Rolling Stones*Dirty Work

Label:Rolling Stones Records – CBS 86321, Rolling Stones Records – 86321
Vinyl, LP, Album, Stereo
Style:Pop Rock, Hard Rock, Rhythm & Blues, Reggae, Funk


A1One Hit (To The Body)
Written-ByRichards*, Jagger*, Wood*
Written-ByRichards*, Jagger*, Wood*
A3Harlem Shuffle
Written-ByRelf*, Nelson*
A4Hold Back
A5Too Rude
B1Winning Ugly
B2Back To Zero
Written-ByLeavell*, Richards*, Jagger*
B3Dirty Work
Written-ByRichards*, Jagger*, Wood*
B4Had It With You
Written-ByRichards*, Jagger*, Wood*
B5Sleep Tonight
B6Key To The Highway
Piano [Uncredited]Ian Stewart
Written-By [Uncredited]Big Bill Broonzy, Charles Segar

Companies, etc.



Matte cover.
Some releases issued in dark red cellophane shrinkwrap with a large illustrated promotional sticker on the front.
Cardboard inner sleeve has lyrics & credits on one side and a comic strip, "Dirty Work Out", by Mark Marek on the other side + a generic inner sleeve with rounded corners too.

Track B6 is not listed. It concerns a short version of the Big Bill Broonzy blues standard. It's played by Ian Stewart who died shortly after this recording.

Back cover:
© 1986 Promotone B.V./ ℗ CBS Grammofoonplaten B.V.
Made in Holland

Made in Holland

Inner sleeve:
Recorded at Pathe Marconi Studios Paris
Mixed at R.P.M. and Right Track Studios N.Y.C.

Special thanks to:
Bobby Womack.....Don Covay, Chuck Leavell, Jimmy Page, Patti Scialfa, Jimmy Cliff, Tom Waits, Kirsty MacColl, Ivan Neville, Anton Fig, Steve Jordan, Charley Drayton, Philippe Saisse, Dan Collette, John Regan, Alan Rogan, Ian Stewart, Janis Pendarvis, and Dolette McDonald

Bobby Womack appears courtesy of MCA Records.
Don Covay appears courtesy of Rawstock Productions.
Jimmy Page appears courtesy of Atlantic Records.
Tom Waits appears courtesy of Island Records.
Kirsty MacColl appears courtesy of Stiff Records.
Ivan Neville appears courtesy of Island Records.
Philippe Saisse appears courtesy of Manhattan Records and Doppelganger.

Thanks to Sterling at the Ernie Ball Co. for strings and things.
Thanks to Tony King and Jane Rose.

This album is dedicated to Ian Stewart "Thanks, Stu, for 25 years of boogie-woogie."

All songs © 1986 Promopub B.V. (PRS) except
A5 © 1983 Half Pint Music
A3 © 1969 Marc-Jean Music (administered by Bug) & Keymen Music (BMI).

The sequence AL/BL 40250-1xx is etched;
The sequence 01-86321-xx-1 + the isolated letter (A, B, C or D) are stamped

Barcode and Other Identifiers

  • Label Code: LC 0149
  • Price Code (On back cover, France, boxed): CB 321
  • Price Code (On back cover, Germany, circled): 58
  • Other (On back cover and inner sleeve, manufacturer catalog number ): 01-086321-20
  • Other (On labels, US catalog number, in brackets): OC 40250
  • Rights Society: BIEM STEMRA
  • Rights Society (A1, A2, A4 to B5): PRS
  • Rights Society (A3): BMI
  • Matrix / Runout (Label side A): 01-086321-1
  • Matrix / Runout (Label side B): 01-086321-2
  • Matrix / Runout (Variant 1, side A runout): AL40250-1AD 01-86321-4A-1
  • Matrix / Runout (Variant 1, side B runout): BL40250-1AC 01-86321-3B-1
  • Matrix / Runout (Variant 2, side A runout): AL 40250-1A 01-86321-1A-1
  • Matrix / Runout (Variant 2, side B runout): BL40250-1AE 01-86321-5B-11
  • Matrix / Runout (Variant 3, side A runout): AL 40250-1A 01-86321-A1-1
  • Matrix / Runout (Variant 3, side B runout): BL40250-1AD 01-86321-4B-1
  • Matrix / Runout (Variant 4, side A runout): AL 40250-1AD 01-86321-4A-1
  • Matrix / Runout (Variant 4, side B runout): BL 40250-1AA 01-86321-1B-1
  • Matrix / Runout (Variant 5, side A runout): AL 40250-1B 01-86321-2A-1
  • Matrix / Runout (Variant 5, side B runout): BL 40250-1AD 01-86321-4B-1
  • Matrix / Runout (Variant 6, side A runout): AL 40250-1A 01-86321-1A-1 C C⃫⃥⃫̷⃫⃥⃫
  • Matrix / Runout (Variant 6, side B runout): BL 40250-1AA 01-86321-1B-1 C
  • Matrix / Runout (Variant 7, side A runout): AL 40250-1B 01-86321-2A-1 C
  • Matrix / Runout (Variant 7, side B runout): BL 40250-1AC 01-86321-3B-1 A
  • Matrix / Runout (Variant 8, side A runout): AL 40250-1AD 01-86321-4A-1 C
  • Matrix / Runout (Variant 8, side B runout): BL 40250-1AB 01-86321-2B-1 B
  • Matrix / Runout (Variant 9, side A runout): AL 40250-1A 01₋86321₋1A₋1 A
  • Matrix / Runout (Variant 9, side B runout): BL40250-1AE 01₋86321₋5B₋1 B
  • Matrix / Runout (Variant 10, side A runout): AL 40250-1A 01-86321-1A-1 D
  • Matrix / Runout (Variant 10, side B runout): BL 40250-1AE 01-86321-5B-1 C
  • Matrix / Runout (Variant 11, side A runout): AL 40250-1B 01-86321-2A-1 A
  • Matrix / Runout (Variant 11, side B runout): BL 40250-1AD 01-86321-4B-1 B
  • Matrix / Runout (Variant 12, side A runout): AL 40250-1AD 01-86321-4A-1 C
  • Matrix / Runout (Variant 12, side B runout): BL 40250-1AD 01-86321-4B-1 B
  • Matrix / Runout (Variant 13, side A runout): AL 40250-1AD 01-86321-4A-1D
  • Matrix / Runout (Variant 13, side B runout): BL 40250-1AA 01-86321-1B-1 C
  • Matrix / Runout (Variant 14, side A runout): AL 40250-1AD 01-86321-4A-1 C
  • Matrix / Runout (Variant 14, side B runout): BL 40250-1AC 01-86321-3B-1 B
  • Matrix / Runout (Variant 15, side A runout): AL 40250-1A 01-86321-1A-1 A
  • Matrix / Runout (Variant 15, side B runout): BL 40250-1AC 01-86321-3B-1 B
  • Matrix / Runout (Variant 16, side A runout): AL40250-1AD 01-86321-4A-1 D
  • Matrix / Runout (Variant 16, side B runout): BL40250-1AE 01-86321-5B-1 C
  • Matrix / Runout (Variant 17, side A runout): AL40250-1B 01-86321-2A-1 A
  • Matrix / Runout (Variant 17, side B runout): BL40250-1AB 01-86321-2B-1 B
  • Matrix / Runout (Variant 18, side A runout): AL 40250-1A 01-86321-1A-1 C
  • Matrix / Runout (Variant 18, side B runout): BL 40250-1AA 01-86321-1B-1 C
  • Matrix / Runout (Variant 19, side A runout): AL 40250-1A 01-86321-1A-1 C
  • Matrix / Runout (Variant 19, side B runout): BL 40250-1AD 01-86321-4B-1 B
  • Matrix / Runout (Variant 20, side A runout): AL 40250-1B 01-86321-2A-1 B
  • Matrix / Runout (Variant 20, side B runout): BL40250-1AD 01-86321-4B-1 C
  • Matrix / Runout (Variant 21, side A runout): AL 40250-1A A 01-86321-1A-1
  • Matrix / Runout (Variant 21, side B runout): BL 40250-1AA C 01-86321-1B-1
  • Matrix / Runout (Variant 22, side A runout): AL 40250-1A 01₋86321₋1A₋1 C
  • Matrix / Runout (Variant 22, side B runout): BL 40250-1AC 01-86321-1B-1 C

Other Versions (5 of 165)

View All
Title (Format)LabelCat#CountryYear
Dirty Work (CD, Album)Rolling Stones RecordsCK 40250US1986
Recently Edited
Dirty Work (Cassette, Album, Stereo)Rolling Stones Records, CBS40-86321Europe1986
Dirty Work (LP, Album)Rolling Stones RecordsOC40250US1986
Recently Edited
Dirty Work (CD, Album, Misprint, Stereo)Rolling Stones RecordsCDCBS 86321Europe1986
Recently Edited
Dirty Work (LP, Album)Rolling Stones RecordsOC 40250Canada1986



  • VinylWire's avatar
    Very detailed sound quality on this release. Pressing is lovely too.
    I made a needledrop of one of the tracks from this vinyl record - You can find it on the right side in the videos - Under the name: The Rolling Stones - One Hit (To The Body) (1986 European Vinyl)

    • MPthreessuck's avatar
      Your comment has made me read about Lillywhite and his connection with KFC fast food chain. Now I don't know whether to laugh or cry. How much 'talent' from the 80's was really genuine art?
      • alonsodt's avatar
        The Rolling Stones Dirty Work has good songs, just not the right mix for the band. Steve Lilywhite wanted to make the Stones sound like a New Wave band. All the best from Chile
        • Fabioo-961's avatar
          In un primo momento trovai il disco sigillato con plastica rossa e l'adesivo in alto. Lo tenni così. Oggi trovai "Dirty Work" già
          ascoltato. Lo presi poi vidi che era sato fatto per l'Europa nell'86.Guardando altre immagini su discogs veoo alla fine l'immagine
          del vinile con piastica rossa ..??!!
          • subliminalkid's avatar
            Edited 2 years ago
            Between 1980 and 1989, the Stones produced 5 records that leave the critics and the fans of their 60’s and 70’s material quite cold. The Stones are accused of being in shambles, undermined by internal disagreements, increasingly heavy addictions, egocentrism, creative weariness, fashionable drifts ... a narrative that the Stones themselves, on the one hand, feed with nihilistic cynicism and on the other hand, deny, relaunching each record with the ridiculous rhetoric fanfares of the "comeback” and “the best album since… "
            Yet the Stones in the 80’s shine with a dark light, like a terminal black hole of Rock. A luminous and cathartic explosion / implosion that is halfway between the barker trick and divine illumination (and here is the devil), and which reveals the ultimate meaning and deepest structure of Rock.
            The records of the 80s, and expecially the post modern tryptic of Undercover, Dirty Work and Steel Wheels, reveal themselves as the ultimate reflection of Rock on Rock, and what are the Stones if not the archetype of rock itself?
            From this point of view, Dirty Work is, above all, probably their most derailing work. An album unfairly mistreated, when instead it is a central semantic work, both for the Stones and, consequently, for the meaning of Rock itself.
            Dirty Work highlights, in a martyrdom of ridicule and failure, the primary weirdness that underlies rock culture, and in this way plays the role of a true destabilizing force.
            Dirty work, and in general all the 80’s Stones material, mockingly show the gears of the Stones machine, revealing its artifice. In Dirty Work they destroy themselves. A supreme rock move.
            Capturing the semantic flows that underpin Reality, coagulating them and then derailing them, this is the ultimate meaning of rock as a product of post-modern civilization, where creation and destruction find themselves intimately enclosed in a kaleidoscopic groove.
            And it is here, in the ambivalent shimmer of the products of advanced consumerism, products that on the one hand celebrate themselves and on the other propagate their own end, the vital meaning of rock, not in a sort of mythological romanticized authenticity. And it is still here that Rock reveals itself closer to the plagiarism of hip hop and dub techniques, than to the blues (but of the the blues it captures its signs and symbols)!
            Looking at this semantic drifts, with the Stones lost between disco, dub, wave, fusion, funk we see how these drifts do nothing but shine a weird light on the previous work of the band, erasing in a chilling way any form of authenticity'.
            And let's not forget that the early 60's Stones are by no means a blues band, but a bunch of suburban white kids obsessed with the signs of the blues! Punks who grew up in the labyrinth of mass communication, children of the pneumatic vacuum of advanced capitalism, aesthetes of the death principle, sellers of dissolution.
            And Dirty Work, from this point of view, turns out to be a terminal masterpiece in which the layers of reality, both private (the band in an human, emotional, and chemical disintegration) and public (the post-human individualism of advanced capitalism, the Cold War …) are reflected in a stylistic confusion that threatens and breaks down the borders of their image. It is the Rock that threatens itself, rediscovering its ambiguous identity of death.
            And here Jagger seems to constantly invoke and play with the end, in a climate of threat, ugliness and terminal dissolution.
            The Stones are divided between submission to the Totem, the celebration of themselves (later elaborated in the beautiful plastic obsessions of Steel Wheels and in their live shows) and the centrifugal forces of studio work and private life. The critics accuse them of watering down their energy in a tired run-up to follow the last music tendencies, and in this way they fail to understand that this work on signs / inside the signs is the peculiarity of the Stones. There is no real or artifice, but only a disruptive machine of assimilation/ dispersion, which here appears mocking, cynical and above all ridiculous. Here they make fun of the human puppet in a work of ugliness and drift.
            The beauty of Dirty work lies precisely in the fight of dialectical forces between centrifugal dispersion and that cursed and radioactive circularity, which has always been present in the Stones.
            Prolonged listening to Dirty Work exposes you to a perverse pleasure, where the death principle offers its seductive dance, even more than in the rest of the Stones' 80’s discography.
            It is a concept about Rock and modernity. It is an exploration of the limits, on the limits, of Rock. It is no coincidence that the record is constantly haunted by the structural and productive references to dub ... with which the Stones have been flirting since the 70s. (Too Rude as King Tubby’s ghost). And let's not forget the choice of Lillywhite as producer, who covers the Stones machine with fluorescent neon colors.
            A concept album on dissolution (of signs and relationships), a meditation on the meaning of rock in the pneumatic vacuum of post capitalism, accelerated by the economic dynamics of the 80's. Destruction and dissolution sought and feared at the same time (as in Back to zero, the atomic menace in a seductive funk-wave groove, between Talking Heads’ ghosts and polished disco).
            And then that ending, that few seconds of a distand boogie piano, like an hallucination from elsewhere, as in a Dickian fiction. As if Ian Stewart had been playing from the 'hereafter' (is he dead or are we dead? They seem to ask themselves) That terminal fragment puts the whole work back into a chilling perspective. And here Dirty Work reveals itself as a work of death, a labyrinth without a center. Their most post-human creation.
            When this game of mirrors manifests, you are screwed and lost inside forever, the mind infected and free.


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