Howie Pyro

Howie Pyro (born Howard Kusten; June 28, 1960 – May 4, 2022) was an American punk rock bassist, guitarist, DJ, and longtime figure in the New York underground music scene, best known as a co-founder of the glam-punk band D Generation.^[1][2] Born in Whitestone, Queens, New York, Pyro adopted his stage name around age 15 while beginning his musical journey on guitar amid the burgeoning punk movement.^[2] His early career included stints with the short-lived punk outfit the Blessed in 1977, which released the single "Deep Frenzy" and opened for bands like the Damned; this connection led to the Misfits joining the Damned on a UK tour in 1979.^[3][2] In the 1980s, he joined the Freaks, a band fronted by his future wife Andrea Matthews, releasing two albums and immersing himself in New York's vibrant punk and alternative scenes, where he befriended icons like Sid Vicious and collected rare vinyl records influenced by acts such as the Ramones, Johnny Thunders, and the Dead Boys.^[3][2] Pyro co-founded D Generation in 1991 with singer-guitarist Jesse Malin, serving as bassist and contributing to the band's signature blend of punk energy and glam rock swagger; they signed a major-label deal, released three albums (D Generation in 1994, No Lunch in 1996, and Through the Heart of the Underground in 1999), and notably opened for Kiss at Madison Square Garden in 1996.^[3][2] The group reunited in 2016 for performances and a new album, Nothing Is Nowhere, highlighting Pyro's enduring role in the band.^[2] Beyond D Generation, he played bass for Glenn Danzig from 2001 to 2003, appearing on the album I Luciferi and influencing the band to incorporate Misfits material into their setlists.^[2][3] Pyro also collaborated with figures like Joey Ramone on the 2002 holiday single "Christmas Spirit… In My House" and Throbbing Gristle's Genesis P-Orridge on a 1997 project, while forming the Disciples with Todd Youth after leaving Danzig and briefly filling in for Motörhead.^[2][3] As a DJ, Pyro hosted the SiriusXM radio show Intoxica!, specializing in surf, garage, and "weird" music with a focus on horror and monster themes, a passion rooted in his childhood record collecting at garage sales.^[2][3] He organized influential club nights like "Greendoor" and events at Coney Island High, fostering the punk community and even encouraging the formation of the all-female band Lunachicks during his time at a video store.^[2][3] Pyro married Andrea Matthews on Halloween in the 1980s and shared a close bond with Malin, once saving him from a street attack; he later sold his extensive record collection to Rancid's Tim Armstrong while retaining borrowing privileges.^[3] Pyro died in Los Angeles at age 61 from COVID-19-related pneumonia complications following a 14-hour liver transplant and a prolonged battle with liver disease.^[1][4] He was buried at Hollywood Forever Cemetery, adjacent to Johnny Ramone's grave, with memorial events held in New York that July.^[3]

Early life

Childhood and upbringing

Howard Kusten, who later adopted the stage name Howie Pyro, was born on June 28, 1960, in Whitestone, Queens, New York.^[5] He grew up in this working-class neighborhood during the vibrant cultural shifts of the 1960s and 1970s, a period when New York City was undergoing rapid urbanization and social change.^[6] Pyro's family played a significant role in shaping his early interests, with his parents sharing a passion for old movies, music, and books. They frequently took him to garage sales and memorabilia shops, fostering his budding curiosity for collectibles and cultural artifacts from an early age. These outings introduced him to a world beyond his immediate surroundings, sparking hobbies centered around gathering records and oddities that would influence his lifelong collecting habits.^[6] His initial exposure to music came through radio broadcasts, vinyl records, and the local Queens scene, beginning around age six or seven when he started purchasing "monstery" 45 singles, such as "Psycho" by The Sonics. By age 11, music had profoundly impacted him; his first full-length album purchase was Mothermania by The Mothers of Invention, igniting an enduring obsession with Frank Zappa. In the early 1970s, he developed a fixation on oldies, gradually expanding to acts like Alice Cooper, The Stooges, T. Rex, and David Bowie, all accessed via radio and record stores in his neighborhood.^[6]

Introduction to punk and early influences

Howie Pyro, born in 1960 in Queens, New York, discovered punk rock during its explosive emergence in the mid-1970s, a period that profoundly shaped his musical worldview. Growing up in the Whitestone neighborhood, he was initially drawn to glam and proto-punk sounds through records like The Mothers of Invention's Mothermania, which ignited an obsession with Frank Zappa, as well as artists such as Alice Cooper, The Stooges, T. Rex, David Bowie, The Sweet, and Slade.^[6][7] These influences blended with the raw energy of New York acts like the Ramones and New York Dolls, whose street-level swagger and theatrical rebellion resonated deeply with Pyro as a teenager navigating a suburban upbringing far from Manhattan's grit.^[8][9] By age 16, the punk movement's immediacy compelled him to run away from home, immersing himself in the city's burgeoning underground.^[6] As a young teenager, Pyro became actively involved in New York's punk scene, frequently attending early shows at iconic venues like CBGB and Max's Kansas City, where he witnessed performances by bands including Blondie, The Cramps, and Suicide that fueled his sense of belonging among fellow outcasts.^[8][9] These experiences in the Lower East Side's chaotic milieu—marked by dive bars, all-night hangs, and a DIY ethos—exposed him to the scene's unfiltered creativity and danger, transforming his casual fandom into a lifelong commitment. He described the era as an "amazing historical moment," collecting every flyer, ticket, and memento as a testament to its fleeting intensity.^[7] Pyro's teenage forays often involved long commutes from Queens, crashing at punk shops like Manic Panic, where he worked as an early employee and connected with like-minded "monster freaks" drawn to horror-tinged aesthetics.^[9] A pivotal personal event in Pyro's early punk immersion was his close friendship with Sid Vicious of the Sex Pistols, whom he befriended amid the transatlantic exchange of ideas in the late 1970s scene. Pyro was present at the February 1, 1979, party in New York celebrating Vicious's release on bail following Nancy Spungen's death; Vicious fatally overdosed on heroin early the next morning, just over three months after her stabbing in October 1978.^[10] This tragedy, witnessed firsthand by Pyro among a small group of friends, underscored the scene's perilous undercurrents and left a lasting emotional scar, as he later reflected on Vicious's vulnerability amid the drugs and chaos.^[6][9] Pyro's initial forays into music mirrored the punk ethos of self-taught rebellion; he began learning guitar around age 15, inspired by the raw energy of punk bands, and later took up bass, emphasizing groove and melody over technical virtuosity, much like the raw aggression he admired in Johnny Thunders and Cheetah Chrome.^[2] Attending gigs at CBGB and other spots honed his style. These early experiments, often jamming informally with scene peers, laid the groundwork for his affinity for spiky-haired, leather-clad performance, blending glam flair with punk's urgency.^[7][9]

Musical career

Early bands (1970s–1980s)

Howie Pyro co-founded the punk band The Blessed in 1977 in Queens, New York, at the age of 15, serving as the bassist and adopting his stage name around that time.^[2] The group, consisting entirely of underage members including guitarist Walter Lure, vocalist Billy Stark, and drummer Brad Barnett, quickly immersed itself in the nascent New York punk scene, performing at legendary venues like Max's Kansas City and CBGB despite their youth.^[2][11] Pyro's driving bass lines and the band's fast, aggressive style contributed to the raw, DIY ethos of early NYC punk, drawing comparisons to influences like the Ramones and New York Dolls.^[11] In 1979, The Blessed released their sole single, "Deep Frenzy," on a small independent label, capturing their high-energy sound but achieving limited distribution amid the underground circuit's constraints.^[2] The band faced significant challenges in the evolving punk landscape, including rejection from clubs like CBGB—where promoters dismissed punk as "over"—and lineup disruptions that derailed opportunities, such as a 1977 opening slot for The Damned lost due to Lure's refusal to perform without full band commitment.^[3] These hurdles, compounded by the scene's chaotic dynamics of underage access restrictions and competition from established acts, limited The Blessed to sporadic gigs and no full-length album, though they influenced later generations through their fearless presence among punk luminaries.^[3][11] In the mid-1980s, Pyro joined Freaks, an underground New York band fronted by vocalist and guitarist Andrea Matthews (whom he later married), taking on bass duties and backing vocals.^[2][12] Formed around 1986, the group shifted from pure punk toward a heavier, garage rock-infused sound, gigging alongside emerging acts like Soundgarden and Raging Slab in a post-punk scene leaning into grunge precursors.^[13][14] Their 1989 album In Sensurround, released on the independent Resonance label, featured Pyro's groovy, melodic bass work on tracks blending raw energy with psychedelic edges, though limited promotion and distribution kept it confined to niche audiences.^[12][14] An earlier single, self-funded partly through Pyro's wedding to Matthews, highlighted the band's DIY struggles with financing amid the underground's label instability.^[3] By the early 1990s, Pyro briefly played bass with Action Swingers, a raw punk outfit led by Ned Hayden, contributing to their 1992 EP More Fast Numbers on Wiiija Records.^[15] His involvement included co-writing energetic tracks like "Knocked Out Cold" and "You Want My Action," which showcased his songwriting flair for catchy, high-tempo riffs, and he joined the band for a UK tour that amplified their cult following through blistering live sets.^[16][15] Like his prior projects, Action Swingers grappled with the underground's label woes, relying on small imprints and grassroots promotion in a scene transitioning from punk's heyday to alternative rock's rise, which curtailed broader breakthroughs.^[17]

D Generation era (1990s)

Howie Pyro co-founded the glam-punk band D Generation in 1991 alongside vocalist Jesse Malin, guitarist Richard Bacchus, guitarist Danny Sage, and drummer Michael Wildwood, drawing from their shared roots in New York's punk scene.^[18] The group emerged as a vital part of the 1990s punk revival, blending the raw energy and speed of the Ramones with the theatrical flair and attitude of the New York Dolls, creating a sound characterized by melodic hooks, aggressive riffs, and lyrics addressing urban disillusionment and rebellion.^[19] Pyro, transitioning to bass from guitar in his prior bands, provided the rhythmic foundation with driving bass lines that anchored the band's high-octane performances, while also contributing to songwriting efforts that captured their gritty, streetwise ethos. Pyro also collaborated with Throbbing Gristle's Genesis P-Orridge on the 1997 release Electric Newspaper: Issue Four.^[5][2] D Generation's self-titled debut album arrived in 1994 via Chrysalis Records, produced by David Bianco, and marked their breakthrough with tracks like "No Way Out," which Pyro co-wrote with Malin and Bacchus.^[20] The band followed with No Lunch in 1996 on Columbia Records, produced by Ric Ocasek of The Cars, an effort that refined their punk edge with sharper production and broader appeal.^[21] Their final studio album, Through the Darkness (1999), was helmed by Tony Visconti and explored darker themes amid evolving musical landscapes, solidifying their reputation as torchbearers for New York punk's legacy.^[19] Throughout the decade, D Generation built a fervent following through extensive touring, opening for punk and rock luminaries including the Ramones, Kiss during their reunion tour, Green Day, and Social Distortion, which exposed them to diverse audiences and honed their explosive live energy.^[22] These tours, often marked by chaotic and memorable shows, amplified their role in revitalizing punk's underground spirit against the backdrop of grunge and alternative rock dominance.^[19] The band disbanded in 1999 following the release of Through the Darkness, citing internal conflicts, creative frustrations, and shifting industry priorities that favored more commercial sounds over their raw aesthetic.^[19]

Later projects and collaborations (2000s onward)

Following the dissolution of D Generation in 1999, Howie Pyro co-founded the short-lived punk rock project PCP Highway with vocalist Jesse Malin and drummer Joe Rizzo, serving as a platform for Malin's songwriting in the transitional period before Pyro's move to Los Angeles.^[23] In 2000, Pyro relocated to Los Angeles and joined heavy metal band Danzig as bassist, a role he held until 2003 alongside guitarist Todd Youth, contributing to the live album Live on the Black Hand Side (2001) and the studio album I Luciferi (2002) while participating in the band's tours during this era.^[2][24][25] After departing Danzig, Pyro formed the band The Disciples in the mid-2000s with Todd Youth on guitar, though the group produced no major releases and had limited activity.^[26][18] During the early 2000s, Pyro made guest appearances, including recording bass tracks for Joey Ramone's solo album Don't Worry About Me (2002), released posthumously after Ramone's death.^[27] As health issues, particularly liver disease, increasingly impacted Pyro in the 2010s, his band commitments wound down, though he participated in a D Generation reunion tour in 2011, performing shows in New York and Los Angeles with original members including Malin. The band reunited again in 2016, releasing the album Nothing Is Anywhere and embarking on a tour, with Pyro contributing to the effort.^{[28][29][19][5]}

DJ and media work

Intoxica Radio

Intoxica Radio, hosted by Howie Pyro, launched in the mid-2000s as a web-based program on Luxuria Music, fulfilling a long-held dream of broadcasting his curated selections to a broader audience.^[30][6] Drawing from his personal record collection, which he began building as a child through garage sales and flea markets, Pyro delivers hour-long episodes centered on an eclectic array of genres including 1950s and 1960s rock and roll, psycho surf, garage rock, rockabilly, psychobilly, hillbilly horrors, voodoo R&B, and obscure instrumentals, often spotlighting rare tracks that highlight underground and overlooked artists.^[31][32][33] The show's format emphasizes thematic explorations, with episodes frequently themed around horror movies, Halloween spookiness, and niche underground scenes, such as voodoo rhythms or monstrous rockabilly, aligning with Pyro's lifelong fascination with the bizarre and macabre.^[34][35] Guest segments add depth, featuring interviews and appearances by punk luminaries like Legs McNeil and Gillian McCain, co-authors of the seminal punk history Please Kill Me, who discussed the raw edges of the scene on the program.^[36] Other guests include fellow collectors and musicians, such as G Minus Mark, a renowned record dealer, allowing Pyro to delve into shared obsessions with rare vinyl and punk lore.^[37] Over the years, Intoxica Radio transitioned into a podcast-style format, becoming widely available on platforms like Spotify, Apple Podcasts, and Podomatic.^[32][37][38] This evolution broadened its reach, establishing it as a global platform for "weird" music that Pyro championed as the "patron saint of weird," fostering a dedicated international following and resurfacing forgotten gems for new generations of listeners.^[39][3][30]

Party and club DJing

Following his departure from Danzig in 2003, Howie Pyro launched his DJ career in the mid-2000s, spinning sets at upscale hotels, exclusive private parties, and underground clubs in New York and Los Angeles.^[9][40] He quickly established himself in the nightlife scene, building on the eclectic tastes honed through his earlier radio work on Intoxica, where he previewed rare tracks from his vast collection.^[31] Pyro's signature style featured high-energy sets that fused punk, rockabilly, surf, garage, and exotica, often drawn from obscure 1950s and 1960s vinyl records in his personal archive of over 30,000 items.^[5][31] These performances emphasized "psycho surf," "voodoo R&B," and "insane instrumentals," creating immersive, dance-driven atmospheres that celebrated primitive rock and roll subgenres.^[41] His use of rare 45 RPM singles added an authentic, collectible edge, appealing to enthusiasts of underground and revival music.^[42] In New York, Pyro held notable residencies at Green Door parties, which he co-founded in 1991 and continued DJing into the 2000s at venues like Coney Island High and Jackie 60, influencing the city's garage and punk revival scenes by connecting musicians and fans through themed nights.^[9][3] In Los Angeles, after relocating in 2000, he became a resident DJ at the Blackeyed Soul Club at Monty Bar starting around 2008, where he collaborated with Jason Pandora to host all-vinyl 1960s soul and rock 'n' roll events that revitalized mod and surf dance culture.^[43][44] He also maintained a decade-long weekly residency at the Ace Hotel in Downtown Los Angeles and Palm Springs, spinning for high-profile crowds including events tied to artists like the Cramps.^[30] Pyro's gigs extended to private upscale events, such as Christina Aguilera's 21st birthday party, underscoring his role in bridging punk's raw energy with sophisticated nightlife.^[6][30] His sets helped sustain interest in 1950s-1960s revival movements, inspiring younger DJs and bands in both cities' underground communities.^[5] By the 2010s, Pyro shifted to more selective appearances, focusing on curated residencies and special events that highlighted his archival expertise.^[9]

Personal life and death

Key relationships and collecting hobby

Howie Pyro maintained deep personal connections within the punk rock community, forming a "chosen family" with the first wave of New York punk figures, including musicians, artists, photographers, promoters, club owners, and DJs, through decades of late-night discussions and shared experiences.^[30] He shared particularly close friendships with icons such as Joey Ramone, with whom he collaborated musically and socially, often connecting across diverse subcultures; Johnny Ramone; and Jesse Malin, his longtime bandmate in D Generation, whom he regarded as a brotherly figure and provided emotional support during tough times.^[9] Pyro's bond with Genesis P-Orridge extended to collaborative projects like those with Psychic TV, reflecting a mutual appreciation for experimental and countercultural artistry that blended punk with avant-garde elements.^[30] These relationships highlighted Pyro's ability to bridge divides, as he befriended not only fellow musicians but also Hells Angels, skinheads, drag queens, and comic-book enthusiasts, all of whom admired his inclusive, non-judgmental demeanor.^[9] His collaborative dynamics often stemmed from these personal ties, fostering environments where creative exchanges occurred organically, such as touring with the Ramones or recording with figures like Debbie Harry and Kid Congo Powers, though these bonds emphasized mutual respect over professional obligations.^[30] An avid collector, Pyro amassed a vast array of music ephemera, rare records, horror movie memorabilia, and punk artifacts, curating what he described as a personal "museum" filled with obscure pop culture items that connected overlooked histories and hidden geniuses.^[30] His record collection exceeded 30,000 vinyl titles, primarily garage, punk, and rockabilly genres, which he sold to Rancid's Tim Armstrong while retaining borrowing rights to continue sharing selections on his Intoxica Radio show.^[45] Notable punk artifacts included Sid Vicious's clothing, Johnny Thunders's leather jacket, and artwork created specifically for him by scene contemporaries, alongside horror-related items like vintage movie posters, 1950s fetish magazines, and books on Charles Manson.^[9] His estate auction in 2025, titled "Punks, Monsters, Smut & Madmen," featured compilations, demo tapes, and other ephemera underscoring the scale and eclecticism of his holdings, estimated in the thousands of pieces. Pyro's collecting passion influenced his peers profoundly, as he generously shared items and knowledge from his archives, embodying a "growing up monster" mindset that celebrated the weird and subversive in punk and horror cultures.^[9] This enthusiasm extended to owning quirky relics like acquiring Phil Spector's chihuahua, Stinky, when Spector went to prison, which he displayed as part of his punk artifact collection, inspiring others in the scene to explore similar obsessions.^[9] Pyro was married to Andrea Matthews, frontwoman of the Freaks, on Halloween in the 1980s; further details on his immediate family life remain private, with his public persona centered on the extended punk family he cultivated over four decades.^[3]

Health issues and death

In the later years of his life, Howie Pyro faced a prolonged struggle with liver disease, which necessitated a liver transplant in late 2021.^[5][2] The punk rock community rallied around him during his recovery, with multiple benefit concerts organized to cover his medical and living expenses; notable events included Jesse Malin's annual holiday show at the Bowery Ballroom on December 11, 2021, featuring performers such as the Lunachicks, Suzi Gardner, Lenny Kaye, and Tommy Stinson.^[46][47] Following the transplant, Pyro was hospitalized in Los Angeles for ongoing recovery efforts, including additional benefits like a March 2022 all-star concert at the Troubadour organized by Malin to support his medical costs.^[1] Despite these interventions, his health deteriorated further when he contracted COVID-19. Pyro died peacefully on May 4, 2022, at the age of 61, from complications of COVID-19-related pneumonia amid his ongoing battle with liver disease.^[5][2][1] His family requested donations in his memory to the UCLA Division of Liver and Pancreas Transplantation, where he received care.^[48][4] Bandmates and friends paid immediate tributes to Pyro's vibrant spirit and contributions to punk music; D Generation frontman Jesse Malin described him as his best friend and a "true rock 'n' roll hero," noting that Pyro "fought real hard right till the end."^[40][49] He was laid to rest at Hollywood Forever Cemetery in Los Angeles, adjacent to Johnny Ramone's grave. Memorial events were held in New York in July 2022.^[5][3]

Discography

With The Blessed

Howie Pyro served as the bassist for The Blessed, a short-lived New York City punk band he co-founded in 1977 at the age of 17, alongside vocalist Billy Stark, guitarist Walter Lure, and drummer Brad Barnett.^[5][2] The band's sole release was the 7-inch single "Deep Frenzy" b/w "American Bandstand," issued in 1979 on Daven Records (catalog JC 1022).^[50] The A-side, "Deep Frenzy" (2:53), featured songwriting credits to Stark, Nick Petti, and Lure, while the B-side, "American Bandstand" (3:09), was penned by Stark and Lure. Pyro's driving bass lines contributed to the raw, energetic punk sound of both tracks, reflecting the underage ensemble's chaotic performances at venues like CBGB and Max's Kansas City.^[5][50] The single was recorded in August 1979 at Bayside Recording Studios in New York, produced by David Eng under the copyright of Happy Harmonies.^[50] This lone 45 RPM vinyl pressing captured the band's frenetic style amid the late-1970s punk scene but garnered limited distribution, remaining a rare artifact of Pyro's early career.^[5]

With Freaks

Following the dissolution of The Blessed, Howie Pyro co-founded the New York City-based garage rock band Freaks in 1986, serving as the group's bassist and providing backing vocals.^[14][51] The lineup featured Pyro alongside Andrea Kusten (vocals and rhythm guitar), John Fay (lead guitar and vocals), and Eric Eckley (drums), delivering a raw, pre-grunge sound blending punk, glam, and proto-metal influences often described as "Heavy Orange Rock."^[14][52] Freaks' debut release was the self-produced EP Potter's Field in 1988, issued in a limited edition of 1,000 copies on Orange Productions with a fold-out poster sleeve.^[53][54] The four-track 7-inch vinyl featured the title song "Potter's Field," along with "Addicted," "Do It," and "Lookin' at You," showcasing the band's sludgy, psychedelic garage edge recorded at WFMU studios.^[55] Pyro's driving bass lines anchored the EP's aggressive, lo-fi energy, contributing to its cult status among underground rock enthusiasts.^[53] The band's sole full-length album, In Sensurround, arrived in 1989 on Resonance Records, capturing their short-lived but influential phase before disbanding later that year.^[56] Released in multiple formats including vinyl (gatefold LP), CD, and cassette, the album highlighted Pyro's foundational role in shaping the group's sound through his bass work and backing vocals, which added depth to tracks emphasizing themes of alienation and escapism.^[57][58] Key tracks included the explosive opener "Freak Out in the Freakhouse" (3:22), the brooding "Green Sliver" (4:00, words and music by John Fay), the anthemic "(Livin' in a) Warzone" (3:27, words and music by Andrea Kusten), and the trash-culture standout "Me Am Bizarro" (3:05, words and music by Andrea Kusten).^[56] Other notable cuts were "Lost and Found (Tony Iommi's Fingers)" (6:06), "Inside of My Mind" (4:55, words and music by Andrea Kusten), "Potter's Field" (5:11, words by John Fay), "Teen Queen" (2:40, words and music by John Fay), "Time Won't Heal" (3:08, words and music by John Fay), "Succubus" (3:00, words and music by John Fay), and the brief closer "Tag" (0:45).^[56] The record's production emphasized a gritty, live-wire aesthetic, with Pyro's contributions helping to fuse the band's punk roots with heavier, psychedelic elements.^[14] A post-breakup single, "Freakout Song," emerged in 1990, serving as a final snapshot of the group's style.^[5] In 2023, Orange Productions issued the deluxe double LP reissue Still In-Sensurround on 180-gram translucent orange vinyl, remastered from the original tapes and expanded with bonus material including demos, tracks from the Potter's Field EP, the "Freakout Song" single, and previously unreleased recordings like selections from the cassette-only Pippi Skelter: A Rock Opera in Five Movements (1988).^[13][59] Limited to a special edition gatefold package, the reissue—dedicated to Pyro's memory following his 2022 death—revived interest in Freaks' garage rock legacy and Pyro's early innovations in the New York underground scene.^[51][60]

With Action Swingers

Howie Pyro joined the New York-based rock band Action Swingers on bass in 1992, alongside drummer Bob Bert (formerly of Sonic Youth), guitarist Bruce Bennett, and vocalist/guitarist Ned Hayden, forming the lineup for their UK tour that year.^[61][17] This collaboration resulted in the band's EP More Fast Numbers, released in 1992 on the UK indie label Wiiija Records in both vinyl (WIJ 14V) and CD (WIJ 14CD) formats.^[62][15] The five-track release captured the band's raw, high-energy punk rock sound, with recording taking place at Bang Bang Studios in London and mixing at Baby Monster Studios in New York City.^[62] Pyro's bass work anchored the aggressive riffs and driving rhythms across the EP, which Pyro co-credited on bass alongside the core band members.^[61] The tracklist includes:

• "Knocked Out Cold" (2:33)
• "You Want My Action" (2:08)
• "Incinerated" (2:18)
• "I'm Sick" (1:49)
• "Courtney Love" (2:37)

Notable for its provocative lyrics, the closing track "Courtney Love" became infamous in punk circles for its satirical take on the grunge-era icon, tying into the EP's release amid the band's UK promotional activities.^[17] No additional singles or major contributions from Pyro to Action Swingers' discography are documented beyond this EP.^[63]

With D Generation

Howie Pyro served as the bassist for D Generation from the band's formation in 1991 until 1999, contributing to their raw glam-punk sound through his driving bass lines and co-writing several tracks, including the debut single "No Way Out" alongside vocalist Jesse Malin and guitarist Richard Bacchus.^[5] The band's self-titled debut album, D Generation, was released in 1994 on Chrysalis Records, produced by David Bianco. Pyro played bass on all tracks and received co-writing credits on multiple songs, helping to establish the group's high-energy, New York Dolls-inspired style. The album's tracklist includes:

• "No Way Out" (4:23)
• "Sins of America" (3:39)
• "Guitar Mafia" (4:16)
• "Feel Like Suicide" (2:20)
• "Waiting for the Next Big Parade" (4:28)
• "Falling" (4:21)
• "Wasted Years" (2:53)
• "Stealing Time" (3:28)
• "Ghosts" (3:59)
• "Frankie" (3:16)
• "Working On the Avenue" (2:55)
• "Vampire Nation" (4:27)
• "Degenerated" (3:34)^[64][65][20]

D Generation's second album, No Lunch, followed in 1996 on Columbia Records, with production by Ric Ocasek of The Cars, who emphasized the band's punk urgency while adding polished edges. Pyro's bass work anchors the record's aggressive riffs, and he co-wrote several cuts, including reprises of earlier material like "No Way Out" and "Waiting for the Next Big Parade." Key tracks feature:

• "Scorch"
• "She Stands There"
• "Frankie"
• "Capital Offender"
• "No Way Out"
• "Major"
• "Disclaimer"
• "Waiting for the Next Big Parade"
• "Not Dreaming"
• "Too Loose"
• "1981"
• "Degenerated"^[66][67][68]

The group issued several singles and EPs during this period, often highlighting Pyro's rhythmic foundation. Notable releases include the 1993 7-inch singles "No Way Out" b/w "Guitar Mafia" and "Wasted Years" b/w "Waiting for the Next Big Parade" on independent labels, the 1994 single "Degenerated" b/w "No God," and the 1996 single "She Stands There" from No Lunch. In 1998, they released the Prohibition EP on vinyl, featuring covers and originals with Pyro on bass.^[69][68] D Generation's final album with Pyro during the original run, Through the Darkness, arrived in 1999 on C2 Records (a Sony imprint), produced by Tony Visconti, known for his work with T. Rex and David Bowie. The record captures the band's intensifying emotional depth amid lineup tensions, with Pyro providing bass throughout and co-writing the track "Broken." The tracklist comprises:

• "Helpless" (3:32)
• "Every Mother's Son" (2:46)
• "Hatred" (3:19)
• "Rise & Fall" (2:53)
• "Only A Ghost" (4:03)
• "Lonely" (4:09)
• "Good Ship Down" (3:22)
• "Sick On The Radio" (3:29)
• "Chinatown" (2:09)
• "So Messed Up" (3:31)
• "Sunday Secret Saints" (3:03)
• "Cornered" (3:25)
• "Don't Be Denied" (16:26)^[70]

The band reunited in 2016 with Pyro on bass, releasing their fourth studio album Nothing Is Anywhere on July 29, 2016, via Bastard Basement Records, produced by guitarist Danny Sage. The album marked D Generation's return after 17 years, blending their classic glam-punk style with matured songwriting. Tracklist:

• "Queens of A" (2:39)
• "Apocalypse Kids" (3:11)
• "Rock & Roll Radar" (3:09)
• "Ragdoll" (3:18)
• "In the Trap" (3:40)
• "Stand Up" (3:02)
• "Tough Shit Kid" (2:56)
• "Q's Blues" (3:27)
• "Quicksand" (3:35)
• "Loudmouth" (2:48)
• "Dancing Through the Night" (3:21)
• "Not Goin' Back" (3:49)
• "Mercy of the Rain" (3:54)
• "Lonely Ones" (4:20)^[71]

Guest appearances and collaborations

Pyro contributed bass to Joey Ramone's posthumously released solo album Don't Worry About Me (2002), including the title track and selections featured on the accompanying EP Christmas Spirit... In My House.^[72][73] In the late 1990s, Pyro collaborated with Genesis P-Orridge and the experimental project Splinter Test (featuring P-Orridge and Larry Thrasher) on their album Electric Newspaper: Issue Four (1997), where he provided instrumental support amid contributions from various "voice pathologists" and staff writers.^[74][27] Pyro co-wrote the lyrics and composed for Rancid's track "1998" on their album Life Won't Wait (1998), which drew inspiration from his own experiences in the New York punk scene; he also contributed backing vocals to the song.^[75][76][77] During the early 2000s, Pyro participated in demo sessions for the short-lived project PCP Highway, formed with Jesse Malin, though no official releases emerged from these recordings.^[7][18] Pyro's production work and uncredited appearances were sporadic, often tied to his extensive network in the punk and rock scenes, including sessions with artists like Ronnie Spector, though specific credits remain limited in public discographies.^[9]

With Danzig

Howie Pyro joined Danzig as bassist in the spring of 2000, following the departure of previous bassist Josh Lazie and marking a shift toward heavier metal influences in the band's sound after Pyro's punk rock background with D Generation.^[78] An old associate of frontman Glenn Danzig from the New York City punk scene, Pyro contributed to the band's evolving heavy metal style during his tenure, which lasted until 2003.^[26] Pyro's most prominent studio contribution came on Danzig's seventh album, Danzig 777: I Luciferi, released in 2002 by American Recordings. He played bass on all tracks, providing a solid foundation for the album's dark, orchestral heavy metal sound, which featured production, vocals, guitars, and keyboards by Glenn Danzig, alongside guitarist Todd Youth and drummer Joey Castillo.^[79] The album represented a creative pivot toward more elaborate arrangements and thematic depth, with Pyro's bass work adding heaviness to songs like "Black Mass" and "Liberskull."^[80] In addition to studio work, Pyro appeared on the live album Live on the Black Hand Side, released in 2001, capturing performances from the band's tours during his early years with the group. The recording documented Danzig's intense live energy, with Pyro's bass supporting sets that drew heavily from the band's catalog of metal anthems.^[49] During his time with Danzig from 2000 to 2003, Pyro participated in extensive touring, including the Satan's Child Tour extension in 2000 and subsequent North American and European dates in 2001–2002 to promote I Luciferi. These tours solidified the lineup's chemistry, blending punk aggression with metal prowess, though no additional official tour recordings or EPs were released in this period.^[81]