#Loz Colbert

[junksterrr]

[echoandthejohnnygirl]

[yourfavealbumisgender]

Nowhere by Ride is Bisexual!

requested by @thefoyer

[twinkandwink]

An almost complete live acoustic of I Came to See the Wreck taking from Ride's new album. (See previous post for pics & vids)

Ride - Rough Trade Live & Signing Acoustic set - 3rd April 2024 @rideox4official

[lovejustforaday]

Shoegaze Classics - Going Blank Again

Going Blank Again - Ride (1992)

Main Genres - Shoegaze, Indie Pop, Alternative Rock

A decent sampling of: Baggy, Britpop, Dream Pop, Jangle Pop

We're already halfway through this series on classic records from the first wave of shoegaze in the 90s. Likewise, it was only a matter of time until I decided to hone in on any of the "Big 3" with one of these pieces.

For the uninitiated, shoegaze fans have long recognized a trio of bands all coming from the Creation Records label that are considered either the greatest, most formative, or most influential bands of the subgenre. Those bands are (usually in this order), My Bloody Valentine, Slowdive, and Ride.

In practice, this label is contentious. The so-called "Big 3" represents a general consensus within the community, but do not mistake it for gospel. Plenty of folks disagree on these bands, and often argue in favour of replacing at least one of them with a supposedly more deserving band (though My Bloody Valentine's place at the top of the shoegaze canon is virtually undisputed).

We'll get into my own personal opinions about the validity of this concept shortly. But for now, let's take a closer look at the band I'll be reviewing today. Let's talk about Ride.

The Band

Ride was formed in 1988 in Oxford, arriving onto the scene as one of the early comers, just after Lush and Pale Saints.

The original lineup was (and continues to be) Laurence "Loz" Colbert on drums, Steve Queralt on bass, Andy Bell on guitar and vocals, and Mark Gardener also on guitar and vocals, with his signature messy medium length hair and soft pretty boy features that was no doubt the platonic ideal of what the male shoegazer looked like in the 90s. Seriously, the man was a twink icon, just look at him.

AHEM, moving along.

Ride are probably the quintessential early 90s U.K. rock band. They represent the clearest through line between the baggy "Madchester" scene of the late 80s, the emerging sound of what would soon come to be known as britpop, and of course shoegaze itself, which is the genre label that people still associate most with this band. You can definitely hear a lot of Stone Roses in the band's sound in particular.

Ride was also arguably the first wave's greatest commercial success. They were basically the darlings of the Creation Records label, at least until Oasis came around and changed everything (for the worse). Their rise to indie fame was likely the most pronounced at the time, and this record in particular is one of only two shoegaze records to be certified Gold by the BPI (I'll let you guess the other one).

The key to Ride's success was likely in the band's very immediate sound compared to other shoegaze bands (plus being in the right place at the right time). They were more uptempo and LOUD, with keen pop melodies and a generally bombastic sound that lends itself to absolutely tearing up live shows.

I imagine that a good chunk of the fans of Ride in the 90s were people who had little to no investment in the emerging shoegazing scene, and would probably go on to be much bigger fans of bands like Blur and Radiohead than the likes of, say, Curve or Flying Saucer Attack.

If you've been following this series since I started than you've already read this a dozen times now so I'll do the sparknotes version: Yadda yadda dropped a few EPs in 1990 yadda yadda debut record the same year. But let's discuss that debut briefly.

Ride's 1990 LP Nowhere was a shoegaze record that harnessed the chaotic energy of the broader early 90s alternative rock movement. The album fuses little bits of neo-psychedelia, indie pop, and noise pop with a very solid foundation of constant shoegaze brick walling blasting against the backdrop, refusing to let up. It's a roller coaster ride (hehe) from start to finish.

It is Nowhere that's most often cited when discussing a "holy trinity" of records by the "Big 3", along with Loveless and Souvlaki.

I suppose now is a good time to say that personally, while I really enjoy the record, I don't really think it holds a candle to the other two canonized records. And I know I'm not alone in this. In fact, my opinion is largely reflected by the general trend in online circles over the last decade, wherein Ride's place in the 90s shoegaze rankings has slowly fallen to the definite third place spot.

Where Ride were arguably the most commercially successful shoegazers at the time, and second in critical acclaim only to My Bloody Valentine, Slowdive's re-appraisal in the 21st century has been overwhelmingly more favourable, while Ride has lost some of their relevance to the younger shoegazers of today.

There could be many reasons for this. Some argue that Ride's discography sounds a lot more dated, and/or hasn't aged well. Personally, I love the "dated" sound of early 90s U.K. indie; nothing wrong with being an era-defining record if it's a good era. That being said, I just think it comes down to MBV and Slowdive both having a larger catalogue of what is consistently brilliant music to my ears.

I do have my own alternative choice for third member of the Big 3 in my personal canon, which you'll soon find out about at the end of this series, but for now I digress.

I don't want you to come away from this review thinking I hate Ride or that you shouldn't listen to them. Many folks still love this band, and I am definitely a casual fan myself, so let's cut the crap and talk about what I like about their sophomore record.

The Record

Going Blank Again is a slightly more palatable and expanded version of the Ride that can be heard on their early EPs and debut LP. It's a hardened blend of smothering shoegaze and anthemic alternative rock riffs making it perfect for blasting out of car stereos while flying down desert highways. Like Split, this was also a transition record for the band's sound before britpop took over the British airwaves.

Firstly, I want to say that I chose reviewing Going Blank Again over Nowhere for a few reasons. Both records have their strengths and weaknesses; Nowhere packs more punch with less filler, while Going Blank Again has more versatility and arguably better songcraft, though "Seagull" remains as my favourite Ride song.

But my main reason for choosing Going Blank Again is that Nowhere already receives most of the love and attention. It's also not lost on me that I've pretty much only written about debut records for the series so far, so naturally I've been wanting to write about another sophomore LP. If I'm being honest though, Ride's first two LPs are roughly neck and neck, my preference depending on the day more than anything else.

The record bursts open with the simply gorgeous "Leave Them All Behind", a massive song that largely encapsulates everything Ride excels at: cool, massive hooks, loud guitar walls, blissful disengagement, and the sense of standing atop a really giant hill and being carried away by a gust of wind. This is how you should start your 90s alt rock record.

"Twisterella" is pure jangly, early britpop goodness. It's what Oasis would sound like if they were a better band. A completely sugary, dizzying riff that I never get tired of.

"Chrome Waves" is a chill baggy track with windswept string pads and Andy and Mark's signature melodic "ahhs" creating a bed of breeziness in the backing vocals. Very mellow vibes. And drums are a big standout on this track, kudos to Loz.

The LP finishes off with "OX4", a warm shoegazing ode to the band's hometown of Oxford. I'm actually reminded of Kiss Me era Cure, what with the bright, bittersweet synthesizer melody and dreamy feel-good essence of it all.

Again, there's a little more of what I'd consider filler on here than Nowhere, and it's definitely front-loaded. But for what it's worth, this was definitely one of the most celebrated shoegaze records of the first wave, and it's not hard to see why with its clear crossover appeal and hooks upon hooks. I think we could all stand to go a little blank again sometimes (just full of crap puns today).

What Came After That?

Ride alienated their fanbase.

No really. After this LP, Ride made the full switch and put out two britpop records, including the very lukewarm reception of Carnival of Light and the openly disdained Tarantula. Most britpop really isn't my bag, so I've yet to check out either of these projects, and their reputations sure aren't helping to convince me otherwise. The band doesn't even really seem to like that fourth record.

Ride disbanded in 1996 after having had a pretty good run as the top superstars of their somewhat niche scene.

Like Drop Nineteens, Slowdive, and MBV, the band got back together some time from the 2010s onward. The original members have been going strong, becoming the most prolific of the 90s shoegaze veterans in the 21st century, with two new records since they reunited, and a third one slated to come out some time in the next year.

I checked out the first record of their reunion 2017's Weather Diaries, while working on these reviews, and I gotta say that I have mad respect for the band sounding that energized after all these years.

Ride are shoegaze legends, and regardless of whether they're Big 3 material in my own personal canon, their significant role in spreading the popularity of shoegaze and solidifying its legacy in the 90s as a movement that mattered is more than enough reason for you to check them out. So, ya know, do it already if you haven't.

8/10

Highlights: "Leave Them All Behind", "Twisterella", "OX4", "Chrome Waves"

[spilladabalia]

Ride - Today

[guerrilla-operator]

RIDE

[mychameleondays]

Ride: Carnival Of Light

double, GFS

Creation CRELP 147

Released: June 20, 1994

[thebowerypresents]

The Charlatans UK & RIDE – Webster Hall – January 18, 2023

Two English rock acts that formed in the late ’80s have reteamed for another U.S. visit with each playing a beloved album from early on in their discography. And with just a pair of remaining dates on their tour, the Charlatans UK worked through their second studio album, Between 10th and 11th, and RIDE played their debut LP, Nowhere, for a packed Webster Hall on Thursday night.

(The Charlatans UK & RIDE play Union Transfer in Philly tonight.)

Photos courtesy of Ellen Qbertplaya | @Qbertplaya

[thatwouldbealex]

I think we can agree that 92 was a brilliant year for music.

A real highlight for me was Let Me Come Over by Buffalo Tom. One of those few albums in my collection that I will never get tired of.

It was also the year I fell for Nine Inch Nails, mainly to help me with a bad break-up!

I saw PJ Harvey at Reading Festival, Three And A Half Minutes supported Ned's Atomic Dustbin on the Are you Normal tour in Cambridge and Leave Them All Behind by RIDE solidified my complete hero worship of Loz Colbert.

Some obsure records too, Boing! by Airhead - a joyful, indie-pop treasure trove of songs, and Eleven Eleven by Come, a bleak, bluesy and dark album that would accompany us as we drove through the night from gig to gig.

What's going on first?

#90sindie #buffalotom #letmecomeover #90svinyl #1992 #pjharvey #catherinewheel #RIDE #nedsatomicdustbin #nin #nineinchnals #airhead #theblackcrowes #vinylcollectionpost #vinylgram #musiconvinyl #instavinyl #vinylme

 #vinylcollection  #vinylcollector #recordaddict #vinyligers #dustandgrooves #coleccióndediscos #schallplattensammlung #vinylsharing #collectiondedisques #raccoltadidischi #vinylcommunity #threeandahalfminutesoffame

[screamingforyears]

IN_A_MINUTE: // AN INDIE EXPRESS…

“RIGHT BEHIND YOU” is the latest single from @jmascis’ forthcoming solo LP titled ‘What Do We Do Now’ (2/2 @subpop) & it finds iconic six-string slanger mellowing out across a 4:20 clip of laid back, patio vibing & sweetly strummed AltRock.

@maxbandnyc are here w/ “NOTHING’S CHANGED,” the lead single from their debut LP titled ‘Maxband On Ice’ (4/5 @holm.front) & it finds the New York-based quartet of Max Savage, Patrick J Smith, Eric Read & Tim Nelson bringing a crisp 4:41 clip of pitter-patting, six-string driven & quietly/loud IndieRock.

“PLASTIC PYRAMID” is the second single from @omnideluxe’s forthcoming LP titled ‘Souvenir’ (2/16 @subpop) & it finds the ATL-based trio of guitarist Frankie Broyles, singer/bassist Philip Frobos & drummer Chris Yonker linking up w/ Izzy Glaudini of Automatic to bring 3 ½ mins of angularly flexed & robotically hip PostPunk.

@rideox4official are back w/ “PEACE SIGN,” the lead single/track from their forthcoming LP titled ‘Interplay’ (3/29 @pias Wichita) & it finds the veteran Oxford-based quartet of vocalists/guitarists Andy Bell/Mark Gardener, drummer Laurence “Loz” Colbert & bassist Steve Queralt sounding as refreshingly relevant as ever across 4:40 clip of drivingly gazed AltRock.

[junksterrr]

Ride

[echoandthejohnnygirl]

[bjorksgf]

slough music festival (july 27th 1991) with ride headlining the first open-air shoegaze festival

[twinkandwink]

Ride playing a few acoustic tracks from their new album in the Live & Signing.  Their songs always translate well acoustically and as they admitted they are starting to sound a little REM at times, which yes I can see.

Here's some pics and vids - mainly of Mark & Steve as there was no space to move. 

Track Monaco

Ride - Rough Trade Live & Signing Acoustic set - 3rd April 2024