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.
Drive
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sacrifice
Take it to the top
Take you in
Dragging you in
Dragging you in
Don't you want to come
(Say no)
Up till now
(Sitting in the back)
Picking up your feet
(Sending you back)
Picking on you
Picking on you
Let's do it again
You know who's right
You know who's right
Drive it on the edge
Drive it on the edge
Drive it on the edge
Are you looking for hell?
Burn your eyes
Cutting off your words
Burning you out
Begging for help
Begging for help
Begging for help
Are you bringing out the worst
(Say no)
Worse than that
(Sitting in the back)
What's coming over you?
(Setting you back)
Over your head
You're falling fast
(Setting you down)
Over your head
(Who can tell)
You're falling fast
Over your head
(Say no)
Picking on you
Cut you up inside
Drive it on the edge
Drive it on the edge
Drive it on the edge
Drive it on the edge
Are you coming up for air?
Lift you up, lift you up
Can you get it off your hands
Wiping you dry
Is it up to you?
Taping you down
Changing you out
Taping you down
Changing you out
Come and get you
Come and get you
Come and get you
Come and get you
Come and get you
Come and get you
Come and get you
"Drive" by Nitzer Ebb is a hard-hitting, edgy song that seems to be about giving in to something that is dragging you down away. The first line asks if the listener is getting dragged in, and then there are mentions of sacrifice and taking things to the top. The repetition of "dragging you in" seems to emphasize the idea of being pulled or dragged into something that might not be easy, comfortable, or even safe. However, the song also feels like it's about the lure of danger and adrenaline.
The repeated question "Are you frightened of the cars?" adds to this sense of danger and suggests that there's a sense of risk or recklessness involved in what's going on. The references to being in the back seat and having someone pick on or cut you up inside adds to the sense of disempowerment, but the driving beat of the song feels almost triumphant or exultant. The chorus of "Drive it on the edge" feels like a call-to-arms or a dare, urging the listener to push themselves to the limits.
Later on, the lyrics become more intense, referencing hell and burning, suggesting that the stakes are even higher in whatever the song is about. There's a sense of begging for help, perhaps from someone or something that you've willingly or unwillingly gotten involved with. The repeated refrain of "Come and get you" feels like a warning, as if to say the danger is always lurking and will catch up to you eventually.
Overall, "Drive" is a song that seems to be about giving in to temptation, even when you know it might be risky or damaging. The sense of danger and recklessness is palpable, but there's also something exhilirating about the energy of the song.
Line by Line Meaning
Are you getting dragged in
Do you feel pressured and pulled into something?
Sacrifice
Are you willing to offer something up?
Take it to the top
Will you go all the way and give your best effort?
Take you in
Are you willing to join and participate?
Dragging you in
Are you being coerced into the situation?
Dragging you in
Are you being coerced into the situation?
Don't you want to come
Are you not interested in joining?
Are you frightened of the cars
Are you afraid of the dangers involved?
(Say no)
Deny the offer
Up till now
Until this moment
(Sitting in the back)
Being ignored or left behind
Picking up your feet
Are you unwilling to take action?
(Sending you back)
Pushing you away
Picking on you
Are you being targeted or bullied?
Picking on you
Are you being targeted or bullied?
Let's do it again
Shall we repeat the experience?
You know who's right
You know who holds the power or control
You know who's right
You know who holds the power or control
Drive it on the edge
Take it to the extreme
Drive it on the edge
Take it to the extreme
Drive it on the edge
Take it to the extreme
Are you looking for hell?
Are you seeking chaos and destruction?
Burn your eyes
Are you being blinded or deceived?
Cutting off your words
Are you being censored or silenced?
Burning you out
Are you being exhausted or drained?
Begging for help
Are you desperate for assistance?
Begging for help
Are you desperate for assistance?
Begging for help
Are you desperate for assistance?
Are you bringing out the worst
Are you causing trouble or turmoil?
(Say no)
Deny the accusation or responsibility
Worse than that
The situation is even more dire
(Sitting in the back)
Feeling left out or forgotten
What's coming over you?
What is influencing your behavior?
(Setting you back)
Holding you back or hindering your progress
Over your head
Beyond your comprehension or control
You're falling fast
You're losing control or stability
(Setting you down)
Bringing you down or lowering your status
Over your head
Beyond your comprehension or control
(Who can tell)
Uncertainty and confusion
You're falling fast
You're losing control or stability
Over your head
Beyond your comprehension or control
(Say no)
Deny the accusation or responsibility
Picking on you
Are you being targeted or bullied?
Cut you up inside
Are you being emotionally wounded?
Drive it on the edge
Take it to the extreme
Drive it on the edge
Take it to the extreme
Drive it on the edge
Take it to the extreme
Drive it on the edge
Take it to the extreme
Are you coming up for air?
Are you seeking relief or respite?
Lift you up, lift you up
Provide assistance and support
Can you get it off your hands
Can you remove yourself from this situation?
Wiping you dry
Providing comfort and relief to you
Is it up to you?
Is it your responsibility alone?
Taping you down
Restraining or imprisoning you
Changing you out
Altering you and your behavior
Taping you down
Restraining or imprisoning you
Changing you out
Altering you and your behavior
Come and get you
We will retrieve you
Come and get you
We will retrieve you
Come and get you
We will retrieve you
Come and get you
We will retrieve you
Come and get you
We will retrieve you
Come and get you
We will retrieve you
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, THE RECORD BREAKERS
Written by: DEUTSCH, FANTE, HARRIS, KATS
Lyrics Licensed & Provided by LyricFind