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doitywoik
Spending half the night on the highway I had the doubtful pleasure to listen to the radio for several hours (reason: misplaced USB stick). Despite being no 1 in the iTunes charts over here (and no. 50 on shazam ) Ghosttown wasn't played even once. According to the DJs, a ton of never-heard of people (at least, people I never heard of) have new songs out but the Stones didn't even get a honorary mention. Seems like for radio programmers, the Stones are not relevant to people who listen to the radio at 3am...

Real ugly thing to listen to: an assault on Iggy's Passenger:
[www.youtube.com]

I haven't heard it at all on the radio in the night or the day, but it's only been a few days since released. Usually KTYD FM - a great rock and roll radio station based out of Santa Barbara - will play new Stones stuff.
They even played Mick's Getta Grip ( ) a couple of times, and have also been known to play "deep cuts" such as Rain Fall Down and Saint of Me (both decent tunes) randomly and out of the blue when you least expect it. But so far no Ghost Town darn it, at least I haven't heard it yet. Will be tuning back in tomorrow, and will keep my ears perked up for it.

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Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2020-04-27 04:58 by Hairball.

My body trembled with orgasmic joy the first time I heard the ‘Life was so Beautiful’ line. I wasn’t expecting Mick to suddenly soar like that… Without doubt this is the most relevant release by the Stones in almost 40 years. Even NHK, Japan’s national broadcasting organization, made LIAGT their lead story over the weekend. The song is supremely topical to be sure – no matter what radio station you tune into in any part of the world day or night this should be song that’s playing - but it wouldn’t be garnering so much attention if it were merely ABB caliber song. At least I want to believe that for now. Hopefully though this song will cease to be relevant by Christmas.

Here's my view after 30 or so listens - it's good. Potentially a career milestone.

As a longtime fan, gotta preface that something - anything - new from this band is exciting. Mick's voice, Keith's staccato rhythm instincts, Ronnie's fills and Charlie's wagon wheel swing simply conjure joy from a track that's new to the ears; moreover, the band hits a groove with Daryl on this one, something it nearly always accomplished with Bill, but doesn't always achieve since he's been gone. It's nice.

But to superfans on this board, a lot of their latter day efforts are "nice." A review of a Stones single in 2020 has to dance around the key unanswered question: Is it more special than anything else from the modern era we fans have enjoyed but others have mostly ignored or forgotten? ABB? Bridges to Babylon? Voodoo Lounge? Steel Wheels?

Maybe.

Musically, it's well-crafted - that bridge is damn good and makes the song interesting. I'd say the core song is nearly as good as (and in many ways similar to) Laugh, I Nearly Died. Throw in the cool bridge progressions, and it's arguably a better effort musically. Here's hoping the rest of the new material they've recorded throws us similarly developed bridges and/or intros - like Keith gave us on Crosseyed Heart.

Lyrically, it's very of-the-moment. If too much so, it'll be remembered like Rain Fall Down - Stones nerds on this board like myself from time to time will debate whether it's innovative or the product of a Jagger too desperate for relevance, but it won't matter because nobody else in the world will remember. On the other hand, if it's captured the zeitgeist of the corona-era, they may well have formulated a hit and unprecedented late-career triumph.

I'd love for the latter, but - regardless - am happy to have a new track to enjoy and think about. One that I'll always like even if the world forgets. Appreciate the band putting it out there.



Edited 1 time(s). Last edit at 2020-04-27 07:57 by voodoodrew.

Hey retired_dog, any word from your pal with the complete Dallas tapes? He’s gotta be aflame from sitting on that fire for so long!

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DandelionPowderman

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matxil

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DandelionPowderman

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TravelinMan

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DandelionPowderman
Do you mean IORR, matxil? JJF was always in B.

I think he was saying they played the riff as different notes in the same key. Maybe like when they toyed around with “Satisfaction”?

Half an octave off?

Studio version (in B ) : F# F# E F# A E F# A
Live (in B ) : B B A B D A B D

I'm lost here. Do you mean the notes in the riff? Whether in standard, open E or open G surely the two first notes are B anyhow?

Yes, I mean the notes in the riff. Just play the notes.
In the studio version, I definitely hear the riff as f# f# e f# a e f# a
I am sure the "b" note rings along too, but it's not what forms the melody of the riff. At least to my ears.
I could play it and record it and put it on youtube if you want (not that I would play it particularly well, but just to get the idea)

@Voodoodrew - couldn't have said it better !

@Four Stone Walls - Nikkei has to know who Clifford is ;-) But to follow up on your "But no idea where Jagger found him." - actually he found him in Montserrat during the SW recording where he was helping Anderson Bruford Wakeman Howe [en.wikipedia.org])

As Beast says, does seem be one of Mick's genuine friends, often seen with him at soccer games and that birthday party. He was also referred to as "Mick's muiscal "Aide de Camp" in a Vanity Fair article in early 1992 when Mick was working on "Don't Tear Me Up" in London. Something must have happened though later on in that year because he was only featured on "Angel in my Hear" on WS and only reappeared with the Stones in 2002 with his pre-production credits for Mick's "40 Licks" tracks and another 10 years later as the "musical director" for the YCAGWYW choir. He's risen back to prominence since...Maybe he'll write a book someday so we can understand what happened.

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IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

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matxil

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DandelionPowderman

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matxil

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DandelionPowderman

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TravelinMan

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DandelionPowderman
Do you mean IORR, matxil? JJF was always in B.

I think he was saying they played the riff as different notes in the same key. Maybe like when they toyed around with “Satisfaction”?

Half an octave off?

Studio version (in B ) : F# F# E F# A E F# A
Live (in B ) : B B A B D A B D

I'm lost here. Do you mean the notes in the riff? Whether in standard, open E or open G surely the two first notes are B anyhow?

Yes, I mean the notes in the riff. Just play the notes.
In the studio version, I definitely hear the riff as f# f# e f# a e f# a
I am sure the "b" note rings along too, but it's not what forms the melody of the riff. At least to my ears.
I could play it and record it and put it on youtube if you want (not that I would play it particularly well, but just to get the idea)

I think I understand now. Yes, the B will naturally be there (since it's the root note), and some other notes will ring as well, depending on the tuning.

An example, where he uses fewer strings (from Rock'n'Roll Circus in standard tuning):

B B E F# A E F# A

But we should move this one over to the track talk

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gotdablouse
Something must have happened though later on in that year because he was only featured on "Angel in my Hear" on WS and only reappeared with the Stones in 2002 with his pre-production credits for Mick's "40 Licks" tracks and another 10 years later as the "musical director" for the YCAGWYW choir.

Matt Clifford also worked on Goddess In The Doorway, A Bigger Bang and the Some Girls reissue bonus tracks.

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erikjjf

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gotdablouse
Something must have happened though later on in that year because he was only featured on "Angel in my Hear" on WS and only reappeared with the Stones in 2002 with his pre-production credits for Mick's "40 Licks" tracks and another 10 years later as the "musical director" for the YCAGWYW choir.

Matt Clifford also worked on Goddess In The Doorway, A Bigger Bang and the Some Girls reissue bonus tracks.

He should explain something about the drum sound...very different (from the worse) from last year’s sessions:
[mobile.twitter.com]
It seems similar to this cover:
[youtu.be]



Edited 1 time(s). Last edit at 2020-04-27 12:43 by KRiffhard.

Is it being played on the radio? I haven’t heard it once.

What is sad haven’t heard it on any local radio stations here. All classic rock crap.

German public radio Station SWR1 plays it up to 6 times a day. The last time was one hour ago. Hope it is played in a few weeks too.

There will be an authorised remix version made by a Brazilian DJ named Alok, who've already worked with Mick on his latest single. It will be posted on May 2.

[www.instagram.com]

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Cristiano Radtke
There will be an authorised remix version made by a Brazilian DJ named Alok, who've already worked with Mick on his latest single. It will be posted on May 2.

[www.instagram.com]

Scary. I was just about to come in here and ask if anyone knew about the status of official remixes.

It’s Number One - It’s Top Of The Pops!

[www.dailymail.co.uk]

A very appreciative review of "Living In A Ghost Town", especially coming from someone seemingly in his twenties. "Mick's voice never changes.." :

[www.youtube.com]

It's interesting to come back after a few days and read everyone's latest comments and conversation about the song.

The track certainly is topical. That tendency of being too on the nose with the lyrics can sometimes sound cheesy. That's why I think the lyrics to Dangerous Beauty are a little better than Sweet Neocon. It's more effective to take an oblique angle at a subject, in my opinion. On the other hand, there's a lot to be said for boldly saying things directly. I might have initially cringed at the "starin' at my phone" line, but there's no arguing that lines like those are relevant for many people.

The music and the production are both noteworthy. The song on some levels seems fairly simple and has a big hook in the Whoa whoa. But that simplicity in the chorus belies the rest of the song. It is great that they worked on the bridge, and I agree that it's very good. I like the way the song shifts in intensity. It's kind of mid-tempo, then it gets harder, then the sparse reggae dub breakdown sounds really nice in contrast. It is good production of a good song that has multiple levels.

About the auto tune in the song - for me it's not distracting at all. I confess I didn't notice it during my first playthrough, and it still doesn't stand out to me when I listen to it now. Autotune is unlistenable when it's cranked up all the way as a rapper talks through a song and it sounds like electronic gargling. That stuff I can't stand at all. I don't think "Living In A Ghost Town" has it to a distracting degree.

There was an autotune discussion elsewhere on this board and ever since, I'm overly focussed on hearing it, involuntarily so. So I heard Mick's use of it right away and I'm not overly fond of it. I'm not fond of the cheesy chorus either, rather Stones unworthy, in my opinion.
All in all I rather like the song, but I doubt if it will go beyond the usual circle of fans, and I fear that it will be forgotten rather quickly, like Highwire, for instance, and that was something of a hit even, back in the day.
As to the production, I think the main thing is if it's a good song or not, and the production comes second. I think the overall sound fits in with the A Bigger Bang album, more than with any other album, really. It would have stood out as one of the better tracks on that album, but then, I never had any problem with A Bigger Bang anyway, except for the usual three or four superfluous songs tacked onto it, and that it was nowhere near the more or less promised or at least hoped for Exile Pt.2 .

But yes, great to have a new Stones song. Let's hope for a great album, too!

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vibrolux
I guess the litmus test is which song in the touring set would I be willing to give up to get this one in...

JJF, No
SFTD, No
MR, No
BS, No
GS, No
And so on.

Next question, would it win a fan vote for a show? Pick from...
UMT
Bitch
Monkey Man
or Living in a Ghost Town

I doubt it wins the poll, even if it were more familiar.

So, it's a nice tune, some catchy stuff. Love Charlie's sound, well produced.

It's great to get a new Stones tune, but if I've got a 19 live set song set, I'll vote for Monkey Man and be grateful for the warhorses.

Think you nailed it there. I'd add - will this song have a shelf life to make it durable enough to survive until touring, possibly, recommences?

Here's one for the ultrafans: have the band ever released a single that has not been played live on a subsequent tour?

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Father Ted

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vibrolux
I guess the litmus test is which song in the touring set would I be willing to give up to get this one in...

JJF, No
SFTD, No
MR, No
BS, No
GS, No
And so on.

Next question, would it win a fan vote for a show? Pick from...
UMT
Bitch
Monkey Man
or Living in a Ghost Town

I doubt it wins the poll, even if it were more familiar.

So, it's a nice tune, some catchy stuff. Love Charlie's sound, well produced.

It's great to get a new Stones tune, but if I've got a 19 live set song set, I'll vote for Monkey Man and be grateful for the warhorses.

Think you nailed it there. I'd add - will this song have a shelf life to make it durable enough to survive until touring, possibly, recommences?

Here's one for the ultrafans: have the band ever released a single that has not been played live on a subsequent tour?

I haven't investigated this but my gut feeling says that there must be a number of singles that never got played live.

As for the warhorses, I'd be willing to give up any of them, just to hear them play Living In A Ghost Town, or any other tune that never gets played. Just for the sake of it anyway.



Edited 1 time(s). Last edit at 2020-04-27 17:04 by SomeGuy.

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Father Ted
Here's one for the ultrafans: have the band ever released a single that has not been played live on a subsequent tour?

Well, they tried "Wild Horses" a few times, but it didn't stick....I'm still waiting to hear those versions!

"You Can't Always Get What You Want" comes to mind.

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TravelinMan

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Father Ted
Here's one for the ultrafans: have the band ever released a single that has not been played live on a subsequent tour?

Well, they tried "Wild Horses" a few times, but it didn't stick....I'm still waiting to hear those versions!

"You Can't Always Get What You Want" comes to mind.

Sex Drive? Highwire?

Not counting Tattoo You album, best single since Miss You. It's relevance is uncanny plus such a damn catchy song and that's what it makes it so good.

Will be great live



Edited 1 time(s). Last edit at 2020-04-27 17:12 by Maindefender.

I think England Lost, with a little re-work, could have been a great Covid19 single as well. "Had a girl in Lisbon, a girl in Rome, now I'll have to stay at home.."

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SomeGuy
...As for the warhorses, I'd be willing to give up any of them, just to hear them play Living In A Ghost Town, or any other tune that never gets played. Just for the sake of it anyway.

It’s one I’d love to hear live too...maybe replace Miss You and give Darryl a cracking bass solo on another tune. But when it comes down to it, they can play the Rice Krispies jingle for all I care, as long as they perform again.

Also SomeGuy, where ya from?





Edited 1 time(s). Last edit at 2020-04-27 17:20 by SomeTorontoGirl.

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Father Ted

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vibrolux
I guess the litmus test is which song in the touring set would I be willing to give up to get this one in...

JJF, No
SFTD, No
MR, No
BS, No
GS, No
And so on.

Next question, would it win a fan vote for a show? Pick from...
UMT
Bitch
Monkey Man
or Living in a Ghost Town

I doubt it wins the poll, even if it were more familiar.

So, it's a nice tune, some catchy stuff. Love Charlie's sound, well produced.

It's great to get a new Stones tune, but if I've got a 19 live set song set, I'll vote for Monkey Man and be grateful for the warhorses.

Think you nailed it there. I'd add - will this song have a shelf life to make it durable enough to survive until touring, possibly, recommences?

Here's one for the ultrafans: have the band ever released a single that has not been played live on a subsequent tour?

It could easily replace MY, imo.

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gotdablouse
@Voodoodrew - couldn't have said it better !

@Four Stone Walls - Nikkei has to know who Clifford is ;-) But to follow up on your "But no idea where Jagger found him." - actually he found him in Montserrat during the SW recording where he was helping Anderson Bruford Wakeman Howe [en.wikipedia.org])

As Beast says, does seem be one of Mick's genuine friends, often seen with him at soccer games and that birthday party. He was also referred to as "Mick's muiscal "Aide de Camp" in a Vanity Fair article in early 1992 when Mick was working on "Don't Tear Me Up" in London. Something must have happened though later on in that year because he was only featured on "Angel in my Hear" on WS and only reappeared with the Stones in 2002 with his pre-production credits for Mick's "40 Licks" tracks and another 10 years later as the "musical director" for the YCAGWYW choir. He's risen back to prominence since...Maybe he'll write a book someday so we can understand what happened.

Appreciated gotdablouse (although a blouse in Britain has a different meaning!)

Clifford competence and class/taste was what was what really relaunched them live in 89 and 90 - all the unearthed treasures like Ruby Tuesday And Light Years.

People say it was too 'clean' and keyboardy' but the guitars are strong and Keith loud clear and in his liberated element, prowling a very expansive stage with a grin on his face and firing out clean clear shots. Thinking Sympathy especially. So we all should be grateful to Clifford. And on new single too.

It has come in 'the silk sheet of time'.

Clifford also composed the Champions League hymn.

He contributed a lot to Goddess and is on ABB, also as a producer, methinks. Not to forget Doom And Gloom.

Spoke to Matt Clifford briefly outside Four Seasons in Boston last summer. Very nice and acted surprised almost that I knew who he was. He told me album is in the works. It probably helped that I told him I really liked Goddess album which is true. LOL

I've got this song on a loop like a mental patient!!

[product-image.juniqe-production.juniqe.com]