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GasLightStreet
Their best single - and song - since 1983.

I will concur if we're not to include any 'Frankenstones' songs, as I think Plundered My Soul is the pinnacle since 1983.

Props also to Criss Cross, Scarlet, No Spare Parts and a few others off the Some Girls deluxe.

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GasLightStreet
Their best single - and song - since 1983.

Bonkers. Though taste is, of course, subjective

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treaclefingers

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GasLightStreet
Their best single - and song - since 1983.

I will concur if we're not to include any 'Frankenstones' songs, as I think Plundered My Soul is the pinnacle since 1983.

Props also to Criss Cross, Scarlet, No Spare Parts and a few others off the Some Girls deluxe.

Well, of course, new.

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Big Al

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GasLightStreet
Their best single - and song - since 1983.

Bonkers. Though taste is, of course, subjective

It took a while but Rain Fall Down became extremely interesting. I do love Laugh...I Nearly Died.

And a few others.

But.

In the retrospect of everything since DIRTY WORK... Living In A Ghost Town is exceptional.

A great tune that I still listen to to regularly. Hard to believe it's already been three years since it was released, but unfortunately there's been nothing else new from them since then.
Still hoping and waiting for another new single some day, but not holding my breath....three years and counting...living in a ghost town...it's high time for something new...

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

Alok Says His Song With Mick Jagger Took 10 Versions to Finalize: He’s ‘Never Satisfied’

"At one point in my life, I wanted to abandon everything. I was looking at the world around me and it was hard to live true art," he says

By Tomás Mier
May 12, 2023



Collaborating with iconic artists takes some significant patience and effort. During his interview with Rolling Stone for On Your Radar, Alok reveals that it took him 10 different versions to get Mick Jagger’s final approval for his remix of Rolling Stones’ “Living in a Ghost Town.”

The Brazilian DJ recalls meeting Jagger for the first time while performing at a secret party in 2017. That meeting spawned Alok’s remix of Jagger’s solo song “Gotta Get a Grip.” (That one took six versions, he remembers.)

“Then after Covid, he just called me saying, ‘Listen, we are releasing a song now from Rolling Stones after eight years of not releasing. Would you like to jump in and do a remix?'” Alok remembers. “I said, ‘Yeah, for sure.’ I love to collaborate.”

Alok says he was in the studio one day, recording himself playing the piano, so he still has one of his conversations with Jagger on tape. “I answered the call, and I told him, ‘Listen, now I understand why you did this song “I Can Get No Satisfaction” because you’re never satisfied,'” Alok recalls telling him with a smile. “This is my last try with the tenth version.”

The DJ, who’s dropped songs with John Legend, Ellie Goulding, Bastille, and others, says the most difficult part of collaborating is finding the balance of getting a perfect glimpse of each artist. “Sometimes it’s a bit complicated to find a balance,” he admits.

During the interview, Alok also discusses how his upbringing in Amsterdam, raised by two DJ parents, influenced his career.

“I was born and raised in the electronic scene, because my parents were DJs for a long time. But I had one element, that was the most important thing for me: I had the freedom,” he says. “I had the freedom because we used to live in a hippie community in Amsterdam, on a squat, which was an abandoned hospital. I felt like I could be myself. This freedom gave me the opportunity to follow my dreams.”

But things weren’t always so bright: Alok remembers struggling with finding his identity in music while following his own dreams.

“At one point in my life, I wanted to abandon everything. I was looking at the world around me, and it was hard to live true art,” he says. “Sometimes it’s complicated in the financial aspect, so I was like, ‘I don’t know if I can do this.”

Then he had a conversation with his dad, who validated his artistic expression. “He challenged me, and I said,’ I’ll do what I want to do but not what you want me to do,” he says.

His sound, Alok explains, was at first influenced by the “underground scene counterculture” of psychedelic psytrance, though he took a more pop route in the early 2010s while hiding from his parents. His parents later came around: “My dad understood that what I do is the continuation of his story,” Alok says.

This year, Alok released his album Controversia, and dropped songs such as “Over Again” with Solardo and “Mami Mami".

[www.rollingstone.com]

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bye bye johnny
Alok Says His Song With Mick Jagger Took 10 Versions to Finalize: He’s ‘Never Satisfied’

"At one point in my life, I wanted to abandon everything. I was looking at the world around me and it was hard to live true art," he says

By Tomás Mier
May 12, 2023



Collaborating with iconic artists takes some significant patience and effort. During his interview with Rolling Stone for On Your Radar, Alok reveals that it took him 10 different versions to get Mick Jagger’s final approval for his remix of Rolling Stones’ “Living in a Ghost Town.”

The Brazilian DJ recalls meeting Jagger for the first time while performing at a secret party in 2017. That meeting spawned Alok’s remix of Jagger’s solo song “Gotta Get a Grip.” (That one took six versions, he remembers.)

“Then after Covid, he just called me saying, ‘Listen, we are releasing a song now from Rolling Stones after eight years of not releasing. Would you like to jump in and do a remix?'” Alok remembers. “I said, ‘Yeah, for sure.’ I love to collaborate.”

Alok says he was in the studio one day, recording himself playing the piano, so he still has one of his conversations with Jagger on tape. “I answered the call, and I told him, ‘Listen, now I understand why you did this song “I Can Get No Satisfaction” because you’re never satisfied,'” Alok recalls telling him with a smile. “This is my last try with the tenth version.”

The DJ, who’s dropped songs with John Legend, Ellie Goulding, Bastille, and others, says the most difficult part of collaborating is finding the balance of getting a perfect glimpse of each artist. “Sometimes it’s a bit complicated to find a balance,” he admits.

During the interview, Alok also discusses how his upbringing in Amsterdam, raised by two DJ parents, influenced his career.

“I was born and raised in the electronic scene, because my parents were DJs for a long time. But I had one element, that was the most important thing for me: I had the freedom,” he says. “I had the freedom because we used to live in a hippie community in Amsterdam, on a squat, which was an abandoned hospital. I felt like I could be myself. This freedom gave me the opportunity to follow my dreams.”

But things weren’t always so bright: Alok remembers struggling with finding his identity in music while following his own dreams.

“At one point in my life, I wanted to abandon everything. I was looking at the world around me, and it was hard to live true art,” he says. “Sometimes it’s complicated in the financial aspect, so I was like, ‘I don’t know if I can do this.”

Then he had a conversation with his dad, who validated his artistic expression. “He challenged me, and I said,’ I’ll do what I want to do but not what you want me to do,” he says.

His sound, Alok explains, was at first influenced by the “underground scene counterculture” of psychedelic psytrance, though he took a more pop route in the early 2010s while hiding from his parents. His parents later came around: “My dad understood that what I do is the continuation of his story,” Alok says.

This year, Alok released his album Controversia, and dropped songs such as “Over Again” with Solardo and “Mami Mami".

[www.rollingstone.com]

Alok did a fantastic "remix" - if not the best "remix" - of a Stones single. I listen to it often.

Can't find the one I'm looking for, a severe yet brilliant edit.

Exclusive: Mick Jagger and Keith Richards Move to Dismiss ‘Living in a Ghost Town’ Lawsuit

Raha Ali
July 5, 2023

The Rolling Stones have filed a ‘Motion to Dismiss’ the copyright infringement lawsuit by Spanish songwriter Sergio Garcia Fernandez. The legal filing outlines several reasons for dismissal, including Plaintiff’s choice of improper venue, failure to state a claim, and lack of personal jurisdiction over a Europe-based rights management company.

In March, Spanish songwriter Sergio Garcia Fernandez filed a copyright infringement lawsuit in a Louisiana federal court. Fernandez, professionally known as ‘Angelslang’ claimed that ‘recognizable and key protected elements’ from his songs “So Sorry” (2006) and “Seed of God” (2007) appear in The Rolling Stones’ track “Living in a Ghost Town” (2020). Fernandez demanded a jury trial against Defendants Mick Jagger, Keith Richards, UMG INC., BMG Rights Management LLC, and Promopub B.V.

Now, DMN has obtained a legal filing submitted late last week by the attorneys of Mick Jagger and Keith Richards. Dated June 30th, the document lists several reasons why Judge Eldon E. Fallon should dismiss the copyright infringement lawsuit in the Eastern District of Louisiana court.

Within the court filing, The Rolling Stones declare, “Plaintiff’s complaint is replete with deficiencies regarding jurisdiction, venue, and forum that warrant dismissal.”

“Fernandez’s lawsuit claims that in 2013, he allegedly shared a CD containing the non-US works written six or seven years earlier with an unnamed immediate family member of Mr. Jagger. The Defendants dispute the allegations of copyright infringement made by Plaintiff.”

The 26-page court document also notes that Fernandez is a Spanish citizen suing Defendants over alleged infringement of non-US works (compositions and recordings). “[Works which] weren’t authored in the US, or registered with the US copyright office.”

“The court should dismiss Plaintiff’s First Amended Complaint (FAC) because it fails to adequately plead a copyright infringement claim. Plaintiff has failed to allege an exemption to the copyright precondition for his non-US works. This warrants dismissal of the FAC in its entirety.”

Other reasons listed as grounds to dismiss include lack of jurisdiction. The filing explains, “The court cannot exercise personal jurisdiction over Defendant Promopub B.V.”

“Defendant Promopub is a Dutch private limited company with no contacts in the United States. Promopub holds copyrights claims in certain musical compositions authored by Jagger and Richards, collecting and distributing publishing revenue generated by the musical compositions.”

“[Promopub] does not conduct any business in the US. All the books and records relating to such publishing revenue and all of Promopub’s employees are located in the Netherlands.”

The motion to dismiss also questions the Plaintiff’s choice of venue, stating, “Venue in the district is improper as none of the Defendants reside, or may otherwise be found, in this district.”

Fernandez filed the copyright infringement lawsuit in Louisiana, and The Rolling Stones claim that “The only individual with any ties to Louisiana is Plaintiff’s counsel, who is based in New Orleans. The location of his office is not relevant to establishing a local interest or controversy.”

It further adds, “Contrary to the allegations in the FAC, Mr. Jagger and Mr. Richards are both UK citizens. Mr. Jagger is not domiciled in the US, and Mr. Richards is domiciled in Connecticut. The Rolling Stones have not performed in Louisiana since a performance in the Superdome on their worldwide tour in 2019. Previously, they performed in this district only three other times, in 1978, 1981, and 1984. They have not directed any of their activities purposefully or specifically towards this district.”

The rock band also added, “The Accused Work was written and recorded outside of this district, and neither of these Defendants directed any contacts concerning the Accused Work to this district.”

“The more appropriate forum for this case would be a court in Europe because Plaintiff, a Spanish citizen, and domiciliary, asserts infringement of his non-U.S. works against Defendants who all have a presence in Europe. In short, both the private and public interest factors weigh in favor of dismissal.”

“Although each of the above reasons warrant dismissal, should the court not dismiss the FAC, the court should transfer the venue to the Southern District of New York. It was improper for Plaintiff to bring this case in this district when he could have brought it in the Southern District of New York.”

[www.digitalmusicnews.com]

Based on what I can understand from the article, I am quite sure that the lawsuit will be dismissed. A pity, because I was curious to read the Stones' defences in the merits.

C

Weird how the Stones played in New Orleans in 1984.

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GasLightStreet

Weird how the Stones played in New Orleans in 1984.

Must be a typo: they played New Orleans, Superdome 10-Oct-1994 - [iorr.org] .

Between the lines they make the point that it was only brought to a court in Louisiana because it was the Louisiana-based lawyer who thought that would be a nice case to make. From a legal standpoint it's rational to approach it that way instead of getting into the topic itself, but as always, such legal statements from multimillion-dollar enterprises come across as a bit limp. We'll have to wait if the lawyer is willing to bring it to the Netherlands

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Nikkei

We'll have to wait if the lawyer is willing to bring it to the Netherlands

Maybe the lawyer thought that the Stones are a US-Band .... like some journalists still believe.

What I meant to say is that the plaintiff (Fernandez) isn't the driving force here. I assume he was approached by the lawyer and not the other way round like one would expect

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Nikkei

What I meant to say is that the plaintiff (Fernandez) isn't the driving force here.

Looks then rather the lawyer has no clue about the Stones and their rights management.

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Irix

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GasLightStreet

Weird how the Stones played in New Orleans in 1984.

Must be a typo: they played New Orleans, Superdome 10-Oct-1994 - [iorr.org] .

That's possibly true - but. 1978, 1981, 1989, 1994 and 2019 are their Superdome dates. So they left out 1994 but made it 1984 while ignoring 1989?

That's just strange. It's so easy to find information.

Hello everybody
is there a long version ghost town?

Longer than the 4m:07s studio version? Never heard of. But there're longer live versions - [dbboots.com] .

The longer studio version at 4m:07s that Irix mentions above has an extra stanza following the bridge and instrumental break (just before the song gets quiet). The shorter studio version at 3m:59s doesn't have this stanza.

The extra stanza is the following:

Preachers were all preachin'
Charities beseechin'
Politicians dealin'
Thieves were happy stealin'
Widows were all weepin'
There's no beds for us to sleep in
Always had the feelin'
It will all come tumblin' down

Ride like the wind at double speed.....



Edited 2 time(s). Last edit at 2023-11-04 13:29 by sf37.

No - even the (Alok) remix was shorter (03.28).

N

Excelent song. Good vibes. Nice guitar interplay. No Jagger high pitch singing

There's also 2 versions of the shorter version (in addition to the Alok remix): one is a bit more "reggae-ish" with a cold ending while the other fades out.

Ride like the wind at double speed.....

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KeithNacho
Excelent song. Good vibes. Nice guitar interplay. No Jagger high pitch singing

Agreed! I enjoy it as well.

Ride like the wind at double speed.....

3m:59s - [www.YouTube.com] , 4m:07s - [open.Spotify.com] , [www.Qobuz.com] . Official releases - [www.Discogs.com] .



Edited 1 time(s). Last edit at 2023-11-04 13:55 by Irix.

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sf37

There's also 2 versions of the shorter version

You mean the 'radio edit' with the different ending (vs the studio version) - [iorr.org] .

Boring as hell

All your comments are fascinating, thank you to all
except the "not happy" ones who perhaps have better things to do.

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Irix

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sf37

There's also 2 versions of the shorter version

You mean the 'radio edit' with the different ending (vs the studio version) - [iorr.org] .

Yes, that's the version I was thinking. Wasn't sure how to label it. Thank you Irix.

Ride like the wind at double speed.....

I listened to Ghost Town just yesterday by coincidence. I probably hadn't listened to it in over a year. It kind of reminds me of some tough times, so it hasn't been in my regular rotation. Anyway, I really enjoyed the song. It was a lot better than I remembered.

I'm not feeling the remix, though. It's one of the few remixes I don't like.