The band's musical adventures first began in 1982 when McCarthy and Harris, along with drummer David Gooday, formed the group whilst still at school in Chelmsford. Listening to the likes of Abwärts, Neubauten, Malaria, DAF, Cabaret Voltaire, Killing Joke and Bauhaus among many others the boys began experimenting with synthesizers and samples culminating in the release of four singles on their own Power Of Voice Communications label (a joint venture with Pet Shop Boys producer Phil Harding) before Daniel Miller was impressed enough to sign them to his own label Mute.
Nitzer Ebb's debut album, 1987's brooding 'That Total Age', displayed a brutalist yet polished élan. Following the powerful opening singles 'Murderous' and 'Let Your Body Learn', the band's club reputation was truly secured with the release of 'Join In The Chant', which in a version remixed by Phil Harding, became a staple in Britain's acid house and techno clubs.
Having won over club-land the band turned their attentions to the live arena and at the invitation of label mates Depeche Mode, supported them on their huge Music for the Masses tour. Meanwhile original drummer Gooday departed to be replaced for live performances by Julian Beeston, whilst McCarthy and Harris returned to the studio with producer, Flood, to record the follow up to 'That Total Age' for the album that would eventually become 'Belief' and set in progress a highly creative partnership that would extend over four albums.
The new album once again retained the musical and visual aggression of their previous work. Yet 'Belief' also hinted at the band's growing ability to display a sense of wit, imagination and sheer caustic comment within their music. There were no sacred cows in terms of subject matter or indeed the band's merciless capacity for piss taking.
Upon its release 'Belief' not only attracted much domestic critical praise but also saw their stock rise in Europe. In part this was aided by the series of remixes provided by the band for the singles 'Control I'm Here', 'Hearts & Minds' and 'Shame'. Along with additional mixes by William Orbit they helped maintain the band's popularity in the clubs and encourage the burgeoning fascination in Europe with what was then known as EBM (Electronic Body Music).
In 1990 the band and Flood once again returned to the studio with every intention of upping the ante even further. The resulting album 'Showtime' showed further evidence of the band's progression, combining their trademark energy with a growing musicality that added menacing depths to tracks such as 'Getting Closer' and 'Lightning Man'. The album also spawned a most improbable, though brilliantly effective remix of 'Fun To Be Had' by George Clinton, the visionary behind two of the greatest freak-funk bands ever - Parliament and Funkadelic.
Arguably the success of this collaboration acted as a spur for the band's next release, the EP 'As Is'. This saw McCarthy and Harris working with four different mixers to reveal the different musical aspects at work within band. Their collaborators included Jaz Coleman of Killing Joke, a recording artist whose musical aggression was even more noted than their own, and Alan Wilder, then of Depeche Mode, who applied his noted production skills to enhance the melodic potential within the band.
It was this potential that the band sought to develop on their 4th album, 'Ebbhead'. Released in 1991 the album was a full-blooded affair and with Alan Wilder joining Flood in the production hot seat it was perhaps no surprise to hear the rich musical instrumentation now firmly part of the band's armoury. Any suggestion though that the Ebb were somehow softening up were blown away by the full on pulverising assault of 'Godhead', an assault that had by now successfully overcome audiences in the US.
Though it appeared that the main external battles had been won, the band were arguably now having to battle with the internal tensions that naturally had arisen following a decade sustaining an intense level of shared creativity. Four years in the making 'Big Hit' finally made the light of day in 1995. The diverse and experimental nature of the band was still there, and in the lead-off single 'Kick It', the Ebb showed that they could still easily conjure up those moments that would batter the listener into submission yet make it a strangely rewarding process at the same time. Unfortunately, the band's decicion to update their sound with grunge-inspired guitars fails throughout most of the album, as the big rock-styled choruses proved incompatible with the band's signature electronics. Once ahead of their time, but now left behind, Nitzer Ebb found their last release headed straight to the cutout bins.
The cracks that appeared between McCarthy and Harris during the making 'Big Hit'--as well as longtime producer Flood's inattentiveness to the group's material--proved to be decisive and shortly after its release it became clear that another album would not be forthcoming. In fact it would take seven years before the band could bring themselves to talk to each other. Perhaps it was this enforced silence that encouraged critics to reassess the precocious impact and originality of the band, as a number of subsequent artists lined up to cite them as a major influence, or less honourably, simply exploiting the Ebb's musical template for their own individual gain. Whilst such a situation may be a cause of great annoyance to most bands, the Ebb maintain a healthy level of stoicism. As they say, “That's the problem with being ahead of the game - the pioneers get the arrows and the settlers get the land.”
In the end of 2005 when the quantity of requests for new Nitzer Ebb live acts went beyond the limits McCarthy and Harris met to discuss the possibility of reunion. Since the beginning of 2006 they started to give concerts and since summer Nitzer Ebb are on reunion tour. A 2CD compilation of best tracks and a bunch of remixes "Body Of Work" was released in may and later, in july, a remixes album "Body Reworked" followed. For the tour Nitzer Ebb hired a new drummer - Kourtney Klein, mostly known for her work in CombiChrist. In august of 2006 it was officially confirmed that Nitzer Ebb are working on the new material. The recording actually started in March 2007. New record is going to be produced by british producer Jagz Kooner and should be issued, according to Douglas McCarthy, at spring 2008.
Boy
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What's that you heard
oh boy boy
that's just absurd
of course I do do do
oh my boy
from me to you
but people will say things
that are gonna run from you
'coz people and places
That confound you
oh boy, oh boy
oh boy, oh boy
Oh boy, boy
Get what's deserved
oh boy, boy
not just what's served
Oh my boy
What you must think think think
oh my boy
I will not sink sink sink
'coz people and places
Are gonna run from you
unless words meet faces
That confound you
Oh boy, oh boy
oh boy, oh boy
Oh boy, oh boy
I watch you play
hear the words you say
you are so strong
tell me am I wrong?
oh boy boy
They'll turn your head
Oh boy boy
You'll wish I'm dead
Oh my boy
I love you so so so
oh my boy
I had to go go go
'coz people reject it
it don't make it so
if we can protect it
we can learn how to grow
oh boy, oh boy
oh boy, oh boy
I watch you play
hear the words you say
You are so strong
Tell me am I wrong?
The song "Boy" by Nitzer Ebb is a reflection on the struggles of growing up and facing societal pressures and expectations. The repeated lines of "oh boy, oh boy" serve as a call-and-response between the singer and the subject of the song, perhaps a younger sibling or a child. The line "what's that you heard, that's just absurd" could be interpreted as the singer dismissing any negative messages the subject may have heard from others and reaffirming their own love and support. The lines "get what's deserved, not just what's served" could be interpreted as the singer encouraging the subject to work hard for their goals and not settle for the minimum.
The chorus stresses the importance of facing life's challenges head-on and not backing down from those who try to tear you down. The line "unless words meet faces that confound you" implies that words and gossip mean nothing in the face of true resilience and strength. The bridge of the song reveals the singer has had to leave the subject for some reason but still loves them deeply. The line "if we can protect it, we can learn how to grow" shows that the singer wants to protect their relationship with the subject and help them grow into a strong person.
Line by Line Meaning
Oh boy boy
Addressing the boy with a sense of camaraderie
What's that you heard
Asking the boy about what he has heard
That's just absurd
Dismissing what the boy has heard as ridiculous
Oh my boy
Further addressing the boy with affection
Of course I do do do
Assuring the boy of one's loyalty
From me to you
Emphasizing the closeness of the relationship
But people will say things
Acknowledging the existence of negativity from others
That are gonna run from you
Suggesting that negativity from others can cause the boy harm
'coz people and places
Elaborating on the sources of negativity
That confound you
Implying that the boy may feel confused or overwhelmed by this negativity
Get what's deserved
Encouraging the boy to strive for what he deserves in life
Not just what's served
Advising the boy not to settle for less than he deserves
What you must think think think
Urging the boy to think deeply
I will not sink sink sink
Promising the boy one's unwavering support
'coz people and places
Reiterating that negativity may come from external sources
Are gonna run from you
Implying that the boy may encounter adversity
Unless words meet faces
Suggesting that confrontation can be effective
That confound you
Repeating that the boy may feel overwhelmed by negativity
I watch you play
Observing the boy's actions
Hear the words you say
Listening to the boy's thoughts and opinions
You are so strong
Complimenting the boy for his strength
Tell me am I wrong?
Asking the boy if the artist is mistaken
They'll turn your head
Warning the boy of potential negative influences
You'll wish I'm dead
Implying that the boy may regret ignoring the artist's advice
I love you so so so
Reiterating one's affection for the boy
I had to go go go
Explaining why the singer had to leave the boy
'coz people reject it
Implying that the boy may face rejection
It don't make it so
Emphasizing that rejection does not make something inherently wrong
If we can protect it
Proposing a way to handle rejection
We can learn how to grow
Suggesting that growth can come from perseverance and overcoming obstacles
Lyrics © Kobalt Music Publishing Ltd.
Written by: Adrian Nicholas Matthew Thaws, Luke Harris
Lyrics Licensed & Provided by LyricFind