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Ride 1990
Cave Des Manoirs, Martigny, SW

Polar Bear Chelsea Girl Dreams Burn Down Like A Daydream Paralysed Vapour Trail Drive Blind Taste Nowhere Seagull All I Can See Perfect Time

Dairy Rock Festval, Lund, Sweden

Mouse Trap Let's Get Lost Walk On Water Taste American Spring Like A Daydream At The End Of The Universe Natural Grace Chelsea Girl Birdman Time Of Her Time 1000 Miles Seagull Support from KFMB, Toy Dolls, Biohazard

Harpos, Victoria, Canada

Leave Them All Behind Taste Not Fazed OX4 Like A Daydream Chrome Waves Twisterella Perfect Time Making Judy Smile Nowhere Vapour Trail Mouse Trap Support from Slowdive

April 1992 Recording Session

The Model (Kraftwerk) Blackbarn Studios, Ripley (Matt Oliver) Recorded for 'NME Ruby Trax' compilation

Saigon LP

Vinyl 12" LP - BR001 Seagull Taste Dreams Burn Down Like A Daydream Drive Blind Furthest Sense Close My Eyes Chelsea Girl All I Can See Perfect Time FOR PROMOTIONAL USE ONLY BIG RECORDS LTD. BR001 Recorded Leicester 21.2.90 Mixed at Fine Time Studios Califirmia L.A. One of the first known Ride bootlegs, released in 1991. Audience recording from the Princess Charlotte, Leicester, 21/02/90

Elysee Montmarte, Paris, France

Leave Them All Behind Taste Not Fazed Sennen Like A Daydream Twisterella OX4 Time Of Her Time Making Judy Smile Nowhere Vapour Trail Mouse Trap Close My Eyes Chelsea Girl Drive Blind Support from Moose

Mailing List – News update – February 2011

Below is an email sent out to all subscribers of the band's mailing list in the winter of 2003 with various updates about the band. Some nuggets of Ride news for you... First up; available from today is a special 20th anniversary edition of Nowhere on CD. This is being released in North America through Rhino Records' "Handmade" series of specially-crafted, online-only reissues. You should be able to order this from wherever you are in the world (even though the text on the order page says "Not available in all Countries") and, of course, it comes heartily recommended: It's a 2-CD edition featuring the re-mastered versions of all the Nowhere tracks and Today Forever tracks on the first CD; this being the first time that these re-masters have been available outside of the UK (where they have featured as part of the catalogue reissues on Ignition Records since 2001). It's a relief in many ways for these re-masters to finally get a release outside of the UK as we feel that they stand up here in the 21st century better than the original 1990 masters. Back then the vinyl version was the focus of the album mastering sessions with the CD format being a secondary concern. Ironically, Nowhere is getting a release on vinyl in the USA for the first time ever! Here in the UK, vinyl was still (just) the dominant format in 1990 but the US had made the move away from vinyl a year or so earlier and so Nowhere got a release on CD and cassette only in North America (I never liked cassettes...). So it has taken 20 years for Nowhere to get its Stateside vinyl release but we're very pleased to see it out there at last. It is available through all regular retail outlets in the US (unlike the "Handmade" CD special edition which is just available from the Rhino online store) but here's the Rhino store link, anyway, for the vinyl as we know that they'll have it in stock: Whilst I'm talking about vinyl, we've noticed that there's a dodgy bootleg version of Nowhere knocking about on unscrupulous websites around the world. It purports to be a Japanese vinyl bootleg and although the audio is of decent quality the artwork and packaging is decidedly dodgy. We've tried to get to the source of this and have got the lawyers on the case - someone in Chicago seems to be the culprit. But the message is that if you want a nice piece of good quality Ride vinyl then go and grab the Rhino reissue - it's even got the "RIDE" logo embossed on the sleeve like the original UK release. Lovely. And just like the proverbial buses, after 20 years of not being available on vinyl along comes a third LP version of Nowhere. About this time last year the band sat around and discussed what they could do to mark the upcoming 20th anniversary of Nowhere's original release in the UK (15th October, in case you were wondering - the original US release being 18th December 1990). We decided to lovingly put together a vinyl Box Set featuring re-creations and re-mastered versions of each of the first three 12" EPs (Ride, Play and Fall) alongside the Nowhere LP and a 24-page book all wrapped up in a space-demanding box. The plan was to relaunch the Ride website with a refreshed design and added functionality around the 20th anniversary of the Play EP (in April) and then offer the Box Set out on pre-sale through Once we had the orders in, we would press up the required copies and ship it out to everyone for October 15th. Well things didn't quite go to plan... The website re-design stalled and then the request from Rhino came in to put together the 2-CD reissue. [Don't worry, I realise I haven't finished telling you all about that yet. Just be patient...]. It took most of our collective resources to pull the audio and visual content together in time. The vinyl Box Set plans had to sit on the shelf for a bit. But the plans are moving once again. We can't get hold of the web designer that we were working with and so we've hit a bit of a snag there. If any of you out there are trained in the art of stunningly-original-yet-functional web design then please do get in touch. The current site is looking a bit 2001 and badly needs a total overhaul. We've re-mastered all the vinyl contents of the planned Box Set (at Abbey Road, of course) and we're now finally working on the artwork. So hopefully we'll be able to let you know all about it in much more detail in a couple of months time. It won't quite be the 20th anniversary box set - more like 20.5th - but it will be fantastic. OK, back to the Rhino 2-CD set. So I told you about CD1 with its 15 re-mastered tracks, well CD2 is equally special. On the band's first US tour in April/May 1991 they played two nights at the Roxy in LA. The tour was a co-headline with Lush and so each band was flip-flopping the headline slot throughout the series of dates. With there being two nights at the Roxy, each band got to play one headline set and one support set. Luckily for us, the Ride headline set was recorded for broadcast on a local radio show. The engineer mixed the audio live and it was this mix that was broadcast on air. Also some of these mixes were used on a radio promo edition of the Kaleidoscope single in the US later in 1991 (which some of you may have in your collection). Part of the deal for the radio broadcast was that we got to keep the master tapes. They've been sitting on a shelf for the best part of 20 years but we knew that the show was a bit special and that one day it would get its rightful airing. Once Rhino suggested the Nowhere reissue we dug out the tapes, baked them slowly in the oven for three days (it's a technical thing...) and then transferred them onto a hard drive so that our old pal Alan Moulder could get to work on mixing them to their full glory. Alan oversaw a week of sessions wonderfully mixed by Catherine Marks and the results totally knocked us sideways. Not only was the performance quite amazing but the recording quality was better than we could have hoped for. Getting Alan involved with the mixing was just the icing on the cake - after all he'd worked on the mixing of the original studio recordings of pretty much all the tracks in the Roxy set and knew what they should sound like. With the audio being of such a high quality we knew that the packaging had to live up to its contents. So we dug through the archives and pulled together a set of photos from 1990/1991 that haven't been seen before. We tried to get away from a series of standard press shots and included a range of live shots alongside some more imaginative pics. This was all topped off by Rhino suggesting that we use a lenticular version of the Nowhere "wave" for the cover. You can probably tell, we're very pleased with it. And, so it seems, are others: The release has triggered a wave (see what I did there...) of press requests and so the boys have been busy talking to print, web and radio journalists all over the globe. We'll round them up for you as they get published but if you fancy listening to Loz live on radio from Perth, Australia tomorrow morning (Tuesday 8th February 10am UK time) then tune in here: Aside from all this Nowhere news, the Creation Records documentary "Upside Down" has been completed and we were treated to a preview late last year. It is currently doing the rounds of various film festivals prior to a limited cinema release. You can read lots about it here: Oh, and did we mention that a certain Mr Mark Gardener has written and recorded the soundtrack music for the film? For all up-to-date news on Mark's wirting, recording, producing and mixing activities then keep a beady eye on Talking of which, you may also want to bookmark this site too: - Andy is back on guitar, something that will bring joy to you all I'm sure! OK, I think that's probably enough for tonight. Or maybe I can quickly mention that all sizes of the Nowhere T-shirt design are back in stock (we ran out of some sizes just before Xmas):

Fopp Records (Signing), Oxford, UK

On 29th June 2017 RIDE did an in-store signing session in Oxford, all customers who bought the album got a free tote bag (see below). You can view a gallery of photos from the session here. The album was also Fopp's Album of The Month.

Tarantula LP

Creation Records Vinyl LP - CRELP188 Cassette - C-CRE188 CD - CRECD188 Black Nite Crash Sunshine/Nowhere To Run Dead Man Walk On Water Deep Inside My Pocket Mary Anne Castle On The Hill Gonna Be Alright The Dawn Patrol Ride The Wind Burnin' Starlight Motel Recorded in London, 1995 Engineered by Richard 'Digby' Smith and Paul Motion Mixed by Mark Freegard for 140dB except 'Castle On The Hill' mixed by Andy Bell Designed at Negativespace Each format featured different sleeve colour: CD - turquoise (pictured), LP - orange, and cassette - green

Cali (Luke Abbott remix) single

Remix single of Cali taken from the Weather Diaries, the track was made available for download/streaming on August 22nd 2017.

Roundhouse, London, UK

Leave Them All Behind Like A Daydream Polar Bear Seagull Sennen Cool Your Boots Black Nite Crash Twisterella OX4 Dreams Burn Down Time Of Her Time Chrome Waves Paralysed Taste Vapour Trail Drive Blind Close My Eyes Mouse Trap Chelsea Girl Supported by Tuff Love

The Paradise, Boston, USA

Polar Bear Seagull Taste Dreams Burn Down Like A Daydream Vapour Trail In A Different Place Perfect Time Unfamiliar Nowhere Chelsea Girl Drive Blind Decay With Lush

Rough Trade Shop (Covent Garden), London, UK

In A Different Place Taste In store gig to promote first EP

Twisterella front cover
Twisterella Promos

7" Promo - CRE 150P (Creation Records UK) Twisterella Going Blank Again Black, dye cut sleeve 12" Promo - 150TP (Creation Records UK) Twisterella Going Blank Again Howard Hughes Stampede Creation company sleeve Spanish Promo 7" (Warner Bros) 7" Single - 1576 Twisterella Twisterella (plays both sides) Lists Ride's 1992 Spanish Autumn tour dates - released to promote tour Record has no centre (juke box style)  

Stodola Club, Varsovie, Poland

Mouse Trap Let's Get Lost Walk On Water Taste American Spring Like A Daydream At The End Of The Universe Natural Grace Birdman Twisterella Time Of Her Time 1000 Miles Seagull Drive Blind Support from Firebirds, Illusion, Stonehenge, End & Klub Paryski

Jericho Tavern, Oxford, UK

All I Can See Chelsea Girl Hit Me Like A Train Drive Blind Intro-154 Close My Eyes Tomorrow Never Knows (The Beatles) Supporting FBI

Transmission - Sept 1990
Transmission Interview, Sept 1990, ITV

Steve and Loz interviewed for TV show Transmission after the release of the Fall EP in 1990.

Namba Hatch, Osaka, Japan

Leave Them All Behind Like A Daydream Unfamiliar Seagull Kaleidoscope In A Different Place Dreams Burn Down Chrome Waves Black Nite Crash Cool Your Boots OX4 Mouse Trap Vapour Trail Taste Drive Blind Today Chelsea Girl

College Street Music Hall, New Haven, USA

Leave The All Behind Like A Daydream Polar Bear Seagull Twisterella Birdman Decay OX4 Chrome Waves Today Black Nite Crash Time of Her Time Dreams Burn Down Taste Vapour Trail Drive Blind In a Different Place Mouse Trap Chelsea Girl Supported by DIIV

New Melody, Stockholm, Sweden

Leave Them All Behind Taste Not Fazed Sennen Like A Daydream Twisterella OX4 Time Of Her Time Making Judy Smile Nowhere Vapour Trail Mouse Trap Close My Eyes Chelsea Girl Drive Blind Support from Family Cat

Going Blank Again tour advert
Victoria Hall, Hanley, UK

Leave Them All Behind Taste Not Fazed Cool Your Boots Like A Daydream OX4 Perfect Time Twisterella Drive Blind Making Judy Smile Nowhere Vapour Trail Chrome Waves Mouse Trap Dreams Burn Down Time Of Her Time Support from Verve

Lingerie, Los Angeles, USA

Polar Bear Seagull Taste Dreams Burn Down Like A Daydream Vapour Trail In A Different Place Perfect Time Unfamiliar Nowhere Chelsea Girl Drive Blind Decay

100 Club, London, UK (Mark & Andy Acoustic)

Polar Bear In a Different Place Like a Daydream Twisterella Tongue Tied Chrome Waves From Time to Time Only Now Paralysed Dreams Burn Down Taste Vapour Trail Drive Blind Chelsea Girl Warchild 'Passport Back To Bars' show Tickets only available via lottery

May 1991 Recording Session

Leave Them All Behind Blackbarn Studios, Ripley (Matt Oliver) Some backing tracks for final version


The Edge, Palo Alto, USA

Leave Them All Behind Taste Not Fazed Drive Blind Like A Daydream Chrome Waves Twisterella Perfect Time Making Judy Smile Nowhere Vapour Trail Mouse Trap Time Of Her Time Seagull Support from Slowdive

Clockenflap Festival, Hong Kong

Leave Them All Behind Twisterella Polar Bear Seagull Kaleidoscope In A Different Place Dreams Burn Down Chrome Waves Black Nite Crash Cool Your Boots Time of Her Time Vapour Trail Taste Drive Blind Mouse Trap

July 1993 Recording Session

Crown Of Creation (unreleased demo) Delay Song (aka She's So Fine, aka You Give Me Sunshine) (demo) Something's Burning (demo) Time To Time (unreleased demo) At The End Of The Universe (unreleased demo) American Spring (unreleased demo) Out Of Sight (unreleased demo) 7-10/07/93 - Courtyard Studios , Sutton Courtney, Oxon (Andy Lovegrove) These versions of 'Something's Burning' and 'She's So Fine' appear on 'Firing Blanks_Unreleased Ride Recordings 1988-95'.

Syndrome, London, UK

Seagull Chelsea Girl Dreams Burn Down Like A Daydream Drive Blind Perfect Time Furthest Sense Ride Mind Fuck

Jericho Tavern, Oxford, UK

Seagull All I Can See Like A Daydream Dreams Burn Down Taste Vapour Trail Perfect Time Close My Eyes Chelsea Girl I Wanna Be Your Dog (The Stooges) Drive Blind Secret gig, to mark Mac's 1000th show at the venue The band originally planned to play the exact same set as at their first Tavern appearance (27/01/89) support from Arthur Turner's Lovechild

Tivoli, Dublin, Ireland

Seagull How Does It Feel To Feel? Like A Daydream Walk On Water Magical Spring Birdman Only Now Time Of Her Time Drive Blind 1000 Miles Let's Get Lost Close My Eyes Leave Them All Behind I Don't Know Where It Comes From At The End Of The Universe Chelsea Girl Support from Ash

Weather Diaries – new album out June 16th 2017

On March 23rd Ride announced their fifth studio album, their first in 21 years, Weather Diaries will be released on June 16th via Witchita Recordings. Full press release states: Produced by legendary DJ, producer and remixer Erol Alkan, ‘Weather Diaries’ is packed with all the classic elements that made Ride one of the defining bands of the early ‘90s. Trembling distortion, beautiful harmonies, pounding rhythms, shimmering soundscapes and great songwriting all combine to make an album that’s ambitious in scope, timeless and thoroughly addictive. The first single from the album, 'Charm Assault' was unveiled in February to a flurry of acclaim from media and fans alike. Marrying the psychedelic muscle of Tame Impala’s “Elephant” with the rhythmic twists and turns of My Bloody Valentine’s “Feed me with your kiss”, Bell and Gardeners’ harmonies evoke The Who playing “A Quick One” at the Rolling Stones "Rock and roll circus". The lyrics see Ride railing at the “focused, raw, reptilian ambition” of certain unspecified people in power, who "set fire to your world, and let it burn”. The song effortlessly flits from section to section, taking in influences ranging from Sonic Youth’s dungeon circa “Death Valley '69” through to a jarring, repetitive chord sequence reminiscent of David Bowie’s “Chant of the ever circling Skeletal Family” - one of the songs Bowie wrote for a musical based on Orwell’s “1984”. The second taster from the new album revealed last month was ‘Home Is A Feeling’, a widescreen, sonicaly, layered, slowed motion warm wash hinting at the breadth and ambition of the new material on ‘Weather Diaries’. From the huge sonic storm at the end of the eponymous title track 'Weather Diaries' to the addictive verses of 'Cali’, the material is as unmistakably Ride as ever, yet written from the vantage point of men who have experienced life's trials and tribulations. There's an anger at society that comes out in the sprawling opening track 'Lannoy Point' and in 'All I Want', the latter exploring the idea of Britain aping 1930s Germany over cascading drums and multi-layered vocals. ‘Weather Diaries’ Tracklisting: 1 Lannoy Point 2 Charm Assault 3 All I Want 4 Home Is A Feeling 5 Weather Diaries 6 Rocket Silver Symphony 7 Lateral Alice 8 Cali 9 Integration Tape 10 Impermanence 11 White Sands Order the album with lots of exclusive signed bundles via the official Ride store

Ride 1990
Club Citta, Kawasaki, JP

Polar Bear Chelsea Girl Here And Now Dreams Burn Down Like A Daydream Paralysed Perfect Time Vapour Trail Furthest Sense Close My Eyes Taste Nowhere Decay All I Can See Drive Blind Seagull

Kaleidoscope EP
Kaleidoscope Plus 6 Live Tracks

Sire/Reprise 12" Vinyl LP - PRO-A-4961 CD - PRO-CD-4961 Kaleidoscope (Album Version) Seagull (Live) Dreams Burn Down (Live) Vapour Trail (Live) In A Different Place (Live) Nowhere (Live) Drive Blind (Live) Co-Produced by Ride and Marck Waterman, 'Drive Blind' produced by Ride Live Tracks: Mobile Recording by Westwood One Engineered by Biff Dawes Live tracks recorded at the Roxy, L.A., 10/04/91 for US radio Bootlegged as 'Roxy, L.A.', and as part of the 'Overdrive' CD. Sleeve image from 'Vapour Trail' video. CD is in jewel case, but has no inner-cover artwork Live tracks later re-mixed and released officially as part of 'Nowhere 20th Anniversary Edition'

Festsaal Kreuzberg, Berlin, Germany

Lannoy Point Charm Assault Seagull Weather Diaries Taste Dreams Burn Down Pulsar Cali Twisterella Impermanence Lateral Alice From Time to Time Leave Them All Behind All I Want OX4 Vapour Trail Drive Blind Rocket Silver Symphony Grasshopper Chelsea Girl

Irving Plaza, New York, USA (Second night)

Leave Them All Behind Like A Daydream Polar Bear Seagull Twisterella Cool Your Boots Perfect Time Here and Now In A Different Place Black Nite Crash Time Of Her Time Dreams Burn Down Taste Vapour Trail Drive Blind Today Mouse Trap Chelsea Girl

December 1989 Recording Session

Union City Blue Atomic Session at EMI Publishing Studios, Charing Cross Road, London Session also featured Alex Taylor (Motorcycle Boy) on vocals. Released on 'Motorcycle Ride' cassette at private party 22/12/89 - later on 7" by Fierce Records

Extra date added to the tour at Norwich UEA

Extra date added to the tour at Norwich UEA for October 12th.

O2 Academy, Leeds, UK

Leave Them All Behind Like a Daydream Unfamiliar Time Machine Twisterella Cool Your Boots Black Nite Crash Today Mouse Trap Seagull Kaleidoscope In a Different Place Polar Bear Dreams Burn Down Decay Paralysed Vapour Trail Taste Here and Now Nowhere Drive Blind Chelsea Girl I Wanna Be Your Dog

Ride - The Network fanzines
Interview with Mark Taylor of Ride The Network fanzine

Mark Taylor is no stranger to Ride or their fans, he was there at the beginning and ended up spending many years employed by the band. As a sideline he ran 'The Network' Ride fanzine and could be found selling them outside gigs during the bands original incarnation. Now the band are back together Mark can be found again outside Ride gigs selling his relaunched fanzine. In his latest edition, buy it now from, Mark has interviewed the band recently about the reunion and we thought we'd turn the tables and ask him some questions. So if we could start at the beginning of the Ride story, how did you first discover them and what were your first impressions? I regularly went to the Local Support (Oxford's music paper of the time) Friday promo nights at the Jericho Tavern. Dave Newton (now Ride's manager) was the promoter of the events and wrote/edited the paper. I was in the sixth form at the time and would go with my mate James Cherry and his elder (more musically sophisticated) brother Martin plus some other friends from school and my home village. Every week I would bootleg the show and then give Dave tapes to get an 'in' to the following show. The first local show I attended was coincidentally the Local Support first birthday party (1988) - the bill was The Quiet Men, who I immediately loved because of their Gothy lead singer Jairo, The Clamheads (featuring Mac the local promoter and soundman that replaced Dave at the Tavern once Ride became famous, and who famously broke the 'beak' of one of Birdland) and Shake Appeal a wannabe Stooges, some of whom later became members of Swervedriver - all in all a great bill for a first local gig. Anyway I week Dave told me not to bother coming to the Friday night as it was going to be just two metal bands that he didn't think I would like. Then on the Friday afternoon (27/1/89) I bumped into Dave outside HMV in Cornmarket, Oxford and he told me that there had been a last minute cancellation and Steve, a mate of his, was playing with his band (Ride) and that they would be right up my street. How right he friends and I turned up early (without realising) got let in and Ride were already on stage starting to play 'I Wanna Be Your Dog', it was immediately exciting and a cut above anything else that I had witnessed locally and perhaps anywhere, so much so that I clapped rapturously at the end before realising with embarrassment that it was only the sound check! I was stood in the middle of a near empty dance floor so this was more than a little embarrassing...(I recently heard that Adam Franklin, who later became a member of Swervedriver, clapped at the bar and made the same mistake as me!). Above image courtesy of The band almost immediately started their set proper - they started with 'All I Can See', I can distinctly remember hearing that for the first time and it is still my favourite track on the Ride EP. In fact I can remember the whole set like it was yesterday and that is rare for me as I have an awful memory! I also remember being struck by each of the band for different reasons - Andy was unusual in that he wore swotty looking glasses but smashed the hell out of his guitar, which seem to be contradictory messaging, I liked that clash...Mark was clearly striking looking and his haircut at the time was really cool, I loved the vocals too, Loz then (as now) was a whirling dervish, and Steve looked deadly serious, almost menacing and spent most of the time with his back to the very small audience. Anyway when asked at the end of the set by Dave what I thought I exclaimed that it was 'fucking mental' - this was a regular response by me at those early shows, that or just 'mental!' and I became known as Mark 'fucking mental' Taylor - hence the inscription on my signed Nowhere. I immediately knew I had to see this band as much as possible, it sounds cliched now but it really was love at first sight/sound! I saw them again at the beginning of that March with the Wild Poppies - a fantastic New Zealand band that had moved to Oxford (they did several early supports for Ride - and coincidentally they have just brought out a retrospective compilation that everyone reading this should buy), Ride were stunning again! Then later in March I was at Live Skull (who became Come) at the Oxford Coop Hall (later The Zodiac, now The O2 Academy) and Andy Bell approached me and asked if I was the guy that did the live tapes and whether I had any Sonic Youth tapes? We exchanged numbers to swap tapes and also so he could tell me when his band were next playing. I was a local student by this time but still living at home, embarrassingly Andy called me one night to tell me about a forthcoming gig and I was already in bed so my Mum had to pass on the message! Anyway Andy kept in touch and gave me some early demo tapes, I think in exchange for bootlegs, although I can't remember which. I also remember going to his parents house around that time and he showed me books with highlighted pages from where he had drawn lyrical inspiration, he also flicked through albums and showed me what had influenced him, at the time this was interesting but a little innocent/naive, now obviously this appears hyper cool to have been gifted with! I also remember both his Mum & Dad, and his sister all being really welcoming and genuine, and this is still the case. You were living in Oxford before Ride took off, what was the music scene like there in the late 1980's? It was pretty good but there no real bands that had 'made it', it was just a case of a few big fish in a little pond. My favourite local bands at the time were those listed above, plus The Anyways, Toad, Arcane Dawn and especially Madamadam (another early Ride support). the scene was small too and very friendly, you'd just go up to complete strangers start chatting and then be mates by the following week...the key venues were The Jericho, The Wheatsheaf, The Coop Hall, and The Dolly (now The Cellar). Did you expect them to be so successful? I kind of thought something more than the typical local band thing was going to happen, they clearly had aspirations and suss way above anyone else locally. Dave was probably the first local manager of a band too and he added a whole new dimension to it. The biggest local Indie band before Ride was Talulah Gosh who became Heavenly (I saw the latter but not the former), but Ride were obviously a level above that even in those early stages. There was something magical that just about everyone immediately picked up on, I don't think Ride's rise was a surprise, what was a surprise was the speed of the was pretty fast, and being close to it I noticed that even more.... So we've talked about the old days in Oxford, but by Summer/Autumn 1989 the band are heading down the M40 to London playing at The Falcon regularly and then the Soup Dragons tour. What were those shows like? The Falcon shows were in a word 'scary' I don't think that I have ever witnessed such out of control shows before that or since. You really felt like your life was in someone else's hands....but then as a late teen/early twenties fan that is what you wanted. It was edgy and you really didn't know what would happen next. It was vital but risky at the same time. There isn't enough of that nowadays....I also remember queues around the block at the venue. I don't remember the Soupies dates as much but then I think I only attended the Town & Country Club one... What was your reaction when you heard Creation were going to release an EP? ’Welcome home', no surprise...other than it wasn't 4AD (which would have been the more obvious deal/bed fellows). Fanzines were a pretty big thing in those days, I remember Sowing Seeds being fantastic, what made you start a Ride fanzine? It's probably not cool now but I was (and am) a massive U2 fan. Geoff Parkyn got the 'U2 Info' fanzine spot on which is where I stole my A5 format from (plus it fitted in your pocket for a gig). It pains me now but if you put the first three issues of my zine next to his then it is theft, I was as much a magpie as Ride admittedly are to MBV, HOL, Mary Chain - a huge debt! He later did one for Brix Smith/Adultnet - I would love to meet the man...I also stole from punk zines like Mark Perry's 'Sniffin Glue', and 'Zigzag'. In Oxford Chris 'Fish' did 'Far out and Fishy', Silverfish also did their own one. I loved the instant connect with like minded people and the creativity - remember there wasn't just no internet, there was no mobile (other than expensive 'bricks' of course). Other than John Peel, Annie Nightingale and Janice Long, coupled with NME/Sounds/Melody Maker we had NOTHING ('shoe box in middle of road....') in terms of information sources. I don't know why but randomly I decided to use my bootlegging tape recorder to interview Ride at their 'Fun in the parks' show at South Park (coincidentally the only poor show I ever saw them do - the sound sucked, they wore all white and you felt dazzled)...I think I wanted the anonymity of the recorder to ask them questions I wouldn't otherwise ask....I can't remember how that came about...I think I just asked...they sat with me at the top of the park and I asked the first things that came to mind...then I had to find a home for it...I think it came out first in the music pages of the TLE ('The Last Edition') the Ox Poly college paper...then I was producing a contact sheet called 'The Network' to put fellow fans in touch for somewhere to kip, get a ticket, a boot all came together from those seeds... So then they release the early batch of EPs, what was the mood in the camp like when they both charted in not just the Indie chart but the national pop charts? I wouldn't really say I was 'in the camp' at that point. I wasn't yet working for the band, although the zine had started by then and I was by that time very good friends with Dave Newton, so I was aware of the buzz in the camp. I think 'RIDE EP' was the one that did it, as significantly it became Creation's first top 75 'hit'! That was ground breaking not just for us as fans, the band, or Creation but the Indie scene as a whole I think. The walls began to tumble after that...I remember thinking the plates are definitely shifting... The gigs then were obviously getting bigger all the time too, are there any that really stand out? The Town and Country club show on my 21st birthday (7th March 1991) which is about to be released on DVD for #Nowhere25 was obviously very special, doubly so in that they did two consecutive nights and my then girlfriend had her 22nd on the second night! I loved the T&C then, and now (as the Forum). That was also my ideal level show for the band at that point (now I think that they should be playing arenas and stadia! Their sound is so massive that in my opinion it feels a little uncontainable and out of place on smaller stages these days...). At some point you became employed by the band as Dave's assistant. How did that come about? I did a degree in Environmental Biology at what was then Oxford Polytechnic (now Oxford Brookes) - incidentally while there I scored a coup by persuading the band to do a Rainforest benefit gig for the college Friends of The Earth society (which I co-chaired), then the first EP came out, they rocketed and had to postpone, kudos to them though, they kept their promise and came back and played when their schedule allowed it! - my final dissertation was a freshwater ecology audit of two local rivers, I got a 2:1 for my course and a First for my dissertation so I applied for an apprenticeship with the NRA (National Rivers Authority). I got a place, but about a month before college ended I hadn't heard anything about my enrolment/start date, I called the NRA HR dept and was told that because of an 'admin oversight' they had recruited too many people and that I no longer had a place...I took a knock from that and I really had no plan B. Then I thought I'll take a year out. I thought what do I want to do during that time? 'Work in music' was the answer. I wrote a (most unconventional) speculative job application to Dave (I'd love to see a copy if it's still in the archive!) asking if he needed a management assistant. Dave asked me to come to the New Inn pub on Cowley Road (now The Corridor) which at the time was THE OX4 hang out (now it sucks). I turned up, and if I remember correctly, Dave, Mac (see earlier) and Ronan Munro (who worked in Our Price with Dave and Steve, and now runs Oxford's Nightshift music paper) were sat in a mock panel interview style behind a pub table, this freaked me out a bit but was quite funny. I was told straight away 'of course!'. I'd basically asked the right question at the right time - 'do you need help?', Dave was getting inundated with work then as the band had really started to take off (this was just before Leave Them All Behind if I remember correctly). I then started doing a little bit of admin work for Dave whilst I was still at college, from both Dave's shared house and my student digs around the corner from where he, and the band members, lived at the time (in separate places). Then when college ended I helped Dave move into his new house and we started working from his front room. In one of your early fanzines I remember you reviewed a tape by The Jennifers whom you later ended up managing and signed to Nude records. How was that time? I presume you were still also working for Ride at the time? That came about via Andy Bell. Every tour Andy would be given bags and bags of demo tapes, so many he didn't know what to do with them all...At the time I had a demo section in the zine so he started to give them to me. I remember thinking at the time that Andy was quite considerate towards the bands as he rarely just gave me the bag, he had mentally divided them into three categories bad, medium and good and would tell me what he thought - he was always right with the bad ones so I would bin those, but I often found that his good and medium were the converse for me...if I remember rightly the one from The Jennifers was in Andy's medium pile, although he took the time to explain that he had met the band, they were extremely young and they were from Oxford. At the time I was writing for a previous incarnation of the Oxford music paper - either Gig, or more likely Curfew, and I asked Ronan if I could review the band live, which I did, at that gig I also interviewed the band (in a car in the Jericho Tavern car park) as I thought that Ronan might potentially give them a cover feature (which he did). They just asked me immediately: 'we need someone to manage us, will you do it'? I accepted the offer. Yes I was still working for Dave at the time, he was really helpful and gracious with his time and resources, and amazingly allowed me to juggle them with my Ride job - I remember once he even lent me his 'brick' mobile phone when we played in Southampton, the same night we sat in a cafe and heard 'Just Got Back Today' on Radio 1 - it was really funny as the waitress asked who the band were and then said: 'never heard of you' and then ten minutes later they came on! If I had been less risk adverse (I am not much of a gambler) then perhaps I would have committed 100% to The Jennifers and who knows where that may have led...but I couldn't risk my income from Ride and by then I was loving working with Dave and the band so it didn't really cross my mind. Those times were chaotic. Three of the band were still in school and for some gigs I'd literally turn up to their school in a transit van, they'd jump in the back in their school clothes and then change into their stage clobber! It was like Clark Kent transforming into Superman in a telephone box! I thought The Jennifers were incredible, still do, they were incredibly talented, funny and unique characters. On Nude they were held back by Suede and the press just said that they were too young, and they picked up on Gaz looking like Mark (because of his puppy dog good looks and big fringe), annoyingly (literally) the same journalists eulogised about their youth a couple of years later when Danny and Gaz formed Supergrass...I won't name names but 'fickle' doesn't really cover it... You mention about the fickle press and their treatment of The Jennifers, I can remember chatting to Tara Milton of 5.30 the week Twisterella entered the charts at about 36, as LTAB had been a top 10 he stated that everyone has moved on from Ride and is interested in a new band called Suede and that essentially Ride have had their time. He wasn't being rude, but just stating observations as the industry was so fickle then and audiences had a lot less control, as we mentioned earlier there was no internet then. Do you remember there being a shift and do you think this affected the band? Funny you should mention Tara, he was instrumental in The Jennifers split; as I understand it he told Danny he was the best drummer in the world, and tried to poach him to join the Nubiles (I think) but that didn't work out and then Supergrass formed...No, I don't think that the change in the music at the time affected Ride. I think it was more the internal friction and the musical changes that the band made to their own sound, perhaps being ahead of the Britpop curve...and not fitting with the current grunge sound of the time. I remember the NME had finally agreed to put all four of them on the cover (until that point they had concentrated on Mark and Andy), and of course that week Kurt shot himself, so that didn't wasn't a happy day in the Ride office THAT day let me tell you...I'm not saying it sealed things but it certainly felt like a significant downer when the band badly needed a lift.... You mentioned earlier about Ride sounding better on large stages, I totally agree. My favourite live recording is from Wembley Arena supporting The Cure which I attended, the gig itself wasn't anything special but the recording sounds exceptional. From the first era by the far the best time I saw them was Reading '92. How did you feel Primavera and Field Day this year compared to the old shows. Primavera was incredible, in fact that point (coupled with the slight sonic claustrophobia of the Oxford warm up), is what made me see the light about the necessary leap to larger stages. I enjoyed Field Day too but not as much as Primavera. You've obviously seen lots of development musically in Oxford over the last 25 years. Any particular highlights? Well aside from the Ride peers I have already mentioned and The Jennifers, I was also involved with a UK grunge band called Squid who I loved, then Dave and I worked together on The Bigger The God (whose lead singer David was once best friends/neighbours with Steve Queralt, and who had been in the reggae band Big Spider Back with Steve and Andy) - they were incredible both on record and live, they were a darker, punkier, more intelligent take on early Pulp, it was a shame we weren't able to get them to another level (although they appeared on both The Big Breakfast and TOTP2). I also loved Dustball (who became Dive Dive, and later some of the members became Frank Turner's backing band), they started off as a spikier sounding Ramones, and then took on poppier apsects of late grunge. I missed the start of Foals locally as I was working in London by that time and got a bit out of touch with the local scene (I have seen them lots of times in London, and a couple of secret Oxford shows since), I love them though, I also got really into the whole Blessing Force scene that sprang out of Foals' art community, but a lot of those bands have come and gone now... I saw a local band recently called Orange Vision supporting Autobahn on their Oxford date and they were good, they have a great front man, also Cassels are one to look out for. So here we are in 2015 and you're about to publish Issue 8 of The Network. You are still going for paper copies with is highly commendable, people still think I'm mad building websites but social media is so disposable. Anyway, with Ride back together do you think you'll keep it going now? The fanzine is really dependent on how active the band is as sales are only really sustainable when they are active, and obviously content is better then too...I hope that they remain active for many years to come, if they do I will continue to support them, part of that is publishing the zine, it's a labour of love.... Any hopes or wishes for the future of RIDE? I hope that the band gets to record another classic album, I sense that that is their wish too but that they are being cautious and protective of their sterling heritage. I am prepared to be patient and I think that most Ride fans are too. If we give them time and continue to nurture them with our love, then I think that anything is possible...fingers firmly crossed...:) Mark (pictured below) hitting the button to launch this website at Brixton Academy, Oct 2015

El Plaza Condesa, Mexico City, Mexico

Lannoy Point Charm Assault Seagull Weather Diaries Taste Unfamiliar Cali Twisterella Lateral Alice Rocket Silver Symphony Dreams Burn Down Time of Her Time OX4 All I Want Vapour Trail Drive Blind Leave Them All Behind Like A Daydream Chelsea Girl

Japan July '92 poster
NHK Hall, Tokyo, Japan

Leave Them All Behind Taste Not Fazed Time Machine Sennen Grasshopper OX4 All I Can See Perfect Time Twisterella Drive Blind Making Judy Smile Nowhere Vapour Trail Mouse Trap Time Of Her Time Chelsea Girl Seagull

Old Lion Hotel, Adelaide, Australia

Leave Them All Behind Taste Not Fazed Sennen Like A Daydream Twisterella Dreams Burn Down Time Of Her Time Making Judy Smile Nowhere Vapour Trail Seagull Close My Eyes Mouse Trap Support from Violets & Caligula

Royal Albert Hall, London

Rolling Thunder Drive Blind From Time To Time How Does It Feel To Feel? (with The Creation) 'Creation Undrugged' 10th Anniversary with Oasis, Bob Mould, Idha, etc The entire gig was released on the 12" & CD1 formats of the 'I Don't Know Where It Comes From' single Part of the show was also broadcast, with a Mark Gardener interview, on BBC Radio 1 FM

Hummingbird, Birmingham, UK

Seagull Chelsea Girl Dreams Burn Down Like A Daydream Drive Blind Perfect Time Furthest Sense Ride Mind Fuck Supporting Soup Dragons

October-November 1991 Recording Sessions

Leave Them All Behind Chrome Waves(band version) Twisterella Chipping Norton Recording Studios (Alan Moulder) Mixed at Swanyard Studios, 12/91 by Alan Moulder Tracks released on 'Going Blank Again' LP and 'Leave Them All Behind'/'Twisterella' EPs

Ride EP

Creation Records 12" single - CRE072T CD single - CRESCD072 Chelsea Girl Drive Blind All I Can See Close My Eyes made in england distributed by the cartel recorded at union studios, oxford by calvin and alan remixed at arkantide studios, london by james and bill roses by debbie This version of 'Drive Blind' first appeared on the band's third demo tape Before the band signed to Creation, the Ride EP was to have been released on One Big Guitar records. The run-out groove on side A of the 12" has the words 'We Love Heavenly Amy' etched into it - a tribute to Amelia Fletcher Some copies of the 12" have black 'RIDE' type, rather than white 'Making Of...' Uncut Magazine article here Test pressing details here


Close but no cigar

Back in 1989, Ben Wardle so nearly beat Alan McGee in signing Ride. At the time he was working for East West Records who, as he states with all honesty, had Simply Red, Tanita Tikaram, Enya and Chris Rea on their books. There's no way he could compete with the man who signed The House of Love, Primal Scream, the Jesus & Mary Chain and of course My Bloody Valentine. However, it wasn't that simple..... Ben has updated his blog with his version of events on how close he came to releasing their debut and how he got his name of the credits of the Ride EP. As you'll see from his blog he still treasures that old Demo cassette. You can read the blog post here. Below is the opening track of Demo #3.