This acclaimed Irish singer's troubled upbringing manifested itself in an erratic career path, including stints as a model and a street-sweeper.
After moving to London in the mid-70s she married and began raising a family, before terminating the union and returning to Galway with her children. She began her singing career in 1984, working with Dutch musician Erik Visser (who became her long-term collaborator).
The following year she made an acclaimed appearance on the "Late Late Show" in Dublin and recorded her first album, which showcased her powerful and bluesy jazz stylings and became an unexpected bestseller in her native Ireland. Despite her ongoing personal problems, Coughlan continued to reap praise for her recorded output on WEA Records.
Coughlan began straightening her personal life out in the mid-90s, and signed a new recording contract with Big Cat Records. The label issued an excellent live set and her US debut "After The Fall". In June 2000 Coughlan presented a series of multimedia shows in Dublin celebrating Billie Holiday, a singer whose life story has close parallels to Coughlan's own.
The release of her 2008 album, The House of Ill Repute, sparked reviews that suggested it was her best yet.
Ride On
Mary Coughlan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Standing sixteen, one or two
With eyes so wild and green
And you ride that horse so well
With hands light to the touch
But I could never go with you
No matter how I wanted to
I could never go with you
No matter how I wanted to
Ride on, see you
I could never go with you
No matter how I wanted to
As you ride into the night
Without a trace behind
Run your claw along my gut one last time
I turn to face an empty space
Where you used to lie
I look for the spark to light the dark
Through the teardrops in my eyes
Ride on, see you
I could never go with you
No matter how I wanted to
Ride on, see you
I could never go with you
No matter how I wanted to
Mary Coughlan's song "Ride On" is a hauntingly beautiful ballad about unrequited love and the pain of acceptance. The song begins with a description of the horse that the person the singer desires rides, with its "wild and green" eyes and skillful handling by the rider. The singer wishes she could go with him, but she knows that she cannot, no matter how much she may want to. It's clear that there's something standing between them, some obstacle that she cannot overcome.
As the song progresses, the singer describes the moment when the person she desires leaves her behind, riding into the night without a trace. The singer is left alone, and she imagines feeling the sharp pain of his "claw" running along her gut one last time. She looks for some kind of comfort, but all she finds is an empty space where her lover used to lie. She cries, searching for the spark of hope to light her through her tears, knowing that even though she longs to, she can never go with him.
The song is filled with emotion and draws the listener in with its raw honesty. The lyrics invoke a sense of longing, regret, and loss, and the repetition of the chorus, "Ride On, See You" underscores the finality and inevitability of the end of the relationship. Mary Coughlan's powerful vocals and the plaintive melody add to the song's haunting quality, making it a powerful and emotionally resonant ballad.
Line by Line Meaning
You say you ride the finest horse I've ever seen
You claim to ride a magnificent horse, the best I've witnessed
Standing sixteen, one or two
This horse's height is around 16 hands plus or minus a few inches
With eyes so wild and green
The horse's eyes are intense and captivating, a striking green color
And you ride that horse so well
Your horse-riding skills are impressive, you control this horse with expert ability
With hands light to the touch
Your touch on the reins is gentle and light, indicating trust between you and the horse
But I could never go with you
I cannot accompany you on this journey
No matter how I wanted to
Despite the intense desire to join you, it's simply not possible
As you ride into the night
You depart through the darkness
Without a trace behind
Your presence disappears immediately
Run your claw along my gut one last time
You leave behind a mark, a physical reminder of your absence
I turn to face an empty space
I'm left with an incompleteness and loneliness in your absence
Where you used to lie
The spot once filled with your presence is now empty
I look for the spark to light the dark
I search for something to lift my spirits, to illuminate the darkness in my life
Through the teardrops in my eyes
Despite my sorrow, I still hold onto hope
Ride on, see you
Continue your journey, farewell
I could never go with you
I cannot follow you on this path
No matter how I wanted to
Although I yearn to join you, it's not meant to be
Lyrics © Universal Music Publishing Group
Written by: JIMMY MACCARTHY
Lyrics Licensed & Provided by LyricFind
@Maxiclaudi
Yes!! I totally agree, this is way out the best version of this song: earthy, strong and with a perfect beat.
@martin-vg7hf
this takes me back to the irish centre in leeds, god knows how long ago. this was the only time i heard her play this live having seen her for years. the encore lastest longer than the concert. awesome
@fremsley7254
The purists say that Christy's version is the holy grail and nothing else comes close .What? This lady rocks it and the pipes are just so good. Love it.
@TheWhatthefug
Thank you, always loved this version
@glynbirchall1868
she can sing guys n seen her live twice
@malegrissusran8847
Best version of this epic song !??
Maybe ?
@tenaciousv7611
A great compliment to the Chgristy. Mark knoflers version too!
@pmalone451
i never liked cover versions,still dont,this is the only one,i do,what pipe playing,its rock pipe playing/fantastic and brill.
@CarhornAshtray
Christie does Shine On Crazy Diamond far too slow! Sorry, I know what you mean. Christie's original is growing on me.
@barryholt9564
'Uilleann Pipes as Rock Instrument' was a bit of a 'thing' in the 80's, wasn't it? Not necessarily any bad thing either, you ask me!
Oh, and cover or not, Mary's version is OBVIOUSLY the superior version (pending listening to Knopfler's interpretation, I can't in all conscience say 'definitive' yet). It's Christy's song, Of Course- always will be- it's just that somehow pretty well everything* Christy's done since Moving Hearts has had all the kick-ass and pizazz of staying behind to tidy the pamphlets and clean up the ashtrays and polystyrene cups after a left-wing meeting on a wet Tuesday... And that goes Doubly So for his 'comedy' numbers like 'Lisdoonvarna' and 'Don't Forget Your Shovel'
*I'd be a liar if I didn't admit to 'Tipping it up to Nancy' raising a smile; and that one where he sings "Goodbye to the Port and Brandy" doesn't ACTUALLY annoy..!