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Setanta Sports - What Is The Plan?

UPDATE - 23 June 2009.  I wrote this article a week ago trying (and failing) to understand Setanta's business model.  Surprising nobody the company ceased their British operation today.

The sports broadcaster Setanta is reportedly in trouble but this weekend it appears to have been 'rescued' by a Russian-American oligarch - Len Blavatnik and his company Access Industries.

It is reportedly £500million in debt and struggling to find funds needed to pay sports bodies (notably football authorities) for broadcast rights. It failed to pay £3m due to the Scottish Premier League last week and this Monday is due to pay £30m to the English Premier League.

Running out of cash, it was reported that preparations were in place for the company to enter administration next week. It stopped taking subscriptions and one of its partners BT Vision (a terrestrial digital / IPTV hybrid) removed Setanta from its advertised product. The writing was on the wall but it seems Blavatnik's 11th hour rescue (said to be £20m for a 51% stake in the company) is a stay of execution. It has this weekend started to take on new subscriptions again. Goodness knows how many it has lost in the last week through the bad publicity.

Why would Mr Blavatnik and his business partners be interested in what appears to be an ailing company at best, and a doomed business at worst?

paidContent:UK has speculated that the deal could lead to an invigoration of the company in the new media sphere - online video on demand, pay per view and associated advertising distribution networks. It highlights Blavatnik's involvement withTopUpTV (a small scale UK digital terrestrial pay platform, which carries a single Setanta channel now and has limited bandwidth to expand further) and with Perform Group - a UK video distributor. paidContent's headline suggest the possibility of an 'Online Sports Powerhouse' being created.

It could, but Setanta has been here before with its business plan.

It possibly thought that it would have to pay big for a share of the English Premier League rights in 2006 (and it did at £392m for three years) but by the next round of bidding in 2009 it anticipated the market would be different and the costs would be lower. 

In 2006. speculating about the imminent bid, Setanta's Leonard Ryan (one of the company founders), told The Independent:

The price paid may go up this time around, but three years after that (2010) it will come down because the media landscape will have been decided by then. Viewing audiences are fragmenting because of technology. IPTV will impact on choice. It will be like going to a newsagent and choosing which magazine you want from the vast array that are on offer. You pick what you want to watch, when you want to watch it.

Well, are we really there? The impact of IPTV on choice? Hardly a bruise. The media landscape decided within three years? Not even close, and I'm confused by how Ryan on the one hand was predicting some paradigm shift in media (but seemingly not sure of how it would evolve) and on the other claiming that it would stop there allowing Setanta (as opposed, presumably to Sky) to be a successful and dominant player. This is the problem when you predict how technology will change consumer patterns. The world is changing the way we access our media and the internet (and probably IPTV) will continue to be an increasingly significant factor moving forward. We're just nowhere near this point yet. (At least I think so, but thankfully I'm not investing hundreds of millions into a business hoping it will fit into place somehow).

If the TV landscape has changed in the last three years it is to delay the adoption of the internet, not bring it nearer. HD is now a far bigger attraction for TV viewing than IPTV and the infrastructure for delivery of HD quality over the internet is not evident in the UK, even before persuading a critical mass to change their hardware. There are now as many if not more Sky customers, who have upgraded to HD (hardware and subscription) in the last three years than there have been Setanta Sports subscribers. That's impact, Mr Ryan.

Setanta does not broadcast in HD and it is fair to assume that given recent developments has no immediate plans to do so. This makes it less attractive to me.

All other forms of media delivery such as 3G on mobile phones, internet streaming and other on demand viewing are mere trivialities to the established mediums of cable and satellite. Inertia Mr Ryan, at least for now.

The take up of BT Vision (Setanta's IPTV partner) has been little short of a failure. The company has this week seen its chief executive Dan Marks leave inferring that it's product (and Setanta's) is not good enough when it comes to sport, choosing to blame Ofcom for failing to address Sky's dominance, not blaming a product which doesn't (at least yet) appeal, a product he portrayed rather differently a year ago. And it is unlikely that Setanta would even have the EPL rights were it not for the EU's intervention ruling in 2005 that no one broadcaster should have all the live games, a ruling which right now looks to have been counter-productive – it hasn't helped Setanta and it hasn't helped me as a consumer – I now pay more than I did when Sky had it all. More on that later.

And I just don't see how Setanta thought (or thinks now – given the Blavatnik involvement) that it would be at the vanguard, particularly when its overheads are so entrenched in old media sports rights. The room for innovation and improvement is limited for a (relatively small) company sticking to these models. If / when this changes who is the most likely company able to adapt? That'll be Sky. It is what Sky does. It never rests on its laurels, even if its customer base is slow to change. The recent announcement of a partnership with Microsoft to make Sky Sports available on the Xbox is a case in point.

 

The last sentence of Ryan's quote sounds suspiciously like pay per view, which has consistently been shown as a big fat fail in the UK. Events work (big one-off boxing matches can attract a big one-off payment) but football? No, not in big numbers. When Sky had a monopoly of exclusive live Premier League football they offered a pay per view add on to their bulk of live games on Sky Sports but it never really took off. It only worked when they offered a season pass of 50 extra games for £50 which I found far more attractive than picking and choosing individual matches at upwards of £5 for each game.

I would much rather have a clear recurring subscription plan for my tv than an a la carte selection where every viewing option is not just a decision on what to watch based on taste or impulse, it is a decision based on finances.. I don't want it and I suspect most people don't want it. I don't want it at all when the product on offer is an inferior version of something I already have.

Sky's old pay per view games and the 'quality' of them are very similar to the 46 Premier League games that Setanta currently has - on a subscription only model now at £12.99 per month (admittedly with other football and sports included).

They started broadcasting them in August 2007. Back then Setanta had 200,000 subscribers. At the time The Independent ran a piece with Setanta's executive director Richard Brooke which suggested that it hoped to have 1m during the 2008/2009 season.

It has been reported this week that it now has 1.2m, so target reached then?

Maybe, but it seems to fall short of analysts reports of a break-even target of 1.9m.

So, what was the plan? The bulk of the costs are clear. They are paid to sports bodies for the rights. Did they really think these costs would be much lower in three years? Maybe, maybe not.

Many commentators such as the BBC's Mihir Bose have this week argued that Setanta tried to be too big too soon. There is much weight to this argument, particularly when it comes to trying to replicate and somehow usurp Sky Sports.

Back to the 2007 Independent piece written by Vincent Graff:

Will football fans be celebrating the smashing of BSkyB's monopoly when the upshot is that they now need to pay Setanta as well as Sky?

Brooke denies fans are losing out. "We've heard people say all that's happening by splitting the Premiership package in two is that they'll have to take out two subscriptions. But it opens up competition in the pay sports market, where before there was none. And while in the short term that might be represented as having to pay an extra £10 per month, I think where there's competition, the viewer benefits."

In any case, he denies that fans will be out of pocket: last season, Sky Sports customers did not just pay their £34-a-month - many of the matches broadcast by Sky were pay-per-view and therefore cost extra. This season, there will be no pay-per-view matches. Brooke does not mention, however, that Sky offered a one-off £50 "season pass" for its pay-per-view matches, which works out cheaper than a season's worth of Setanta.

"Our matches are in addition to Sky's, so we offer a service you can have as well as Sky or instead of Sky. At £10 a month, it's great value," says Brooke.

Two years on and that £10 a month is now £13.

So, as an add on to Sky, customers are paying more. Not a good starting point. I fall into this category. I had Prem Plus (Sky's add on of 50 games) and I chose to subscribe to Setanta to maintain this availability of games in 2007. It was football (and specifically English Premier League football) that attracted me but I subscribed with some reluctance – I didn't want to pay twice. It has been and remains a luxury subscription compared to Sky which remains a far more compelling choice. I can go without Setanta and I'm strongly considering doing this now. I know many who would quite like Setanta but are not prepared to pay another £12.99 a month particularly as the product is inferior.

Setanta Sports: No HD, No 'big Premier League games, but they do have a puppet show.

If I'm limiting this to football and ignoring Setanta's other sports this isn't an oversight. Football is the key to mass subscription. Less popular and niche sports attract less subscribers. That 200,000 UK subscribers that it had two years ago – was probably still football driven by fans of the Scottish Premier League.

If Brooke really believed that people would be drawn to Setanta at £10 / month as an 'alternative' to Sky, he must have forgotten about ITV Digital. This failed digital pay project based on the limitations of the digital terrestrial platform was predicated on sport, and again principally football, before collapsing spectacularly (leaving many lower league football clubs in financial ruin).

ITV Digital aimed to take on Sky head on. It offered a similar sporting proposal as Setanta - and quickly, too quickly, tried to overtake Sky as an alternative, and if not, a complementary service (both of which failed).

ITV Digital made some foolish errors. It tried to make the (inferior) terrestrial digital platform a rival to established pay platforms of cable and satellite. It spent most of its money on sport yet never made its pay sports channels available on digital satellite (where the largest established pay sports customers were).

At least Setanta hasn't been that stupid but in almost every other analysis Setanta has made the same same mistakes as ITV, particularly with football.

At the time of ITV Digtal's collapse it offered exclusive live English Football League, League Cup and Champions League (the latter shared between it's pay and free to air channels). It also had the pay per view games that Sky too broadcast as Prem Plus (the 'extra' 50 or so games) which it offered as an add-on to the ITV Sport channel. The cost for all these games? If I recall it was very much the same price that Setanta now charges.

Sky retained the pick of the Premier League games for its own Sky Sports channels. You wouldn't find any of the big 'head to head' games between the top four (Manchester United, Liverpool, Chelsea and Arsenal) on ITV's sports channels.

Guess what? You won't find them on Setanta now.

Last season I can think of only one Premier League game on Setanta which was of significant interest (other than games showing my team) – Newcastle United v Middlesbrough towards the end of the season – a game where the losers would be stranded in the relegation zone with two games left. There was a lot riding on it, but one game in a season? Nowhere near enough to be a credible 'alternative' to Sky. Two weeks later for the last round of games it was Sky who had first pick of the games which would decide relegation. They had the key Aston Villa vs Newcastle United game plus Hull City vs Manchester United and Sunderland vs Chelsea. Setanta had to make do with West Ham United vs Middlesbrough, by which time Boro were all but relegated.

Setanta may also have the FA Cup and some England World Cup qualifiers but these are few and far between and if, of sufficient interest to non-subscribers, there's always the pub, a friend who has Setanta, or the (illegal) internet streams.

Sky remains the overwhelming choice for football. More (and bigger) Premier League games, the Champions League and, if I'm in the mood, a Spanish League game.

They are the games I want to watch, far more than Setanta's (admittedly larger but inferior) selection of football - PL games, the FA Cup, Scottish, German, Dutch, French, Portuguese and Conference games. I watch the odd French game (and some US PGA Golf and ESPN America) but I could live without it. 

In the case for the prosecution of trying to be Sky Sports – look at the personnel Setanta recruited directly from Sky from off screen appointments such as Trevor East to presenters / commentators Paul Dempsey, Dominik Holyer, Kelly Dalglish (now Cates) and Ian Crocker.

On air, for all its posturing to be an alternative offering, the viewing experience is like watching a clone of Sky Sports, only a poor cousin. Ridiculously Setanta even has a 24 hour sports news service and they thought this would work. Launched with some encouragement and investment by Virgin in 2007 (at a time when Virgin had a dust up with Sky leading to Sky Sports News being unavailable on Virgin's cable service - since resolved) it is a blatant copy – just in different colours – rolling tickertape news, revolving logos, league tables and just about anything that replicates Sky Sports News's information orgasm.

Setanta has promised to be a voice for the fans. Oh please. If there is one thing that is going to make me switch channels it is phone ins and, worse still, a parade of fans in replica kits (Setanta's Monday night Football Matters show). All shows that Sky have peddled but even they have now largely dispensed with.

The coverage of the games is good, and the studio presentation / debate is sadly just as bland. It's inferior though. It ain't HD.

Experimentation with the medium helps makes Sky successful - constantly innovating and retiring ideas when they don't take off. Setanta just copies those ideas, even those which don't work.

So what is Setanta?

There's been plenty of debate on the Digital Spy forums about how Setanta could survive but there seems precious little love for the idea of Setanta as a Premier League broadcaster, at least as an 'alternative' to Sky here. Many, like me, would rather not subscribe to it and are unlikely to when the number of EPL games goes down to 23 in 2010.

This would suggest that Setanta has made a huge miscalculation in lowering its bid for the EPL and losing half of the games (and Richard Brooke) as a result.  .

The Independent article I refer to, written two years ago, highlighted all of the doubts that so many people had at the time, doubts which are prescient now. It is not a surprise that that the company is where it is now.

The voices on Digital Spy that really want Setanta to continue in some form are the sizeable number (but still I suspect representative of a minority) who like Setanta for its array of channels that suit their favourite sports – fans of the US PGA Golf, UFC, SPL and the ESPN America channel (part of the Setanta package).

It seems that nobody has a real idea of how it can survive (at least the GB part of the business), even in the immediate future, with the weight of the GB sports rights deals too heavy a burden. Discussion has included selling off the non-GB operation, becoming a wholesaler to other broadcasters, renegotiating the existing rights (it would seem though that the FA and Premier League won't budge) or, as seems to me the only option short of administration, exercising any possible early cancellation agreements (if they exist) on the burdensome contracts. None of the options though really offer any security of a successful future or continued subscribers.

Maybe Setanta's mistake was even bidding for the EPL in the first place in 2006, instead of continuing to build on a limited but niche portfolio of sports.

If so, the Setanta brand would not be as toxic as it appears to be right now and it might, just might ,have been better placed to adapt to Leonard Ryan's vision of the changing 'media landscape'.

I suspect we will find out soon enough.

 

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eMusic - The Beginning Of The End?

I used to love eMusic. It is a subscription service offering a number of mp3 downloads for a monthly fee.

They had to cancel my membership a couple of years ago when they stopped supporting my preferred payment method. That has now changed and in response to their relentless emails I've been considering a return.

When I joined (about 3 years ago) I chose a UK price plan (no longer available) offering 90 downloads per month for £14.99. That was 17p per mp3.

The sound quality was often good but variable. At that price point I didn't mind. The joy of eMusic was to treat it as a trial of new music and recommendations of other users. I would often find something new and this would lead me to want to buy it again on CD to a) have a decent quality recording without the lossy compression of mp3 and, to a much lesser extent, b) to help reward the artist more financially than their cut of 17p provided.

It also led to buying concert tickets and other music from the artists I discovered.

This might not have been eMusic's business model but is how it worked for many of their customers.

It isn't the most straightforward consumer experience. If you miss your quota of downloads in a month they don't carry over. It takes a bit of effort and the most likely market to embrace this is the committed independent music lover. A perfect fit.

Now, it has all changed. It would appear that the business isn't working maybe as services which offer music discovery as their intention rather than consequence -  Pandora and last.fm have stolen eMusic's thunder.

Even three years ago legal mp3 purchases were a rarity. Not now, as the music industry has finally accepted that copy protection of DRM punishes the honest purchasers of music. We now have DRM free tracks on iTunes and mp3s for sale a la carte just about everywhere. No doubt this has hurt eMusic too.

Whatever the reason the price point is now far less attractive. As The Register has highlighted the UK price plans now range from 24 songs per month at £9.99 to 30 per month at £17.99. So, from 17p per track to 38p in the space of three years and now only a third of the total number of songs available to me each month, limiting the discovery aspect of the service.

Not that the pricing is obvious. Their price plans are not mentioned on the home page and you have to enter your personal details before you can choose a plan. All they have is a carrot and stick approach of a no-commitment free introductory offer. Not enough now for people to stick around I suspect.

The forthcoming inclusion of some major label music (songs on Sony that are two years old) is likely to have no effect on the existing user base (who like their indie experimenting) as many of the user comments on the eMusic employees blog seem to bear out.

Many are angry that their loyalty is forgotten (many of the long standing plans are being cancelled and some customers are losing 2/3rds of their monthly quota) and I have to wonder if eMusic really understands their customers at all. The whole trial and experimentation nature of the site is now lost for me. P2p services, including legal streaming services such as Spotify and the likes of last.fm now seem more attractive.

A shame, but I feel this is the beginning of the end of this once great service. Sorry eMusic but you can stop with the emails now. I won't be coming back.

 

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Simple Minds - Rockets

Even at the height of my indie snobbery (probably in the early 1990's) there were always a few guilty pleasures. The release of a new Simple Minds album always permeated through the cool.

I was a sucker for their late 80's arena filling rock anthems.

A few missteps over the last 20 years (most notably a quite horrific covers album) but they always have a knack for coming up with an inspirational tune just when the critics are ready to write them off.

They're back with a new album on Monday - Graffiti Soul (Deluxe Edition)and I'm as keen as ever to hear it (although I'm dubious about the bonus cd of cover versions).

The new single Rockets is a joyous little affair. Good to see Jim Kerr hasn't lost his arm flailing style. Just makes the song seem a bit bigger.

 

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I Help Pay This Man's Wages

When West Ham's winger Julien Faubert was loaned out to Real Madrid in January, it felt like an early April Fool. One of the least effective players at Upton Park becoming a Galactico?  So absurd was the move that Paul Merson demanded to know who the agent was - and that he should be "Knighted by the Queen".

According to the Daily Mail Faubert has played 54 minutes in 2 substitute appearances since and on Saturday, in a game Real needed to win, he was so committed to the cause that he seemed to take 40 winks on the bench.  This, weeks after failing to turn up for training as he thought he had the day off. The man is quickly becoming a legend. Of sorts.

 

 

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Viral Video Silliness - Play Him Off, Keyboard Cat

How easy it is to squander internet use. Read one semi-interesting page, and let your mind follow links until you're trapped in a cyber rat-hole.

The increasing 'real time' nature of social media recommendations only makes this worse and I'm as guilty as anyone for following the trend and sharing frivolous links.

Of all websites YouTube is the timewaster's utopia. I try hard to discipline myself NOT to act on 'you've got to see this -- classic!' messages and forum posts, not because I suspect I won't be interested. The chances are I will be vaguely entertained and before I know it I'll have clicked a 'related' video, googled the subject and inevitably ended up at wikipedia.

This discipline had led me to avoid the Play Him Off, Keyboard Cat meme until a lapse in my self-regulation a few days ago, when I clicked a 'recommendation' from Kevin Rose

I've now watched dozens of these things and learnt about the origin. To save you looking, I can report that the cat was called Fatso and is now deceased, the video of him 'playing' the keyboard was made by Charlie Schmidt and the first mash-up to play off another video was by Brad O'Farrell with his man in wheelchair falls down escalator clip.

I've seen enough that I can now express a preference for the clips which show Fatso appearing briefly to anticipate the mishap/reveal/outtake/'fail'/man falling over, with his paws hovering above the keyboard. Ok then some examples of this pointless yet engaging video meme. These are not the best but I'm not going to revisit them all again to pick highlights for this blog – I've wasted enough time already. The first one is the original.

(With apologies for the surreal context, let me just say here rest in peace Bea Arthur)

No doubt technorati trend-setters will say that Keyboard Cat is, you know, so over. Ashton Kutcher has sent it into the mainstream so it has probably jumped the cool shark already.

Things could be worse. At least I'm not following the tweets and blog of a cat or watching otters hold hands.

Honest, I'm not.

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Ride - Leave Them All Behind

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Ride - Leave Them All Behind

I originally wrote this journal entry in January 2009 on last.fm:

1992.

I was 20 - an adult. Of sorts. I had been in employment for a year. I maintained contact with many of my old school friends, and during those days my pleasure was derived at the end of a pint glass with most of them. The yin yang of responsible adulthood and the irrelevance of youthful exuberance. My days were spent at work, my nights and weekends in a drunken mess of silliness. Much of the remainder was spent, quite diligently, in music.

The NME, the Melody Maker and John Peel on the radio.

I would go out, be it the pub, a party or a nightclub, always wearing (if dress codes allowed) a music based t-shirt. That was my identity. I would be somewhere, often a place far removed from the world of indie, often a drunken mess amongst neon lights and the latest 'club' sounds of the day, enjoying myself with my peers yes, but also showing my true colours, telling the world who I really was and what really motivated, connected and excited me, secretly hoping that someone would somehow recognise everything going on my head, my real stimulation, connect with me and take me to some magical place somewhere else, just because I happened to wearing a t-shirt. I could have gone further with my image - I contemplated piercings, a pseudo gothic dress sense, something to offer a public demonstration of my feelings, my passions, hunger, spirit and yes, my frustrations. I was however too self conscious to really go there and besides I would have lost my job overnight and my friends at the time would have taken the piss out of me mercilessly as an oddball. My t-shirts were all I had.

At that time artists defined their record label, or vice versa, I never was sure.

Rough Trade had the spunky, spiky, left field bands - music to approach with caution but often I'd find a gem.

Factory Records was the Manchester label which in 1992 was still squeezing the creative juices from the nearly shriveled fruit of the late 80's summer of love and the subsequent indie 'baggy' scene - it had New Order, Happy Mondays and a host of 'Madchester' wannabes.

4AD was was a repository for the indie cognoscenti - Cocteau Twins, Throwing Muses, Pixies. Being an elitist connoisseur of all things 'alternative' I naturally have a fondness for 4AD ;)

Then there was Creation Records - Alan McGee's label whose name aptly captured the innovation of the period. The Jesus & Mary Chain and My Bloody Valentine.

Then, in the early 1990's a string of bands, 'shoegazing' bands influenced by the established indiedom of The Cure and their like and the Boston 'scene' but more than anything the contemporary 'wall of noise' dreamlike guitar sound, created with such imagination and inventiveness by Kevin Shields and My Bloody Valentine.

Creation Records were their home. Early records by The Boo Radleys captured this. Slowdive worked too in their own ethereal, dreamy way (as did Lush, on 4AD). For me though, Ride captured it best.

Oh how I loved Ride. To this day, I can't think of a better debut album than Nowhere . Released in 1990 with a wash of distortion, mood, and oblique, often desolate lyrics.

'Nowhere' stands the test of time. I've played it in its entirety this week. It can't be played loud enough. The production by Alan Moulder is sublime, creating a cavernous, engulfing noise with the echoes of the drums, the distortion of the guitars and subtleties of the vocal harmonies. It sounds like a desolate place, particularly on the slower paced tracks - Dreams Burn Down and Nowhere. The faster songs Taste and Seagull fill the room with tension and bitterness in equal measure.

It is heavily influenced by My Bloody Valentine and Sonic Youth records of the period but like Slowdive and Lush, Ride created their own, unique sound - theirs being a melodic, passionate, harmonic wonder.

Sadly they never created anything so unique again. The follow up album - Going Blank Again is good but isn't as special as Nowhere. Much of the record suffers from '2nd album syndrome', where bands fall into the trap of trying too hard - trying different styles, adding too many instrumental quirks and saying 'look at what we can do '.

Ride's subsequent two albums are poorer still in terms of invention, exploring 1970's influences and the songwriting by the two guitarists / vocalists, Andy Bell and Mark Gardener took place away from the band dynamic. Solo projects and subsequent bands have never come anywhere near the creative spark of the early 1990's. Indeed, in recent years it has been hard to see how the Andy Bell who wrote most of the gems on Ride's debut - Dreams Burn Down, Seagull, Taste and Vapour Trail is the same Andy Bell who now plays bass in Oasis and contributes the odd, uneventful song to their albums.

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One day, (like they did in 2001 for a TV show about Sonic Youth), all four members of Ride might get back together and make something truly creative again. That is perhaps just me being greedy. They've done enough to bring sparkle into my life. Maybe all four of them no longer feel a need to make music so passionately and they are happy somewhere else. Maybe Andy Bell is content with playing Champagne Supernova to packed arenas. Good luck to him.

But back to 1992 and Going Blank Again.Ignore what I said about the album. I was talking about everything that appears after track numero uno, the lead single. The best song ever recorded.

Leave Them All Behind


I first heard a 'radio edit' of this single and reacted indifferently to it. As a four minute pop song, it is nothing special at all. But then I bought the single and listened to it in full, all 8 minutes 16 seconds of it. I remember the day, looking at the cd artwork while listening.

When it finished I played it again. Then again. I've been playing it every so often ever since.

If ever I'm asked the question - 'What is your favourite song?' - the answer has been the same since 1992 and probably forever more will be - Leave Them All Behind by Ride.

I love plenty of songs, spanning my lifetime. Many have sounds that energise and move me. Many more have lyrics that capture my mood, emotion, memory or hope. Such lyrically connecting songs, such personal songs.

Leave Them All Behind is different. Lyrically, nothing remarkable at all:

Wheels turning round, Into alien ground, Pass through different times, Leave them all behind

Just to see, We've got so far to go, Until we get there, Just let it flow

Colours shining clear, Fading into night, Our grasp is broken, There's nothing we can do

I don't care about the colours, I don't care about the light, I don't care about the truth

Hardly fills 8 minutes does it?

I understand that the lyrics were written by Mark Gardener and added at a late stage. It makes sense. I like the lyrics - they suit the song but it is the sound of the vocals, the sound of bloody everything in Leave Them All Behindthat is astonishing perfection to these ears.

I know every note of every instrument. The two minute 'intro', the beats of Colbert's drum, the bass riffs, the acoustic break, the crashing beauty of the guitar whooshes. Every distortion, every echo, every effect. All 8 minutes and 16 seconds of it. I wouldn't change anything. The studio version, the version that appears on the album, cannot be bettered.

The live versions only capture part of the magic but here's a performance from Brixton Academy in 1992:

Live at Brixton Academy 1992

Andy Bell wrote most of Nowhere, and thereafter much of Ride's songs were split between the two guitarists / vocalists - Bell and Gardener. Leave Them All Behind is however very much a band effort. All 4 contributed to the song, which they began work on whilst on tour two years previously, and it shows. It is what Ride were all about. For me, it is more than just the definitive Ride song. It is the definitive song. Full stop. It is mine.

What happened in that studio, sometime in late 1991, when Bell, Gardener, Queralt and Colbert recorded that noise two years in the making, and Alan Moulder produced it to perfection , I will never know. Over 17 years on though, I'm writing about it. I'm as moved by it now as I was then.

They made a difference. What a feeling that must be. That is the inspiration.

As I say unlike my other favourite songs, this one doesn't address my mood, bring a tear to my eye, or speak to me about a particular emotion, memory or aspiration. Wonderful and precious as those songs are to me, 'Leave Them All Behind' is the one.

It takes me to another world - some parallel universe where all the thoughts and feelings in my head, my heart, my soul, be they confused, upsetting, joyous or whatever all come together in a cavalcade of swirling guitars, bass and drums. Real life's complexities make sense.

I was 20 when I first heard it. I was young and the prospects of where I would go, what I would do with life were so uncertain that I didn't even entertain any such thoughts. If I did, they were fanciful not tangible. I was naive, immature and just happy to have made it past my education and formative years. I was fitting in with my adult surroundings and at that time I didn't contemplate the aging process. The thought of even turning 30 seemed like such a long time away.

If Leave Them All Behind took me somewhere else, it was still, at 20, a place where everything could fall into place in reality at a point in the future, a point so far away. For then, I was just happy to have made it that far, to have friends, the stupidity of life with them, concerts and compact discs and income from a job that made these things possible.

Leave Them All Behind was an inspiration as well as an imaginative, ethereal experience. One day, I would "grasp those fading colours" and dreams wouldn't "burn down", they could come true.

Somewhere, out of the fog that 20 year old has become 37 (goodness - I'll be nudging 40 before I know it!). What the hell happened there?

But you know what, that 37 year old has still been wearing his music t-shirts. Even in his office. He has been making business chat, concerning himself with professionalism, dividends, and tax compliance, in a sense acting these things out. But his t-shirts have remained. That 20 year old hasn't gone away. He still has dreams. He can still, like those 4 young lads from Oxford in 1992, make a difference, to others, but also to himself.

Now, at a time in my life when I've been contemplating my history, my future, my motivation, my reasons for my very me-ness, I listen again to Leave Them All Behind. Again it is too perfect, but I do have a reaction to it. I'm back. I'm 20 again. Everything I was capable of then, I'm capable of now. If anything I'm better prepared than before.

The noise of Leave Them All Behind still inspires, still takes me somewhere else. I'm going to chase that somewhere else, find it, colonise it and live there, not just visit it for 8 minutes and 16 seconds.

I do care about the colours. I do care about the light. I do care about the truth.

Links:

Ride official site

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