The 12" of Mixed Emotions - was that a remix?

Much better than the original (which was fine by me)

It dropped to number 2 on USA ITUNES lol.

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Bashlets
It dropped to number 2 on USA ITUNES lol.

Kelly Clarkson's newest single was #1 on Itunes for 5 days last week (Friday/Tuesday) and ended up at #86 on the new Billboard Hot 100.
That's the importance of streaming these days, without it any song will struggle to chart at all even beeing #1 on Itunes during days.

By looking at Blue & Lonesome I think the song will rank pretty high on the UK Singles Downloads Chart, UK Airplay ("Just Your Fool" got to #33), US Digital Rock ("Just Your Fool" got to #28), Digital Song Sales ("Ride 'Em On Down" got to #4), maybe some more charts like France, Germany etc

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rebelhipi

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SomeGuy

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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?

Biggest Mistake

Emotional Rescue

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deardoctor

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rebelhipi

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SomeGuy

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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?

Biggest Mistake

Emotional Rescue

.



Edited 1 time(s). Last edit at 2020-04-28 20:02 by DandelionPowderman.

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georgelicks

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Bashlets
It dropped to number 2 on USA ITUNES lol.

Kelly Clarkson's newest single was #1 on Itunes for 5 days last week (Friday/Tuesday) and ended up at #86 on the new Billboard Hot 100.
That's the importance of streaming these days, without it any song will struggle to chart at all even beeing #1 on Itunes during days.

I'm confused about the release of the physical copies.
If the charts are based on downloads/streams and physical sales, then it will be very hard to chart if downloads/streams are all now, the CD single is released May 29 (according to my order from rs.com) and the 2 10-inch vinyl are released on June 26 (according to my order from rs.com).
So I streamed it several times, and I bought one CD and two vinyl copies, but all will be added up on different dates?

I thought this new single was great last week, got caught up in all the excitement, played it half a dozen times.

OK so went back to it today and found it forgettable, it's what you normally get as album filler on a Stones album since the 80s.
It hasn't got a good guitar solo , the chorus is cheesy and embarrassing, other than the chorus it's a bit slow, it feels like it never takes off.
Personally speaking it's like Blue And Lonesome, i won't be going back to it very often.
Hope this isn't the best the new album has to offer, sorry just saying, it's on a par with Rain Fall Down or something. I couldn't even play it to the end just now, it's too slow and boring, it's not a rocker, it's not a ballad, it's just lost in between, but not in a good way like Love Is Strong, it's kind of sleepy and i don't like my Stones sleepy.

Having said that Mick's vocals are excellent and he gives the track the illusion it's more than it is, he carries the song, its Mick singing like i love him singing, but the song itself is wanting, it's just not enough, it's lazy , if it's the best Mick can come up with in 15 years then he still has writers block, this doesn't get him out of the woods imo. I think Keith has done what he can with this track, sprinkled a bit of fairy dust on it but no where near enough, the song it being pushed as apposed to being driven, i think we all connected to the sentiments and the narrative of the lockdown but beyond that it's just an average Stones song with an above average vocal.
As the saying goes IT IS WHAT IT IS.

Well I Love it ....



ROCKMAN

I can't stand the phrase "sprinkle some fairy dust" and if memory serves, that is just because of this site here

Nice song, fits with the times.
Misses a killer solo ala Mick Taylor
Misses the feeling that the musicians are playing to the drummer and not to a click track.
Misses the sound of a band playing live and then overdubbing the parts vocals

i do like it, its current, some of the production is nice (some very subtle pushes), great vocal (not keen on autotune but whatever i can deal with it), great harmonica.

doesnt sound organic, i like the stones when they're recorded organic, not to a click track. all the creases get ironed out. i like to see creases, warts and imperfection, inflections.

But its still a good tune that needed the band elevating it, rather than playing along to it

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Nikkei
I can't stand the phrase "sprinkle some fairy dust" and if memory serves, that is just because of this site here

Yeah that's right, it comes from conversationa about Mick solo, like why are Mick songs great when Keith plays on them but crap on a Mick solo album ( although there are some good Mick solo songs ) but yeah, Keith's fairy dust on tracks like Brown Sugar make them special.

In many way this new single follows the example of "Gotta Get A Grip"/"England Lost" - which, as I was assuming at the time, was a kind of experiment. I don't mean musically but the way it is released, delivered, and distributed.

Firstly, it came out of the blue, and its basic feature is that it is very easily reachable via streaming and youtube - the idea of it not any longer selling as many copies as possible but to reach as big audience as possible. Just to be listened, not selling as such. Surely, an oldies act like them cannot compete with recent acts in terms of streaming (and thereby not any hope of high spots in hit lists), and many of the 'old' audience still wants their music in physical copies (and gets them), but Mick and the band has always been able to adjust to the the changes of the business (and that's especailly why they always have been and still are incredibly popular, a 'top act'). Whatever they are, quaint as hell, they are not stupid. Since there is not much money in selling records any way, the best function of new music is just to get the people know the shit. That is true for smaller acts who like to share their music in order to get name for themselves, and the people at their gigs know the music they play, but also for huge acts like the Stones for whom it would be more safer to play new music if the audience is already familiar with it. They aren't if they don't listen it. I don't think if the Stones one day are able to play live again, people will have difficulties knowing "Living in A Ghost Town". As the people's habit of listening music is what it is, the good old concept of whole album starts to be too much for their attention span. That's why the tendency back to singular songs.

Secondly, I hear there are new re-mixes entering soon. In the case of Jagger's 'single' they released all at the same token, so that's not quite the same here. However, what I found striking in Jagger's experiment, especially in regard to "Gotta Get A Grip" the case was not that there is one 'right' or 'essential' firm version, and the rest are 're-mixes' of it. No, it was more like the whole item called "Gotta Get A Grip" was a nice bunch of different remixes. The song itself was a sort of reconstruction or abstraction of all these variants. Compared to any 'old' Stones remixes - which usually meant longer versions, different edits, or some certain feature more emphazisied by the cost of the others - the remixes there were radically different, having altogether different instruments and instruments tracks, even whole song parts differing from others. I am really looking forward the new re-mixes of "Ghost Town" offering something as radical - since the 'song released so far' seems to contain such a multitude already. It offers lots of things to explore further.

Since the release of Jagger's 'single', and taking as long as it has taken, I have had doubts about if the project in question - a new album - really is wholeheartidly aimed to a fruition in the form of traditional single album or something, even though all of the major participiants are talked about it in terms of a 'new album'. The surprising success of BLUE & LONESOME surely showed that there is still a market for such an item, but I wouldn't be surprised if they will finally release the stuff if not drop-by-drop but by some non-yet known form. (However, this speculation belongs more to the 'new album' thread, so I will continue it there, if needed.)

- Doxa



Edited 8 time(s). Last edit at 2020-04-28 16:02 by Doxa.

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Captainchaos
Nice song, fits with the times.
Misses a killer solo ala Mick Taylor
Misses the feeling that the musicians are playing to the drummer and not to a click track.
Misses the sound of a band playing live and then overdubbing the parts vocals

i do like it, its current, some of the production is nice (some very subtle pushes), great vocal (not keen on autotune but whatever i can deal with it), great harmonica.

doesnt sound organic, i like the stones when they're recorded organic, not to a click track. all the creases get ironed out. i like to see creases, warts and imperfection, inflections.

But its still a good tune that needed the band elevating it, rather than playing along to it

A good way to describe it. In a way it sounds like a Stones song coming out of a cann. Not bad for the old fellows. Easily a whatever post- '78 filler.

Not sure that this song has a place for a killer guitar solo as currently constructed, unless there's interplay with Mick's harp(which might be cool).

Where would be the best place for a solo?? Hopefully we'll get more meaty songs like Bitch with future new releases, although Keith stated a lot of the recent new stuff had a lot of soul.

How The Rolling Stones’ new music video was made in lockdown

By Anna Conrad
28 April 2020

The Living In A Ghost Town video director talks us through how it was put together under restraints

Twenty-twenty has brought about many firsts for artists as they grapple with how to adjust during the pandemic. For many, it’s meant the democratisation of music through free Instagram Live gigs; for others, collectively coming together to record covers for charities and awareness.

For The Rolling Stones, it’s been about reacting. On Thursday evening the band released their first new music in eight years, “Living In A Ghost Town”. The single was in the works a year ago, but tweaked to fit the current climate, with lyrics such as “Life was so beautiful / Then we all got locked down… Please let this be over / Stuck in a world without end”.

Since release, its video, which was directed by Joe Connor (who has worked on music videos for Coldplay and Sam Smith), has had more than three million views. Here, Connor tells us how the video came together.

GQ: How did you get involved in the project and how long did it take to put together?

Joe Connor: I got a call from my music video agent, Alexa Haywood, on 7 April mentioning a track and looping me in with the commissioner. I was already creating these fisheye photographs thinking that they could be creatively interesting in the future. Once this track came in, however, I felt the urgency of the images matched the track beautifully. The treatment was completed quickly and signed off and we were away.

How did you film and put it together over lockdown? Did the band film themselves while at home?

The band filmed themselves. I’m unsure of the timescale of all their footage, as I was sent this footage by the record label. I then shot London and had the photographers shoot over the weekend in their respective cities. The key to doing this project through lockdown was respect and communication. I wanted each photographer to take the proper precautions they needed to – to shoot early in the morning to avoid contact with others, to respect the timescale when they were outside and to try to fit their shoot into an hour window. Artistically, I wanted to commit to the fisheye as a way to also minimise the time spent outside. To pull together such a global effort on this project in such a small space of time was pretty incredible.

What was the biggest challenge for this project?

The biggest challenge was to try to create a global response whilst staying sensitive and respectful to the situation and current social rules in place. I reached out to a close network of photographers and friends in different cities and found people with the equipment who could contribute. I travel so much for work so I'm fortunate to have a friendly network that stretches across the seas. The timescale for this production was a few days, maybe ten in total, and so to have multiple shoots – LA, Toronto, London, Oslo, Cape Town, Margate and Osaka all happening in the same weekend – and getting all that footage back and into the edit was a huge undertaking. We pulled it off through teamwork between myself, my producer, Fred Bonham Carter, and my post-production partners, Black Kite Studios, who got all the footage turned around and into the edit in my kitchen as quickly as possible.

What was the brief for the video?

The brief was very open. They wanted to reflect the situation, the crisis and the times we live in, but there was no real mandate for a style or a vibe. We’re inundated with images of empty streets across multiple platforms at the minute and there’s nothing intrinsically thought-provoking about these any more – we’re almost saturated with this aspect of the crisis. I felt that any response had to move the conversation forward, to try to find a visually unique perspective on this global issue and in some ways create a deeper artistic response rather than just “show and tell”. I feel that we won’t know the true scale or meaning of this crisis until we’re well into the next decade and so I wanted to create something that felt immediate with a human viewpoint, evoking the bewilderment and confusion of the time. The fisheye lens really spoke to me as a perspective that matched the epoch. You get this all-encompassing yet claustrophobic image. It feels like a point of view: wide-eyed and overwhelmed.

What was the band’s reaction to the video?

I’ve only really heard through the record label that everyone at the label likes it. It’s doing really well on social media and YouTube, so that’s lovely.

[www.gq-magazine.co.uk]

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Captainchaos
Nice song, fits with the times.
Misses a killer solo ala Mick Taylor
Misses the feeling that the musicians are playing to the drummer and not to a click track.
Misses the sound of a band playing live and then overdubbing the parts vocals

i do like it, its current, some of the production is nice (some very subtle pushes), great vocal (not keen on autotune but whatever i can deal with it), great harmonica.

doesnt sound organic, i like the stones when they're recorded organic, not to a click track. all the creases get ironed out. i like to see creases, warts and imperfection, inflections.

But its still a good tune that needed the band elevating it, rather than playing along to it

A good way to describe it. In a way it sounds like a Stones song coming out of a cann. Not bad for the old fellows. Easily a whatever post- '78 filler.

To use Keith's words: "It's in the can".

Do you prefer Gotta Get a Grip (Kevin Parker Remix) or Living in a Ghost Town?
Both are great Mick's solo song.
[youtu.be]



Edited 1 time(s). Last edit at 2020-04-28 18:50 by KRiffhard.

Still haven't made my mind on this one.

Remember a similar reaction when Anybody Seen My Baby was released.

In fact there are lots of similarities, in form and mood, between the two songs.

Bass drives both songs, unusual voicings, slik production, mid tempo, sort of melancholical feel, lots of elements that are out of the usual Stones canon.

With Baby, after an initial moment of shock, the Stones' personality came out strong.

Here not yet, but it is growing.

For sure it must be the most brickwalled release of the Stones ever. Compared to Ghost, Doom and Gloom is classical music!

I don't miss a guitar solo at all. Harp is great, although it does sound too much like something that I heard on ABB.

Click track or quantized? Who knows. Haven't bothered to check out. Sure it is very "perfect", but this is what modern standards require.

I honestly prefer this Jagger, or the Jagger of Doom and Gloom, to the Jagger of Blue and lonesome (see it as a compliment).

Guitars. Almost "wall of sound". Many layers of them. Too many? Thing is so compressed that I have a hard time to grasp what's cooking!

I agree with the "Jagger Song" lable, but not at all in a derogative way. Quite the opposite!

I don't agree with those who define it a filler track. Yes, there is not a strong instrumental hook, but the song has quite some personality.

For once, I noted the lyrics and found them very emotional. I think they will easily outlive the virus.

All in all, analyzing a new stones song is a usless exercise.

At the end of the day, all that matters is the excitement that one feels from the announcement to the first listen.

It's something that no other artist ever gave me!

C

I think the best way to describe this single is that it hits you straight away, you get it, you hear it, but it's on the surface, the song has no depth and i think that's why it's not one to keep going back to. And that's unusual for a Stones song, they are usually keepers, but as someone already said, not bad for guys the wrong side of 70.

It’s a fantastic song.
Seems to be on replay in my brain...hauntingly beautiful.

As the dust is beginning to settle, I'm still loving this track, and at this pont it would be impossible and wishy washy to all of the sudden say it's lost it's charm, or has no staying power, or it's not as good as I initially thought. It's been ingrained in my brain and it's a keeper no doubt, and I'm sort of surprised with myself for not having more of a critical point of view on the tune. Simply put, while it's not up there with their all time greatest original tracks (not sure how anyone would expect that), for me it's up there with their greatest originals from the last 35 years or so. In fact, I might even put it in the "Top 5 since '85" category, though "Top 10 since then" would probably be more realistic. And while I think Keith's Crosseyed Heart album as a whole is much more of an everlasting gift, there's no doubt this new tune is apprx. ten times better (give or take) than Doom and Gloom, One More Shot, Getta Grip/England Lost (and all of their lame remixes), Alfie soundtrack, and Superheavy combined - but maybe that's just me. Happy Mick and Keith picked a nice one to finish off and release, and am looking forward to the remixes - hopefully there's will be several of them. And with any luck, maybe they'll release another new and original tune before the decades over.

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

Like the track but to me it almost sounds like an edited version. I’m thinking the 45 RPM MISS YOU from 1978. Catchy but I wasn’t completely blown away until the album version came out with the scream and sax solo. In my dreams I’m hoping for an album version( lol) of this tune. Regardless I’m thrilled to have something. Maybe this weekend with the mixes my dream comes true

Assuming the lyrics are mostly Mick's doing, but if not, it will be very interesting to find out what inspired the writer(s) to make this "Ghost Town" song in the first place. Based on my 1968 experience with "Street Fighting Man", originally with totally different lyrics, it wouldn't surprise me at all if this new song gets a similar place in history as SFM. In 1968 it was also an unexpected move reflecting the student and working people's "revolution". Over the decades SFM has often been used in movies and documentaries either reflecting those late 60s years as well as events that had a revolutionary taste. It's a clear and indisputable time piece.
"Ghost Town" may prove to reach a similar status in the upcoming decennia. Like others already mentioned in this thread, it already sticks in the brain and since we're all still sort of in the middle of all these lock down situations, the song is bound to stay connected with 2020 for a very long time to come. Movies, documentaries ... and us

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Hairball
As the dust is beginning to settle, I'm still loving this track, and at this pont it would be impossible and wishy washy to all of the sudden say it's lost it's charm, or has no staying power, or it's not as good as I initially thought. It's been ingrained in my brain and it's a keeper no doubt, and I'm sort of surprised with myself for not having more of a critical point of view on the tune. Simply put, while it's not up there with their all time greatest original tracks (not sure how anyone would expect that), for me it's up there with their greatest originals from the last 35 years or so. In fact, I might even put it in the "Top 5 since '85" category, though "Top 10 since then" would probably be more realistic. And while I think Keith's Crosseyed Heart album as a whole is much more of an everlasting gift, there's no doubt this new tune is apprx. ten times better (give or take) than Doom and Gloom, One More Shot, Getta Grip/England Lost (and all of their lame remixes), Alfie soundtrack, and Superheavy combined - but maybe that's just me. Happy Mick and Keith picked a nice one to finish off and release, and am looking forward to the remixes - hopefully there's will be several of them. And with any luck, maybe they'll release another new and original tune before the decades over.

Blimey, that must be a pretty grim top 5

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liddas
I always had a bad relationship with vocals in general. It’s a sort of mental block. I have some general knowledge of music, but don’t understand singing, not even the basics. I can normally say if an instrument is out of tune, playing the wrong note or has a bad timing, but vocals are Arab to me!. If I had to sing lead to save my life, I would be dead!

All this to say, can one be so kind to explain where the auto tune part starts, and how do you recognize it?

Thank you!

C

Start with the bridge, particularly toward the end. Then check out when Mick sings the word "lose" on a different place in the song.

I’m embarrassed for my dumbness, but what should I hear?

C

1:48... 'So much time to lose', 'creep in my bed', sounds like he's singing in a bubble.

CORRECTION: it's not autotune.

It's a vocoder.

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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.

Highwire.

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floodonthepage
Is the CD single really "limited edition" as it states on rs.com? I was about to pull the trigger on it when I saw it was $6, which is kinda high...but I'm a sucker for the Stones.....but then after shipping and taxes it's $18!

Whaaaaat?

But if it's the only way to get it (limited edition) and not Amazon or other such places then maybe hence the high price.

Looked at it. No track listing. Besides, based on a majority of things I've read over the past few years, why would anyone order anything from rollingstones.com?

it's growing on me.

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GasLightStreet

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floodonthepage
Is the CD single really "limited edition" as it states on rs.com? I was about to pull the trigger on it when I saw it was $6, which is kinda high...but I'm a sucker for the Stones.....but then after shipping and taxes it's $18!

Whaaaaat?

But if it's the only way to get it (limited edition) and not Amazon or other such places then maybe hence the high price.

Looked at it. No track listing. Besides, based on a majority of things I've read over the past few years, why would anyone order anything from rollingstones.com?

Agree, but CD version doesn't seem to be available anywhere else in the US