Waving farewell to the Eighties: it was biggest pop kick there'd been in, ooh, ten years. During that godforsaken, musically atrocious decade, it was them and us. We hadn't got a prayer. Our stuff didn't register in corporate demographic terms, it was too vague and indefinable. And it didn't register in the charts. There would be the occasional triumph, as the The Smiths, the Bunnymen or the Mary Chain made a lightning raid on the Top 20, only to limp back to obscurity the following week.
So, come the tail end of 1989, there was a mood of battered, hopeless optimism. As we took our huddled flight into the Nineties, a bolt from nowhere, from Oxford, overturned the inherent pessimism in that optimism and gave us something to believe in. Ride had tunes, noise, looks, style, confidence, everything. And they had youth: their two guitar-playing singers Mark Gardener and Andy Bell were both just 19, as was drummer Laurence 'Loz' Colbert. Stephen Queralt, the bassist, was an oldster at 21. They'd come together on a foundation course at North Oxford Art College and had been playing around the Thames Valley area for less than a year. Already, though, they looked and sounded supreme, like they'd been born with their guitars strapped on and had been jamming together ever since. Justifiably mistrusting the A&R scramble that ensued, they instead signed up where they felt they belonged, Alan McGee's Creation Records.
The cover of the 'Ride EP', released in January 1990, showed a bed of roses. The symbolism there, and in the first words on the first track was lost on nobody. A new decade was rung in with a possibility that guitars gone into overload might become pop music - as in actually popular, in the charts and stuff. "Take me for a Ride away from places we have known," Mark crooned on 'Chelsea Girl'... implicit in the song's delirious melody was a reaching for new heights, a belief in better things to come. It went to #71. In those days, for an independently released debut, with next to no radio airplay, this was a result. Creation had never slipped inside the Top 75 before. There hadn't been such a buzz about a UK group in aeons. Ride were hungry to perform, and when they did, they blew everyone away.
It all kind of centred on Loz. He was a hurricane behind the drums, you'd just see this blur of sticks and hair. Stage right was Steve, staring intently downwards, snapping the groove tightly down. Off to the left was Andy, in his own world. And right up front you had Mark, thrashing wildly at the six strings, but cooing like an angel into the mic, the Ride duality in one body.
By April, they'd charged up enough audiences for there to be real
anticipation for their next record - the 'Play EP' - and on that buzz
alone, it went in at - unthinkable! - #32. Bands just didn't
happen that quick. Even the Roses and the Mondays and the Scream, who'd
all been going for years, had only just started to hit. "It took Primal
Scream six years to become a genius band," gushed McGee at the time.
"Ride have managed it in six months." Eager anticipation now shifted onto Ride's debut album.
Preceding it by a month came the 'Fall EP', the band's third, with a foreboding atmosphere about it that those hooked on the noise/pop pleasures of 'Chelsea Girl' and 'Like A Daydream' might not have foreseen. After the Smithsian daffodils last time out, the sleeve showed penguins freezing to buggery in the snow. The four tracks were headed up by their darkest composition so far, 'Dreams Burn Down'. For all the uncompromised storm clouds, 'Fall' near as goddammit matched the success of 'Play' at #34.
When 'Nowhere' dropped in October '90, it not only became Creation's first ever Top 75 album, but shot in at #11, to blanket critical appreciation. It was angst, but it was ecstatic, as witnessed by Bell's awesome closing track, 'Vapour Trail', its brooding bassline/cello finale leading up and away into infinity. A fitting climax to the finest debut album of 1990. The rest of the world was listening.
In Japan, Australia and America, the 'Smile' mini-album was released, compiling the eight killer tracks from those first two EPs. Press excitement exploded around the globe. The band did an extensive European tour in the Winter of '90, followed by a debut trip to Japan. They landed at Osaka airport to be greeted by 200 girls all clutching bunches of daffodils (how did they do that - in December?!).
Ride were pop stars. Where so many of their contemporaries had failed to stretch their fame beyond the British coastline, Ride were truly a global success. The 4000 tickets for the Japanese tour sold out in 12 minutes, and 'Nowhere' went Top 10 there. 'Vapour Trail' from the album was also a huge US radio hit. As people, the band's time wasn't their own anymore.
In March '91, Ride Mark 1 released the 'Today Forever EP', with a killer shark's jaws warning off competitors from the sleeve and the mesmerizing lead tune, 'Unfamiliar', doing much the same in music. It leapt into the singles chart at #14, a career best, but already they were planning Ride Mark 2, to leave their peers for dust. "All that stuff just means we do something different next time," Queralt informed Select magazine's David Cavanagh at the time. "We're now very aware of what we don't want to sound like."
In 15 months, Ride had released two albums' worth of material. For the rest of '91, they played live all over the world. They toured the US for the first time, nipped down to Australia and back up for a second visit to Japan. Headlining the one-off Slough Festival in July, they aired some of their work-in-progress.
Withdrawing to rural Chipping Norton with Alan Moulder at the production controls, they recorded some 25 tracks, from which the ten great ones formed 'Going Blank Again'. It was an astonishing LP that bore no trace of "difficult second album" syndrome, soaring off boldly beyond anything that they, or any of their piddling peers, had achieved thus far. Its title sarcastically swiped at critics who alleged that Ride were vacant, had nothing to say. And 'Leave Them All Behind', which trailered it in February '92, was as eloquent a mission statement as you could've wished for.
Without giving any ground (hell, by stealing more!), 'Leave Them All Behind' went in at #9 (Creation's first ever Top 10 hit). In March, the LP went further, racing in at #5.
These were glory days for Ride. They'd very effectively legged it clear of the pack that had formed around them, and scaled the industry ladder to the point where, following an exhaustive and exhausting world tour - their second in as many years, they would play one slot below Loz's all-time heroes Public Enemy at Reading '92. If you're holding the full-tilt box-set version of this 'Best Of', you can hear for yourself just how mind-meltingly brilliant they were live around this time.
The four of them spent much of that year getting fired up. They ventured out for the occasional live show including the spectacular 'Daytripper' weekend, where they co-headlined the Brighton Centre and the Blackpool Empress Ballroom with The Charlatans - Ride closing the show down South with the bill flipped on The Golden Mile. And once their songs were close to ready, they went back to Oxford with producer George Drakoulias (Black Crowes, Jayhawks), to hone and re-arrange the next "difficult" album, their third.
Pre-production over, George had to leave to take the helm of Primal Scream's 'Give Out But Don't Give Up', but there was a producer lined up - John Leckie, who could reel off a litany of classics he'd worked on, from John Lennon's 'Plastic Ono Band' and 'Meddle' by Pink Floyd, right through to 'The Stone Roses'. Initially bound tight as an insular band / gang, Ride's gates had blown open and the world around them came flooding in. It was like swapping black / white for Technicolor, everyday life for hyperreality, With its opening minute of chirruping / chattering, this was not the stuff of radio dreams. Having been AWOL during the first tremors of Britpop (Suede / Auteurs, and in January, 'Supersonic' by Oasis), Ride came back as a ball of confusion. The single stalled at #38, but it set the stage for the main feature, 'Carnival Of Light', unleashed in June.
The fish-eye sleeve shot of the band spoke volumes to fans of lysergic history. The grungy cover of 'How Does It Feel To Feel?' by The Creation (the '60s garage-psych band who'd given McGee's label its name) harked back to familiar sounds, but for the rest, Ride strode boldly forward from behind their habitual wall of feedback and, as they'd promised before, just let it flow.
At Christmas, the band played as un-billed support to Oasis at their biggest gig to date, the 5,000-capacity Brighton Centre. Without realising at the time, this was to be the band's last UK show, the only dates that followed in 1995 were a fourth tour of Japan and one festival in Spain. However one Noel Gallagher watched the whole Ride set from the mixing desk at the back of the hall, commenting at the end "It's just as well we're fucking good".
With wives, babies and new homes they'd barely had time to decorate yet, the four now had lives of their own. They'd been at this for five years, and while they'd all grown up together, they'd developed their own domestic agendas away from the gang ethos.
It must've been a bastard to know what to do next. They each had their
own ideas. It's a miracle that they came up with anything at all, but
what they recorded through 1995 was 'Tarantula', another quantum leap
forward. However, by the time it was released in March '96 the band had
announced that they had effectively split up. To hear what a high Ride
flew out on, how far they'd travelled since 'Chelsea Girl', 'Leave Them
All Behind', even 'Birdman', just cue up 'Black Night Crash': a blast of
bad-ass blues, based on the car-smash voyeurism of JG Ballard's 'Crash'.
Despite the lack of gigs, the album still charted at #21.
2001 saw the release of the re-mastered catalogue albums from the original analogue tapes, 'OX4 - The Best Of Ride'; a timely reminder of just how brilliant, how different, how influential, and how fundamental they were to what has since followed. Alongside this was a 3xCD box set, featuring 'OX4' alongside an album of previously unreleased material, 'Firing Blanks', and a live album of their Reading Festival show in August 92.
27 Aug, 2019
Ride reveal details of their album 'This Is Not A Safe Place', released on August 16th via Wichita Recordings.
'This Is Not A Safe Place' sees the rejuvenated Oxford four piece reunite with revered DJ, producer and remixer Erol Alkan, who was on production duties for 2017's 'Weather Diaries'. Rekindling that creative partnership has once again seen Ride push their sound forward, as hypnotic rhythms and washes of lush guitars come together with leftfield electronic influences. The combination creates a sound rich in their trademark shoegaze atmosphere, whilst simultaneously sounding fresh and creatively ambitious.
'Future Love' is the first song to be unveiled from 'This Is Not A Safe Place'. An unguarded, gloriously optimistic song, 'Future Love' brings together many of Ride's best loved elements. Layers of guitars' chime and drone, as the Oxford quartet effortlessly meld shoegazing dynamics, melodic psychedelia with their distinctive Transatlantic harmonies. It's a song steeped in the heady haze of the start of a relationship, when anything seems possible, and one that's sure to strike a chord as the shimmering start of the summer comes into view.
Following the successful release and hectic touring schedule from 'Weather Diaries', the band gathered influences from sources such as the Jean Michel Basquiat exhibition at the Barbican, and the post punk sound of The Fall and Sonic Youth, to make an album which contains echoes of their earliest days as a band, while bringing these elements into 2019.
'This Is Not A Safe Place' came together in a matter of weeks at the end of 2018, and start of 2019, the sound of a band embracing their new found creativity and rejuvenated dynamic. The record also sees Ride reunite with sound engineer Alan Moulder, who is on mixing duties for this fourth Ride record, following 'Weather Diaries', 'Going Blank Again' and their debut 1990 album 'Nowhere' (an album whose artwork is wonderfully echoed on the newly revealed cover of 'This Is Not A Safe Place').
One of the leading lights of the early 90's shoegaze scene, Ride reformed in 2014, releasing their first album in over 20 years in 2017.
'Weather Diaries' was greeted by a raft of critical and commercial acclaim, reaching #11 in the UK album charts. It also saw Ride reunited with Wichita Records' Dick Green and Mark Bowen, who worked with the band during their early years on Creation Records.
28 Jan, 2019
The Cure’s show at Malahide Castle, Dublin on 8th June is now SOLD OUT!
They will be joined on the night by Primary Talent International artists:
22 Nov, 2018
RIDE will celebrate their 30th Anniversary with an 'Unplugged' acoustic tour of the UK during November / December 2018.
23 Jul, 2018
The Bingley Music Live festival takes place in Myrtle Park, Bingley from 31st August to 2nd September, and features a whole host of Primary Talent International artists, including the Sunday night headliner Noel Gallagher.
Friday 31st August
...The Night Cafe
Saturday 1st September
...Public Image Ltd
...Brand New Friend
Sunday 2nd September
...Noel Gallagher's High Flying Birds (Headliner)
30 May, 2018
The Electric Fields Festival takes place in Dumfries & Galloway, Scotland between 30th August & 1st September, and features a whole host of Primary Talent artists.
Thursday 30th August
Friday 31st August
...Noel Gallagher's High Flying Birds (Headliner)
Saturday 1st September
27 Apr, 2018
The Bingley Music Live festival takes place from 31st August to 2nd September. Noel Gallagher's High Flying Birds will headline, and many other Primary Talent International artists will participate.
...Noel Gallagher's High Flying Birds (Headline)
...Public Image Ltd.
...The Night Cafe
28 Mar, 2018
The Electric Fields festival at Drumlanrig Castle in Scotland from 30th August to 1st September, features a whole host of Primary Talent artists including the headliner Noel Gallagher.
...Noel Gallagher's High Flying Birds
19 Feb, 2018
Ride share their new video for 'Catch You Dreaming', taken from their 'Tomorrow's Shore' EP available now.
13 Feb, 2018
Festival No.6 takes place in Porthmeirion, North Wales from 6th to 9th September, and features many Primary Talent & Decked Out artists.
09 Jan, 2018
RIDE release the new 4-track 'Tomorrow's Shore' EP next month, featuring 'Catch You Dreaming'. As with their album 'Weather Diaries', the EP was produced by Erol Alkan & Alan Moulder.
|29 Aug 19||Powerstation||Auckland, New Zealand|
|31 Aug 19||Astor Theatre||Perth, WA, Australia|
|04 Sep 19||The Tivoli||Brisbane, QU, Australia|
|05 Sep 19||Forum Theatre||Melbourne, VIC, Australia|
|06 Sep 19||Enmore Theatre||Sydney, NSW, Australia|
|05 Nov 19||Ex Theater Roppongi||Tokyo, Japan|
|06 Nov 19||Umeda Club Quattro||Osaka, Japan|
|29 Nov 19||The Waterfront||Norwich|
|30 Nov 19||The Plug||Sheffield|
|01 Dec 19||The O2 Institute||Birmingham|
|03 Dec 19||Oxford Town Hall||Oxford|
|04 Dec 19||SWG3||Glasgow|
|05 Dec 19||The Lemon Tree||Aberdeen|
|06 Dec 19||Boiler Shop||Newcastle Upon Tyne|
|08 Dec 19||Engine Rooms||Southampton|
|09 Dec 19||Barbican Centre||London|
|11 Dec 19||Leeds Beckett University||Leeds|
|12 Dec 19||O2 Ritz||Manchester|
|28 Jan 20||Paradiso||Amsterdam, Netherlands|
|29 Jan 20||Muziekcentrum Trix||Antwerp, Belgium|
|30 Jan 20||Gloria Theater||Cologne, Germany|
|31 Jan 20||Gruenspan||Hamburg, Germany|
|02 Feb 20||Festsaal Kreuzberg||Berlin, Germany|
|03 Feb 20||Strom||Munich, Germany|
|04 Feb 20||Santeria Toscana 31||Milan, Italy|
|10 Feb 20||LAV||Lisbon, Portugal|
|11 Feb 20||Hard Club||Porto, Portugal|
|13 Feb 20||Trianon||Paris, France|