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matxil
In the list of the "songs by the Stones that (almost) everyone hates", this is a classic. And for me, it's actually one I rather appreciate. The sound-production is terrible, especially the drums and the bass (and the backing vocals and the keyboards), but that's the 80's. But the song potentially could be much better: the melody, the chords, the guitars and the break are all good, and the over-the-top Mick vocals kind of work on this song too.
It's a pity it turned out the way it did, but it deserved a better treatment.
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matxil
In the list of the "songs by the Stones that (almost) everyone hates", this is a classic. And for me, it's actually one I rather appreciate. The sound-production is terrible, especially the drums and the bass (and the backing vocals and the keyboards), but that's the 80's. But the song potentially could be much better: the melody, the chords, the guitars and the break are all good, and the over-the-top Mick vocals kind of work on this song too.
It's a pity it turned out the way it did, but it deserved a better treatment.
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marcovandereijk
Silver Dagger, a nice review in style!
Are we hearing the same thing? Charlie's drums are INSANELY heavy on the '80s gated reverb snare on this song...thank you, Phil Collins.Quote
drewmaster
I love Winning Ugly from the moment it starts, with a nice strutting bass-line and Charlie’s irresistibly funky drumming (which, thank God, lacks the ‘80s overproduced echo heard on so much of the rest of the album). Then Keith’s bluesy guitar, sounding sooooo so sweet, embraces us and gently carries us into the church of the Rolling Stones, where all of us broken, desperate, neglected, forgotten sinners will surely find compassion and healing and redemption and transcendence. And then Chuck Leavell’s stirring gospel keyboards, bathing everything in a warm, bluesy glow. Church is now in session and it’s time for Reverend Mick to enter and preach the good word. And that he does, rising up before us with a fiery sermon that proclaims (it would seem) his desire to be on top, at all costs, competition be damned. But as he continues, we realize he’s actually mocking those who will step on anyone in order to win. And, praise be to Jesus, the choir echoes and affirms the righteous message that he’s delivering.
It’s a splendid track, full of down-home gospel flavor and bluesy fervor, and the best song on Dirty Work (which is not saying a whole lot, I know).
Drew
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keefriff99
Are we hearing the same thing? Charlie's drums are INSANELY heavy on the '80s gated reverb snare on this song...thank you, Phil Collins.
Well yeah, but the first two you mentioned are slightly different. I think the drum sound on Winning Ugly and Hold Back represent the quintessential '80s hard rock sound.Quote
drewmasterQuote
keefriff99
Are we hearing the same thing? Charlie's drums are INSANELY heavy on the '80s gated reverb snare on this song...thank you, Phil Collins.
To me it sounds quite acceptable, especially compared to the ridiculous echo on tracks like Too Rude, Sleep Tonight, and Hold Back.
Drew
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DandelionPowderman
The percussive echo on Too Rude is very typical for reggae/dub tracks produced a decade before the 80s, so it's not really comparable with the gated reverb snare-sound of the 80s.
That percussive echo-effect on Too Rude is also similar to the drums on Come Together by The Beatles.
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Silver DaggerQuote
DandelionPowderman
The percussive echo on Too Rude is very typical for reggae/dub tracks produced a decade before the 80s, so it's not really comparable with the gated reverb snare-sound of the 80s.
That percussive echo-effect on Too Rude is also similar to the drums on Come Together by The Beatles.
You mean slap back echo?
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DandelionPowdermanQuote
Silver DaggerQuote
DandelionPowderman
The percussive echo on Too Rude is very typical for reggae/dub tracks produced a decade before the 80s, so it's not really comparable with the gated reverb snare-sound of the 80s.
That percussive echo-effect on Too Rude is also similar to the drums on Come Together by The Beatles.
You mean slap back echo?
We just call it an «echo machine» here in Norway
I'm not sure if the slap back-term was even invented when the Beatles' sound wizards produced this, but the effect is the same (supposedly coming from Ringo's bass dum on CT, whilst it's obviously from the snare on Too Rude).
PS. As I'm listening to the Clash's Sandinista right now, I hear they are using that drum echo as well (on the dubs on side 6)
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Silver DaggerQuote
DandelionPowdermanQuote
Silver DaggerQuote
DandelionPowderman
The percussive echo on Too Rude is very typical for reggae/dub tracks produced a decade before the 80s, so it's not really comparable with the gated reverb snare-sound of the 80s.
That percussive echo-effect on Too Rude is also similar to the drums on Come Together by The Beatles.
You mean slap back echo?
We just call it an «echo machine» here in Norway
I'm not sure if the slap back-term was even invented when the Beatles' sound wizards produced this, but the effect is the same (supposedly coming from Ringo's bass dum on CT, whilst it's obviously from the snare on Too Rude).
PS. As I'm listening to the Clash's Sandinista right now, I hear they are using that drum echo as well (on the dubs on side 6)
Version Pardner.
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Title5Take1
The album has some Keith-penned songs with anti-Mick lyrics that Mick is singing. In Bill's STONE ALONE he said Had It with You is one such song.
Did Mick realize he was singing an anti-Mick song? Anyway, I've wondered if Winning Ugly is in that category.
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whitem8
Absolutely horrible. This is one of their low points. So many people apologizing for the song saying it is ok, but the production ruins it. It is an aimless piece of tripe. Horrible singing, horrible backing track. Just something I never would have expected to hear from The Stones.