some quarters as a return to their alternative dance origins, and in others as too little too late, failed to do as well. Though influencing many later British rock groups, said groups had very well eclipsed them completely. The band were subsequently dropped by their label and, with no other offers forthcoming, called it a day.
In 2001, EMF reformed and released a greatest hits album. They played a number of comeback shows in the UK, and even sold out the London Astoria in June of 2001. However, on January 3, 2002, Foley died due to an overdose of heroin, cocaine, ecstasy, barbiturates and alcohol. He was aged 31. The remaining members of EMF played just four more gigs in late 2002, before deciding to split up for the final time. Still, sporadic reunions have taken place since then, although with the band's future still murky.
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shining
EMF Lyrics
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Drive by shooting
In a big black roadster
It felt so good
We danced in clubs
In ballroom gowns
Lined them up and all fell down
It felt so good
Walked on air and you took my hand
It felt so good
It met you where our worlds collide
No one could touch us side by side
It felt so good
Now you see it, now you don't
Maybe get it, maybe you're wrong, maybe you're right
Now you see it, now you don't
How could you lose it
When you shine so bright, when you feel so right?
I loved you with a forty-five
A bullet jig at a roadside jive
It felt so good
We chased a demon through the night
And laced our dreams with neon lights
It felt so good
We lost our heads in a winning streak
Touched the sun and felt the heat
It felt so good
I loved you a forty five, a Cadillac
And we got away alive
It felt so good
Good won't last
Now you see it, now you don't
When you shine so bright, when you feel so right?
What did you feel in your drunken haze
Did you feel better, than your better days
When you shine so bright?
How did you feel on your higher plain?
How did you feel and would you do it again
When you shine so right?
I met you on a roller coaster
Drive by shooting
In a big black roadster
It felt so good
We danced in clubs
In ballroom gowns
Lined them up and all fell down
It felt so good
We played our cards for the promised land
Walked on air and you took my hand
It felt so good
I lost you to a dollar deal
I didn't know if it was real
It felt so good
Good won't last
Now you see it, now you don't
When you shine so bright, when you feel so right?
The first verse of EMF’s song Shining alludes to the adrenaline rush associated with impulsive behavior. The initial lines, “I met you on a roller coaster/ Drive by shooting/ In a big black roadster” establish a sense of danger and risk-taking. The use of the roller coaster and the drive-by shooting can also be interpreted in a metaphorical sense, implying that the relationship is a wild ride full of ups and downs.
The following lines, “We danced in clubs/ In ballroom gowns/ Lined them up and all fell down” suggest that the couple isn’t afraid to try new experiences together. They dance in different atmospheres, wearing ballroom gowns in the club, symbolizing fluidity and adaptability. The imagery of everyone falling also suggests that the two are uniquely connected, possibly in a way that they don’t experience with others.
The chorus of the song, “Now you see it, now you don't/ When you shine so bright, when you feel so right?” reflects the uncertainty that comes with taking risks. The couple feels exhilarated and carefree in the moment, but they’re also aware of how fleeting it can be. They are caught up in the bright lights of their surroundings, but are unsure if it’s worth the risk in the end.
The final verse of Shining reflects a sense of loss and a sudden realization that their relationship may not have been built to last. The lines “I lost you to a dollar deal/ I didn't know if it was real/ It felt so good/ Good won't last” suggest that the relationship ended in a way that felt shallow and meaningless, leaving the singer yearning for the wild, adventurous thrill of their past together.
Line by Line Meaning
I met you on a roller coaster
We crossed paths unexpectedly while we were both experiencing life's ups and downs
Drive by shooting
Our meeting was sudden and fleeting, like a quick drive-by encounter
In a big black roadster
The mode of transportation that brought us together was impressive and daring
It felt so good
Our connection was intense and pleasurable
We danced in clubs
We enjoyed each other's company and shared experiences in lively social venues
In ballroom gowns
We dressed up fancy and made the most of special occasions
Lined them up and all fell down
We took risks and had fun, even if it meant things didn't always go according to plan
We played our cards for the promised land
We pursued our goals and ambitions with determination and optimism
Walked on air and you took my hand
We felt invincible and supported each other in our pursuit of success
It met you where our worlds collide
Our lives intersected in an unexpected way that brought us together despite our differences
No one could touch us side by side
Our connection was unique and special, and no one else could replicate it
Now you see it, now you don't
Our relationship was fleeting and transient, and it was difficult to predict what would happen next
Maybe get it, maybe you're wrong, maybe you're right
It was hard to determine the true nature of our relationship, and whether it was meant to last
How could you lose it
The sudden end of our relationship left me wondering how it all fell apart
When you shine so bright, when you feel so right?
Our connection was so intense and powerful that it was hard to imagine it ever fading away
I loved you with a forty-five
I loved you with everything I had, despite the potential for danger or violence
A bullet jig at a roadside jive
We had an exciting and risky relationship, filled with fast-paced adventures
We chased a demon through the night
We faced our fears and took on challenges together, even in the darkest of times
And laced our dreams with neon lights
We were wild and free, unfettered by societal constraints or expectations
We lost our heads in a winning streak
We became overconfident and reckless, forgetting to play it safe
Touched the sun and felt the heat
We pursued our passions with abandon, experiencing extreme highs and lows along the way
I loved you a forty five, a Cadillac
I loved you in all forms, whether we were on the run or living in luxury
And we got away alive
We were able to overcome obstacles and escape danger, but not always unscathed
What did you feel in your drunken haze
I wondered what you were really feeling, especially when alcohol might have clouded your judgment
Did you feel better, than your better days
I hoped that being with me brought you more happiness and fulfillment than you'd experienced before
How did you feel on your higher plain?
I wondered what it was like to live life with a heightened sense of purpose and passion
How did you feel and would you do it again
I was curious if you would choose to relive our relationship if given the chance, and if it would feel as exhilarating as the first time
I lost you to a dollar deal
Our relationship was ultimately overshadowed by the pursuit of wealth and material success
I didn't know if it was real
I was unsure if our connection was genuine or just a fleeting, temporary infatuation
Good won't last
The good times never seem to stick around for long, no matter how much we want them to
Lyrics © BMG Rights Management, Kobalt Music Publishing Ltd.
Written by: JAMES SAUL ATKIN, IAN ALEC HARVEY DENCH, ZACHARY FOLEY, MARK SIMON DECLOEDT, DERAN BROWNSON
Lyrics Licensed & Provided by LyricFind