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Mick Collins

Mick Collins (born December 18, 1965) is an American musician, singer, songwriter, and record producer from , . He is best known as the co-founder, guitarist, and lead vocalist of the influential garage punk band The Gories, which he formed in 1986 and with which he released four albums before the group's 1992 disbandment. Collins later founded the garage rock duo The Dirtbombs in the late 1990s, blending punk, soul, and , and has remained active with the band into the 2020s. His career also includes stints with bands such as Blacktop, The Screws, and the Wolfmanhattan Project, as well as production work and DJing on Detroit radio. Collins's raw, energetic style and contributions to the revival have made him a key figure in the music scene.

Early Life

Childhood in Detroit

Mick Collins was born on December 18, 1965, in , , into a working-class family as the youngest of five children. His father worked at a local situated near Angott, a prominent distributor, which supplied the household with crates of 45s and 78s from labels such as Specialty, Vee-Jay, and Chess, fostering an early environment rich in recorded music despite no family members being musicians themselves. Growing up on Detroit's west side in the East Belmont neighborhood during the and , Collins experienced the Motor City's economic hardships amid the sharp decline of its auto industry, marked by plant closures, job losses, and a shrinking from over 1.5 million members in 1979 to around 300,000 by the late . This period of coincided with the rise of an underground punk scene in the late and early , fueled by small venues and a raw, DIY ethos that contrasted the city's fading industrial glory. From an early age, Collins was immersed in Detroit's vibrant local music culture, including the enduring legacy of —which had profoundly shaped the city's identity since the 1960s—and 'n' roll transmitted through family records and radio broadcasts. By age three, he developed a strong fascination with music, citing Little Richard's "" as an early favorite, and at seven, he attended his first live concert, a performance by at the in 1972. Collins completed his formal education by graduating from but chose not to pursue college, instead channeling his energies toward the musical world around him. This foundational period in 's eclectic and challenging landscape sparked his lifelong passion for music.

Initial Musical Influences

Growing up in during the 1970s, Mick Collins was immersed in a rich musical environment shaped by his family's extensive record collection, which included thousands of 45s and 78 RPM singles from labels like Specialty, Vee-Jay, and Chess, providing early exposure to foundational rock 'n' roll artists such as —whose "" became his first favorite song around age three—and , whose live performance at the 1972 left a lasting impression. Local radio stations like WDET, , and WJLB further broadened his tastes, broadcasting R&B, , and that reflected 's vibrant scene, including hits that underscored the city's soul heritage. As Collins entered his teens in the late 1970s, he discovered the raw energy of pioneers through records and the local underground, particularly drawn to the confrontational style of and the revolutionary intensity of , which embodied the city's rebellious rock spirit. This period also marked his introduction to and the emerging revival of the early 1980s, fueled by compilations like Crypt Records' Back From the Grave series, which inspired him to seek out similarly wild, primitive sounds absent from contemporary bands. Alongside these, soul and mod influences from the 1960s—such as Them and —shaped his eclectic listening habits, blending high-energy rock with rhythmic grooves. Collins developed his guitar skills in a self-taught manner starting around 1979-1980, picking up the without formal training to channel an aggressive, unpolished approach, often using basic like a copy and a Silvertone amp to emphasize raw, minimalistic techniques over technical proficiency. His obsession, rooted in both family access and personal hunts, reinforced this primitive ethos, prioritizing three-chord garage simplicity and soulful expression that would later inform his initial musical experiments.

Career Beginnings

First Bands

Mick Collins began his musical journey in the spring of 1981 with the U-Boats, a short-lived outfit where the teenage Collins contributed on , marking his initial foray into Detroit's scene. By 1984, Collins had shifted to drums in another nascent group that evolved through multiple name iterations before coalescing as the Floor Tasters, an informal Wire-influenced art-pop ensemble active until 1985. This period highlighted his versatility and willingness to experiment amid the band's loose structure, with Collins later recalling possessing the sole surviving recording of their sessions. The early 1980s Detroit punk landscape posed significant hurdles, including scarce venues like Bookie's Club 870—a former drag bar turned punk haven—and the Freezer Theater in the , where age restrictions and lack of industry interest forced acts to rely on word-of-mouth promotion and makeshift spaces. This DIY imperative, born from economic decline and cultural isolation, instilled in participants like Collins a prioritization of visceral energy and communal spirit over refined production or commercial viability. These formative stints emphasized raw intensity in performance, shaping Collins' ethos and laying the groundwork for his subsequent endeavors.

Formation of The Gories

The Gories were formed in 1986 in , , by Mick Collins on guitar and vocals, Dan Kroha on guitar and vocals, and drummer Margaret "Peg" O'Neill, all of whom were novices to their instruments at the time. The band's name was drawn from a fictional group that appeared in the 1960s series Gidget, reflecting their playful nod to mid-20th-century pop culture. From the outset, the trio adopted a raw, bass-less configuration—two guitars and drums only—to capture a primitive sound inspired by 1960s and , eschewing conventional rock setups for an intentionally stripped-down intensity. This three-piece lineup solidified quickly, marking a departure from the more informal, short-lived bands Collins had played in previously, which had introduced him to and R&B influences that would shape the group's aesthetic. The Gories debuted in Detroit's underground scene, playing gritty gigs at local venues that helped build a amid the city's burgeoning garage revival. Their early performances emphasized chaotic energy and DIY ethos, often drawing small but enthusiastic crowds in basements and clubs. By 1987, made their first recording appearance with two tracks on the compilation It Came from the Garage, Vol. II, released by Wanghead Records, showcasing their unpolished fury. The group's lo-fi aesthetic evolved through these initial efforts, characterized by distorted guitars, rudimentary drumming, and a refusal of overdubs or effects, often recorded in makeshift spaces like a tin to preserve an authentic, "live in " vibe. This approach stemmed from both technical limitations and deliberate artistic choice, as Collins later explained: "We wanted really fucking primitive stuff." Their raw sound, recorded for the 1989 debut album Houserockin' on Wanghead Records, later caught the attention of Tim Warren at Crypt Records, leading to a signing and reissues that cemented their place in the garage punk underground.

Major Bands and Projects

The Gories Era

During the active years of The Gories from 1986 to 1992, the band released three studio albums that solidified their place in the revival scene. Their debut, Houserockin', came out in 1989 on Records, featuring raw, lo-fi tracks influenced by Detroit's and heritage. This was followed by I Know You Fine, but How You Doin' in 1990 on Crypt Records, produced by of , which expanded their sound with covers and originals emphasizing chaotic energy. The final album, Outta Here, released in 1992 on Crypt Records, captured their most polished yet primal efforts, including tracks like "There But for the Grace of God Go I." In addition to the albums, The Gories issued five singles and EPs during this era, contributing to their underground momentum. Notable releases included the "Nitroglycerine" single in 1990 on , pairing the explosive title track with "Makin' Love"; the Here Be the Gories EP in 1991 on In the Red Records; and the "Give Me Some Money" single in 1991 on . Earlier efforts included tracks on the 1987 compilation It Came From The Garage II! on Wanghead With Lips, featuring "Give Me Love" and "You Little Nothing." A later , Gories' Greatest Hits, released in 1998 on Crypt Records, collected much of this material and helped sustain their legacy. The band toured extensively across the and in the late and early 1990s, performing at DIY venues and festivals that fostered a dedicated within the garage revival movement. These tours, often chaotic and high-energy, amplified their reputation for unfiltered live shows blending punk aggression with R&B roots. Internal tensions, including personal conflicts among members, led to the band's in 1992 following a tour, exacerbated by the exhaustion of constant touring and recording. The Gories reformed sporadically starting in 2009, with a major reunion tour alongside The Oblivians, additional performances throughout the 2010s, and continued with tours in and in 2024, including shows in 2025. Following the initial dissolution, Mick Collins transitioned to solo projects and other bands, exploring new directions in and music.

The Dirtbombs and Ongoing Work

Following the dissolution of Blacktop in 1996 and the King Sound Quartet in 1997, Mick Collins formed The Dirtbombs as his primary musical outlet in the late 1990s, building on early side-project recordings that dated back to the mid-1990s. The band adopted its signature configuration of dual drummers and dual bassists starting in 2004, a setup that amplified their raw, high-energy garage rock sound and persisted through subsequent lineups. Key releases during this period include the 2001 album Ultraglide in Black, featuring soul and R&B covers, and the 2008 effort We Have You Surrounded, which showcased original material blending punk and funk influences. In parallel with The Dirtbombs, Collins pursued several side projects. He co-founded the eclectic punk outfit The Screws in 1999, which released Hate-Filled Classics in 1999 and Shake Your Monkey in 2001, followed by Ben's Chili Bowl in 2015. In 2002, he launched the funk-oriented Voltaire Brothers, issuing a single self-titled album, I Sing the Booty Electric, the following year. More recently, Collins initiated the Wolfmanhattan Project in 2015 as a studio collaboration with musicians from other garage acts, producing two albums by 2024: Blue Gene Stew in 2019 and Summer Forever and Ever in 2023. Collins has maintained activity with The Dirtbombs through sporadic performances and recordings into the 2020s, while his work with the Wolfmanhattan Project represents his most recent output, including live shows supporting the 2023 album. The Dirtbombs' raw energy echoes the primal approach Collins honed in earlier bands like The Gories.

Musical Style and Contributions

Influences and Techniques

Mick Collins' musical influences draw heavily from Detroit's rich heritage, including the high-energy, confrontational styles of the and the raw aggression of , which shaped his commitment to visceral, unpolished rock energy. He has frequently acknowledged ' foundational role in punk's development, noting that contemporary bands routinely cite them as a key influence, reflecting his own immersion in this local legacy. Complementing these proto-punk roots, Collins was profoundly impacted by Motown's soulful grooves and the broader soul spectrum from Stax and Philly International, absorbing the emotional depth and rhythmic drive of artists like during his upbringing in Detroit's vibrant music scene. Additionally, international compilations such as the Back from the Grave series introduced him to feral, primitive sounds from bands like , inspiring his pursuit of a wilder, less refined aesthetic over polished revivalism. Collins' guitar techniques emphasize simplicity and , often self-described as limited to just two chords yet executed with innovative and relentless energy to maximize impact. His playing style is primitive and feedback-laden, favoring cheap, durable gear like copies and Silvertone amps that withstand flailing motions and accidental breakage during performances, prioritizing sonic chaos over technical precision. This approach transforms basic structures into "fried" blends of , , and , where amplifies emotional intensity rather than serving melodic complexity. In bands like the Gories, these techniques manifest in butt-ugly, unmusicianship-driven sounds that reject refinement for immediate, abrasive force. His vocal style is characterized by a raw, shouted delivery that prioritizes emotional conveyance over melodic finesse, drawing from belting while infusing punk's snarling urgency, often leading to vocal strain in live settings. Collins' deep, timbre—hailed as one of rock's coolest—shifts seamlessly between pained blues wails and high-energy shouts, evoking influences like and to capture authentic grit. In production, Collins champions a lo-fi ethos rooted in analog equipment and live takes, recording in unconventional spaces like bedrooms, garages, or Quonset huts to preserve unfiltered energy and imperfections. He favors quick sessions—such as mixing four singles in 1.5 hours—to capture spontaneous performances without overproduction, emphasizing the band's natural sound over imposed effects, as seen in collaborations with producers like . This method aligns with his broader rejection of hi-fi polish, ensuring recordings retain the crude vitality of his influences.

Impact on Garage Punk

Mick Collins played a pivotal role in pioneering the raw, unpolished garage punk sound during the late 1980s and early 1990s through his work with The Gories, emphasizing primitive instrumentation, distorted guitars, and a rejection of studio polish that became a blueprint for the genre's revival. The band's lo-fi aesthetic and energetic live performances influenced subsequent acts, including , whose frontman has credited The Gories as a direct inspiration, stating that without them, the band might not have existed. Similarly, drew from this Detroit-rooted garage punk template, incorporating its blues-infused rawness into their early blues-rock sound. Collins' commitment to the DIY ethic was instrumental in sustaining scenes, as evidenced by his associations with influential labels like Crypt Records and In the Red Records, which released key Gories material and helped distribute the genre's gritty output to a wider audience. These labels embodied the self-reliant spirit of the era, fostering a network of bands and recordings that prioritized authenticity over commercial viability and laid the groundwork for the 2000s garage revival. Recognized as a music , Collins has been cited in accounts of for his foundational contributions to garage punk, often described as a "godfather" figure whose innovative approaches elevated the genre's visibility. His enduring status is reflected in festival appearances, such as The Gories' performances at in 2021 and ongoing tours in the , which continue to draw crowds and affirm his role in the scene. The long-term legacy of Collins' work is evident in The Gories' reunions starting in 2009, which revitalized interest in raw garage punk and inspired newer generations through live demonstrations of the genre's chaotic energy. His mentorship-like influence persists via ongoing projects with The Dirtbombs and guidance within Detroit's underground community, ensuring the DIY principles and technical rawness he championed remain central to contemporary garage punk acts.

Other Activities

Production and DJing

Mick Collins has established himself as a within 's and R&B scenes, collaborating with local artists to capture raw, energetic sounds. He produced Andre Williams' 1998 album Silky, infusing the recordings with a sleazy edge that highlighted Williams' distinctive vocal style. In 2000, Collins returned to produce Williams' , serving as producer, recording engineer, and mixer at Ghetto Records in ; the album featured contributions from musicians like the and emphasized gritty blues-rock arrangements. These projects underscore Collins' role in bridging traditions with influences among -based performers. Beyond Williams, Collins extended his production efforts to other acts, including the 2011 album Drop Dead by Figures of Light, which he recorded during sessions in July at Mitro's Studios in , . The release, issued on Norton Records, showcased 15 tracks of primitive , reflecting Collins' hands-on approach to that preserved the band's live intensity. His work often overlaps briefly with his own bands, such as producing The Dirtbombs' albums like Ultraglide in Black (2001), where he applied similar analog mixing techniques to enhance the dual-drummer setup and fuzzy guitar tones. Collins also demonstrated his curatorial ear through involvement with labels like Crypt Records, which released key Gories material such as the 1992 LP Out ta Here and helped shape the label's influential punk compilations by providing foundational raw recordings. His technical proficiency in and mixing is evident across these efforts, favoring tape-based methods to maintain the lo-fi authenticity central to aesthetics without digital polish. In addition to production, Collins pursued DJing as an outlet for his deep knowledge of . From June 2006 to 2007, he hosted Night Train on WDET-FM 101.9, Public Radio, broadcasting Saturday evenings from 7 to 9 p.m. The program structured sets as thematic "journeys" through , , and related genres, drawing from Collins' extensive record collection to spotlight obscure tracks and forgotten gems. This radio stint allowed him to influence listeners beyond live performances, promoting the DIY ethos of 's music community through curated mixes that echoed his production sensibilities.

Acting and Miscellaneous Pursuits

In addition to his musical endeavors, Mick Collins ventured into with a starring role in the 2006 Wayne County Ramblin', directed by Dan Rose. The project, which interweaves elements of fact, , fiction, religion, and music in a surreal narrative set in , features Collins alongside performers like . As part of his involvement with the film, Collins released a split 7-inch single in 1996 with singer Lorette Velvette on Sympathy for the Record Industry, contributing the track "Come In This House" while Velvette covered "." This one-off recording served as an contribution tied directly to the movie's production. Collins also participated in short-lived projects outside his primary bands, such as fronting the group Blacktop from 1994 to 1996. The band, based in and later recording in , issued a and the I Got a Baaad Feelin' About This, blending raw energy with influences before disbanding. These pursuits, including occasional appearances on garage compilations like Houserockin', helped sustain his creative output and touring lifestyle amid the demands of his core musical work.

Personal Life and Legacy

Personal Interests

Collins has long been an avid collector of comic books, with a particular passion for furry-themed works that reflect his involvement in the furry fandom. As a member of the community, he commissioned renowned furry artist Joe Rosales to create the cover art for the Dirtbombs' 1998 album Horndog Fest, which prominently features anthropomorphic animals, including Collins' own fursona depicted as a wolf amid a crowd of canine characters. The album's track "Burnt to Cinders" includes a liner note dedication to the furry fandom, underscoring his personal affinity for the subculture. Despite achieving recognition in the garage punk scene, Collins maintains a low-profile lifestyle in his native , where he has resided for most of his life and embodies the city's resilient, DIY ethos. He is described as a mysterious figure who rarely grants interviews, preferring the intimacy of underground venues and local collaborations over mainstream exposure. This deliberate avoidance of the spotlight allows him to focus on personal pursuits away from public scrutiny, including his collection and activities. His enthusiasm for themes occasionally influenced his musical output, as seen in the Horndog Fest dedication. Little is publicly known about Collins' family or romantic relationships, as he keeps such details private, consistent with his reclusive approach to personal matters.

Recognition and Influence

Mick Collins has received notable recognition within the garage and music scenes, including performances at major festivals such as in 2021 with The Gories. In November 2025, during his Rock and Roll Hall of Fame induction speech, highlighted Collins' bands The Gories and The Dirtbombs among over 30 influential acts that shaped , underscoring their foundational role in 's rock revival. While formal inductions into Detroit music halls remain absent, Collins' contributions have been honored through features and festival slots that celebrate his pioneering status. Collins' influence extends to modern artists, particularly , who has repeatedly credited The Gories as a direct inspiration for the ' raw, stripped-down sound and DIY ethos. has described The Gories' garage punk approach as kickstarting Detroit's late-1990s resurgence, a movement that propelled his own career. Other contemporaries, including members of and , have drawn from Collins' blend of punk energy and R&B roots in their revivals, with The Dirtbombs' dual-drummer setup and genre-mashing style cited as a blueprint for high-impact, lo-fi performances. Media coverage of Collins has appeared in prominent punk and music publications, including extended profiles in The Guardian that explore his role in fusing garage punk with Detroit techno and soul elements. Documentaries on the Detroit scene, such as the VPRO Dutch television feature from 2001, spotlight The Dirtbombs alongside emerging acts like The White Stripes, capturing Collins' studio work and live energy. Additionally, the 2015 Detroit Punks series devoted an episode to The Gories, tracing their influence through interviews with Collins and bandmates, while Metro Times has published in-depth retrospectives on his career trajectory. As of 2025, Collins remains active in the garage revival, contributing to collaborative projects that sustain Detroit's underground legacy. His ongoing involvement, including work with artists like in late 2024, affirms his enduring relevance in a scene that continues to inspire new waves of raw, unpolished rock.

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