Electing to rank all the albums of Detroitâs foremost garage-punk deconstructionists the Dirtbombs is no simple task, as itâs so often their sworn mission to make everything they put out sound totally different from the last. The band is a sterling showcase for leader Mick Collins and was seemingly started to show off his wide-ranging musical influences after the Gories took a break. (Seriously, this dudeâs record collection must consist ofâŚwell, ALL of them.) Itâs high time they got their due on our humble site, so please enjoy our ranking of every Dirtbombs studio album. And, câmon: these guys gotta lug two whole damn drum sets to any show they play, so let’s show them a little respect why donât we, hmmm?
6. Ooey Gooey Chewy Ka-blooey! (2013)
As a concept, Collinsâ long-awaited foray into Archies/Partridge Family turf is a fantastic one, but if my editors caught me giving this bubblegum pop album anything but the bottom spot, Iâd be put in punk-satire-website solitary confinement with the folks trying to get Captain Beefheart headlines approved. This album seems to exist as an exercise in âhow many different ways can we deconstruct âYummy Yummy Yummyâ (in fact âHot Sour Salty Sweetâ straight up pilfers its chorus!) That said, every song on âKa-Blooeyâ paints a fluorescent vision of the Dirtbombs leaving a high school dance gig to go solve an animated mystery with their talking pet, and thatâs pretty cool. Plus, we love a title with a âCalvin & Hobbesâ reference, donât we folks? Take this ranking with a grain of salt and a few dozen truckloads of Pixi-Stix.
Play It Again: âCrazy For Youâ
Skip It: âGirl on the Carouselâ (We here at the Hard Times are well-known for our âanti-oboeâ stance)
5. Horndog Fest (1998)
The Dirtbombs’ first full-length LP is probably their least focused offeringâŚbut since the Dirtbombs started as a âsingle releases onlyâ experiment, this is something you just gotta embrace. Hot ân heavy live tracks like âShe Blinded Me with Playtexâ and âShake!! Shivareeâ provide a shambolic looseness that most echoes the type of thing Collins perfected in the Gories (although the Gories themselves are PROUD imperfectionists, theyâd be the first to admit.) Itâll definitely leave you pumped and wanting more, and puzzled over why these guys werenât bigger than the White Stripes. But be forewarned: the album cover may have your parents asking you some invasive questions.
Play It Again: âCanât Stop Thinking About Itâ
Skip It: âMy Heart Burns With Deeps of Lurveâ
4. We Have You Surrounded (2008)
As the album title may give away, this is the Dirtbombs at their most lyrically paranoidâŚAnd justifiably so! Have you gotten a load of this planet lately? Woof! Here we have a collection of songs about the downfall of society that are as relevant today as they ever were (folks, we gotta stop this society thing from downfalling, and SOON!) Collinsâ vocals are in fine form (when are they not, this guy could croon circles around you with laryngitis) and he even puts the echo effects to good use, amplifying the anxiety factor. Throw in both a Sparks and Dead Moon cover and weâre happyâŚstill upset about that whole âworld collapsingâ stuff, but, yâknow, may as well crank up those guitars while we still have a power grid.
Play It Again: âLeopardman at C&Aâ
Skip It: âRace to the Bottomâ
3. Party Store (2011)
The sheer feat of covering deep Detroit techno tracks and turning them into heavy, driving rock songs is something NASA scientists were probably hard at work on, but lucky for us, the Dirtbombs beat âem to it. Their take on pulsating house slabs like Inner Cityâs âGood Lifeâ are somehow more hypnotic than the originals, letting you get lost in a groove while still never letting you suffer withdrawal from those screeching fuzz guitars we know you kids canât get enough of. It sounds exactly like a rave is happening after hours at the Ford assembly line. The âbombs are always taking the time to salute othersâ music, we hope they donât mind us using this opportunity to salute THEM for once.
Play It Again: âCosmic Carsâ
Skip It: âBug in the Bass Binâ is more than 20 minutes long, which we know could pose a problem for those of you with addled attention spans.
2. Dangerous Magical Noise (2003)
This album doesnât just want you to feel the steady pour of sweat drip down your face, it wants you to wring it out into a highball glass and chug it for more fuel. A straightforward ripper of a record, this oneâs all about fun. Highlights include the ârolling down a never-ending cartoon freewayâ vibe of âF.I.D.Oâ and the âhow have these guys not written a song about being stuck in the garage yet?â pounder âStuck in Thee Garage.â Throw this on the next time your headâs in need of a proper banging. âDangerous?â Yes. âMagicalâ? Oh hell yeah. âNoiseâ? No way, baby, this is MUSIC!!!
Play It Again: âGet It While You Canâ
Skip It: Actually, you know what, skip âGet It While You Canâ so I can use it on the soundtrack if I ever make a movie. Youâd just steal it for yourself.
1. Ultraglide in Black (2001)
A masterpiece through and through. Collins valiantly leads his roving team through an endlessly impressive gauntlet of soul and R&B covers that work insanely well when peered at through garage-punk shades. Throw a dart at the tracklist and any one you hit will have your speakers, and your ears, eating good for the next three minutes. From songs everyone knows off the top of their heads like Stevie Wonderâs âLiving For the City,â to songs everyone SHOULD know off the top of their heads like âOde to a Black Manâ (off Thin Lizzy frontman Phil Lynottâs second solo album), Ultraglide is the perfect showcase for Mickâs velvet vocal cords. An absolute crash course on some of the finest American music ever madeâŚand we do put the emphasis on âcrash,â since this will undoubtedly have you running red lights from singing along.
Play It Again: âYour Love Belongs Under a Rockâ the albumâs sole original
Skip It: And grind the party to a screeching halt?! Just think of the sour looks youâd get from everyone on the dance floor!!!

Coming in at last place is a very good album, âGive a Glimpse Of What Yer Not.â Do you think a titanic musical institution like Dinosaur Jr. cares about which one of their albums comes in last? Gimme a break. Thereâs a reason these guys didnât get into competitive sports. Pretty sure Lou Barlow has never thrown a football. Murph might hunt. Sure, Jâs been seen skiing and golfing in the music videos, but thereâs no way heâd ever have a âcoach.â
A touch more pared down than their previous album, âSweep It Into Spaceâ captures a living room recording quality akin to a âPoledoâ or some Mascis solo stuff. Itâs elegant, simple, and shockingly quiet for a Dinosaur Jr. album. Feels great, to be honest. Imagine youâre on Facebook Marketplace and stumble upon J Mascis selling his effects pedals after this record drops. That might not actually feel so great, to be honest.
You gotta smile when listening to this one. While not the ultimate exploration of a more chipper Dinosaur Jr. (see âTake A Run At The Sun,â or as we lovingly call it, The J Mascis Beach Party), it feels pretty damn close to having a locally sourced grapefruit quadruple IPA on an outdoor patio. The jams donât quite set their roots in like they did on their previous post-reunion effort (which we wonât name just yet for dramatic purposes) but âI Bet On Skyâ is an undeniable hit.
âGreen Mindâ is cool. Whatâs not cool about Dinosaur Jr.? Their music sounds like a bunch of amplifiers having a gunfight. And on âGreen Mind,â sometimes there arenât even amplifiers at all, just loudly strummed acoustic guitars that also sound like they might have a pistol on their hip, ready to shoot somebody in the head. Thatâs right, even the acoustic stuff can kill you if you arenât careful. Donât you forget that.
Thereâs something immeasurably sad about âWithout a Sound,â which is no doubt what makes it great. While other Dinosaur Jr. records like to be unfussy about the volume of noise, this one doesnât fuss about getting real quiet, falling to basically whispers toward the end on âSeemed Like the Thing to Do.â J Mascis isnât the type to fuss, man. The guy barely raises his voice above a mutter, thereâs no way in hell that heâd even consider fussing.
Donât sleep on the first album, it rips. Obviously the production isnât the highest caliber, a pretty crusty affair overall â but câmon man! This is where it all started, the primordial soup, dog! âMountain Manâ is like, a character study about a survivalist? âHeard the snowcats calling?â Basically high fantasy. And in âQuest,â he talks about eating caterpillars. This might as well be Baldurâs Gate.
Uh, yeahâŚIâm thinking theyâre back! While perhaps not reaching the highs of another post-reunion record that youâll see shortly, this is a hell of a comeback album. Reunited in earnest for the first time since 1988, âBeyondâ molds the ashes of the original trio into something new, joyous, sustainable. Thereâs an airy quality to the jams that feels new for these guys, and you canât help but think that they might be pretty damn happy to be at it again.
Genuinely experimental and a product of the (essentially) one-man Mascis Orchestra, âHand It Overâ is certainly out there. And weâre not talking about âOut There.â Thatâs a different song and itâs not on this record. Donât expect anything else about âOut Thereâ on this blurb, okay? Strange percussion, trilling horns (see âIâm Insaneâ), the echoes of a Brian Wilson movement are strong here. No radio hits? Who cares! Itâs Jâs favorite of this era, and we love it too.
Okay, now we can talk about âOut There.â They put strings on this record! Yeah, thatâs right, strings. Imagine, for a second, J Mascis conducting the LA Philharmonic. Big long suit tails, hair tied back into a ponytail like a teen stoner showing up to their court date. Thatâs basically the vibe on this one, when weâre not being treated to some truly gruesome reverb (âyou know whatâ might be the best opening track of any Dinosaur Jr. record) and the most delicate Mascis vocal to date on âNot the Same.â
A cacophonous, openly hostile listening experience, the impending crack of the bandâs sanity is written all over this banger, which is likely what makes it so damn tasty. Worth noting that âFreak Sceneâ was their first real radio hit, as âBugâ kicks off with this earworm-y single before devolving to complete and utter sonic chaos. Mascis hates it, his least favorite album of the bunch, but weâre not J Mascis, now are we? No, we are not.
âFarmâ is a minor miracle, thereâs no getting around it. The soloing on âPiecesâ and âI Donât Wanna Go Thereâ goes as hard as any of the first three records, while the sincerity on a track like âPlansâ feels more poignant than anything weâve heard from the boys before. The expected wall of sound starts to feel more like a fortress â with like, a big deep moat around and everything. And not even any crocodiles or archers, either. They know this shitâs gonna hold up.
Sorry, not gonna reinvent the wheel on this one. Alternative rock scholars and weird guys in garages across America agree that “You’re Living All Over Meâ is a perfect album, deep shreds bolstered by the sparse musings of alternative rockâs great poet laureate. The clarity in their sound a mere two years after âDinosaurâ is pretty unreal. Itâs a showstopper. And can you believe this baby clocks in at 36 minutes? If you take out Poledo, thatâs like, an episode of Curb. But donât you dare take out Poledo.
Born in Silver Spring, Maryland, Melinda Stumkins was a devoted wife, a loving mother to three children, and a loyal and honest friend to all who knew her. Then, four days ago, she learned what grindcore is.
Born in Frankfort, Kentucky, Roy Croce briefly relocated to the town of Fiddlewit before being forced to evacuate when it was violently taken over by nonunionized carnies. At an early age he taught himself to play an instrument of his own invention: a bucket full of nails.
Kandace Sprockets was born in Salem, Massachusetts, to parents Exavior and Mysticlina-Hyperboob Sprockets. After dropping out of correspondence college, she worked briefly as a skeleton poser at Spirit Halloween.
So, actually Dad liked this one because he said he knew this song from when he used to hang out at the F.O.P. lodge and that it reminded him of the music from the old country. He also said you couldnât do that one song anymore because of cancel culture and how come I donât call anymore?
Regarding this one, Dad didnât really say much other than that guyâs mother must have done a number on him. Then he reminded me I need to call my mother more, which is a whole thing.
We donât think Dad had any issue with the music, per se. He just didnât understand why nobody takes any pride in their appearance anymore and that when he was that age you didnât go on Carson looking like that. And would it kill them to get a goddamn haircut?
Dad was mostly just amazed that âthat Bjork wackjobâ had been around since the â80s and was in a punk band. He followed that up with something about something in the water and socialism.
I think Dad retroactively tried to claim he liked the Clash because he associates the song âRock the Casbahâ with Desert Storm back when America was still kicking ass. Mom said just take everything he said with a grain of salt because being on disability for so long was getting to him.
Pamela Anderson hosted this one so I think Dad was mostly just pissed off that she wasnât on the TV at the exact moment. Mom wasnât sure if it was a good idea for Henry Rollins to be performing barefoot as that stage didnât look very clean.
Gerald Fordâs Chief of Staff hosted this one and Dad said itâs no wonder that peanut farmer won in â76 if that âliberalâ Ford approved of this sort of bullshit. He said he was thankful Reagan came along four years later, but by then the damage was probably already done.
My old man said these guys reminded him of those goddamn slackers with their skateboards that are always hanging around the 7-11, up to no good. Used to be a time when kids their age spent their summers mowing lawns and flipping burgers instead of going on TV with their cocks out like a bunch of goddamn hippies. (