Released in 1986, “Dirty Work” is an album that stands as a testament to the tumultuous times the band was experiencing. Amid personal conflicts, substance abuse issues, and the changing landscape of rock music in the mid-1980s, “Dirty Work” emerged with a raw energy and a mix of strengths and shortcomings. This review will delve into the highs and lows of an album that many Stones fans dismiss as the nadir of their career.
Despite the internal band strife, “Dirty Work” maintains the gritty rock sound that the Rolling Stones are known for. The album opens with “One Hit (To the Body),” a powerful track featuring searing guitar work by Keith Richards and guest Jimmy Page, who provides the blistering solo. This song captures the Stones’ energy, blending aggression with a melodic core.
Keith’s presence is particularly strong in this album. With Mick Jagger somewhat distanced from the project due to his solo career pursuits, Richards took a more central role in its creation, penning many of the songs with Ron Wood. Tracks like “Too Rude,” written by Half Pint (Lindon Roberts), and “Sleep Tonight” showcase his vocal performances and musical direction, but to this reviewer, are two of the weaker songs on the album.
“Dirty Work” features notable guest appearances that add depth to its sound. Jimmy Page’s aforementioned contribution on “One Hit (To the Body)” and Bobby Womack’s backing vocals on several tracks bring a diverse flair. These collaborations inject fresh energy into the album, highlighting the Stones’ willingness to experiment even during challenging times. Their contributions may also have something to do with Jagger and Richards barely speaking to each other, and the additional musicians in the studio may have served as a buffer between them.
The production on “Dirty Work” is polished, aligning with the 1980s rock aesthetic. Producer Steve Lillywhite, known for his work with U2 and Simple Minds, brings a clean, contemporary sound to the album. This modern production helps the Stones stay relevant in a decade marked by rapid musical evolution.
The album’s creation was marred by significant internal conflicts, particularly between Mick Jagger and Keith Richards. This discord is palpable in the music; some tracks feel disjointed and lack the cohesive synergy that marked their earlier works—Jagger’s relative disengagement results in a lack of his usual charismatic energy on several songs.
While there are standout tracks, the songwriting on “Dirty Work” is inconsistent. Songs like “Back to Zero” and “Winning Ugly” are often criticized for their weak lyrics and uninspired melodies while sounding like outtakes from Jagger’s 1985 solo album, “She’s The Boss.” These tracks lack the lyrical depth and musical innovation that characterized the Stones’ best work, leading to an uneven listening experience.
While the polished production has its merits, it also contributes to a sense of overproduction that detracts from the rawness that fans expect from the Rolling Stones. The use of synthesizers and electronic elements on tracks like “Winning Ugly” feels out of place, diluting the band’s signature sound and making some songs feel dated rather than timeless.
The album suffers from a lack of thematic and musical cohesion. With various band members contributing in different capacities and at different times, the album feels more like a collection of individual efforts rather than a unified project. This disjointedness can make “Dirty Work” feel fragmented and less impactful as a complete work.
Despite its mixed reception, “Dirty Work” has its place in the Rolling Stones’ extensive catalog. It captures a band in transition, grappling with internal strife and external pressures. While it doesn’t rank among their greatest albums, it provides insight into the Stones’ resilience and enduring spirit.
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