Joey Pinter / Press

“Nobody does angry like a New Yorker and Pinter’s guitar does a lot of talking here. Joey’s unashamedly a graduate of the Thunders school - he shared stages with the guy and even copped lessons from him. When it came time to call someone to play in a home town tribute to the late JT, Pinter is the man they called. Johnny’s ghost is all over these songs in the tone and sustain, along with lashings of Stones and classic blues licks and a big dash of glam. There's plenty to revel in. Caustic guitar scorches the raunchy putdown "Came To Dance" while "Blood" bristles with relentless stabs of Thundersesque attitude. Pinter's guitar is at its most lyrical on "Old", a telling call-out to a woman whose name stays unknown.”

“Joey Pinter remembers when the Lower East Side was like, all piles of bricks and broken windows, hookers in long furcoats, dope dealers dropping buckets out of tenement windows, drag-queens, skinhead mobs, deviant film-makers, early b-boys with Kangols and ghetto blasters, runaway street urchins, squatter punks, Dominican pimps walking up and down Rivington Street in tacky suits, and sloppy ass drunks trying to sell you random found objects, like an unidentifiable piece of bent metal, or used porno mag, or pairs of dirty pants, or aggressively squeegee your windows at the stop-light, hoping for a tip. Lou Reed’s NYC. Street art, and after hours bars and street hustles, when uptown was mostly still too afraid to come downtown. When Pinter lived in NY, it was not full of $1000 a night hotels and yuppies and foodies and hookah bars and shit. It was poverty, immigrants, after hours clubs, a true and vivid melting pot of music, culture, art and ideas.”

“That gritty rock ‘n’ roll street tough, been there, done it, and got the scars attitude, is all over this record. From opening number 'Be Like You' to the dying embers of track seventeen 'Haldol' you know exactly what you're getting.”

“his outstanding guitar playing, with subject matter drawn from various chapters of his storied history, a stranger than fiction tale of hard livin’, frenzied performances, bitter disappointments, a flawless lp, bottles, dope, jail, sin and salvation, dames, kids, cigars, loud guitar, the whole a.m. sloppy, taco waco enchilada. His bluesy singing is somewhere in between David Johansen yelling at the kids to get off his lawn, and George Thorogood refereeing a little league game, sometimes reminding one of old Alice Cooper, even. His Chuck Berry/Johnny Thunders style, raunchy guitar playing and power-pop songwriting sensibilities drip with soul and his self titled cd is a must have for anybody who is serious about rocknroll.”

“One thing that made Pinter great was he was always his own man, he had his own style, and flat-out refused to be some sadly derivative, cliche’ mongering, glitter monkey, like so many others we can all name, who stand in line and pay a cover to step into some dead guy’s blue suede shoes while performing stale karaoke, while the city burns. Joey Pinter often cites Bolan, Bowie, Hunter/Ronson, Pete Townshend, and the Stones as his primary influences, and he effortlessly brings lifetimes of his own unique perspectives, observations, highs and lows to all his crackling performances. He was always the one with the most authentic rock’n'roll authority, on stage. This guy or that guy, all self-proclaimed legends, may have had a more effective marketingcampaign, but Pinter was the one with the soul. He’s possessed and blessed with a timeless coolness, like John Lee Hooker, or Willie Deville, ya know what I mean?”

“Hard-knocks Joey Pinter wrote the book on gutter grace and is a shining example of the unenviable, but utterly admirable, difference between vapid, manufactured celebrity and purist punk individualist. He ain’t no manufactured emobot. He is a lived it, seen it all, twice, rock STAR. There’s nothing more righteous than an outlaw soulman who overcomes all the odds, endures all, and stays true to himself. JOEY PINTER is the 4-Real essence of rugged independence and Max’s Kansas City cool. He’s currently hard at work in the recording studio with Bomp! power-pop personality, Arthur Alexander, who is producing his hotly anticipated solo debut. You already know and love charismatic Heartbreaker, Walter Lure. Together, they are an essential combination. Catch ‘em while they’re still alive!”

“This is coming from Joey Pinter, one of the hottest living rocknroll guitarists, on the planet. If you ever had the good fortune to see the Waldos in their prime, or to own the classic, “Rent Party”, you know I ain’t lyin’. I remember goin’ to see the Waldos for the first time with my old friend, the World Famous Mister Ratboy from Pillbox, etc., etc., and seein’ J.P. menace the front row, playin’ his guitar, right in your face, like Chuck Berry, or Brother Wayne Kramer, and bein’ like, “Whoa, who’s THAT?!” The Waldos weren’t the youngest, or the skinniest, or the ones shmoozin’ with the models and the corporate press, but they were definitely the baddest band on the block, I mean, they just HAD it, Joey Pinter was the MAN, so when he praises a band, you know it ain’t no jive-ass smoke blowin’.”

“The The Redwood Bar and Grill just happened to be the most happening place last Saturday for good old fashioned punk rock n roll mayhem. The Waldos played 2 sets through out the long day for fans who ventured out to the Redwood both early in the afternoon and late into the night. As The Waldos made their way to the stage, the few hundred punks began to push up to the front which only made for a better feel as The Waldos broke out into the Heartbreakers classic “One Track Mind”. The sing a longs became constant as Walter Lure and Joey Pinter continued to slam the crowd with classic hit after hit spanning the L.A.M.F album (Born to lose, Get off the Phone, Pirate Love, One Track Mind) and an assortment of Waldos tunes.”

“ The biggest surprise of the night came about when Frank Infante of Blondie fame hopped on stage and performed “Chinese Rocks”, as extra guitarist of The Waldos. That song has its roots deeply imbedded in the New York punk scene, so it was a very special moment seeing first generation punk rockers reuniting on stage for such a classic jam. As the show ended many knew what they had just seen with their own eyes, and few could believe that such a small hole in the wall bar would be home to such a legendary show put on by The Waldos, The Stitches and Dirty Eyes.”

“The pushing and pogo’ing was also a constant fixture of the night as LA’s Redwood bar seemed to transform itself into Max’s Kansas City circa 1977’; the look, feel and sounds were authentic and totally right on par for such a legendary band. Later on into the night saw members of Dirty Eyes invited on stage to join The Waldos for a few numbers, most notably that being Pirate Love which was a wild ride into a sleazed world, appropriate for a downtown LA club! ”

“Not content to rise up a cooperate ladder or blow up an embassy Joey prefers to weld his music like a sword cutting the treadmill in half. Sometimes the world has to catch up with such artists regardless of whether they want to answer the alarm clock or not. Beyond the rapier like way he wields his Les paul his lyrics remain concise and straight on providing a clean line of communication in every song so when the smoke clears one is able to pick themselves up off the sidewalk where Joey cut his teeth and move on with the sermon still ringing in their ears...loud and clear...classic Joey. From a musical standpoint I heartily recommend this musical onslaught for any rock and roller who thinks they know a thing or two about high energy rock and roll showmanship, and having actually attempted to 'hold my own' on stage with this guy I can attest to the fact he is the real deal in person. ”

Kirk foster - dogs

“ACE OF CLUBS The Crazy Squeeze, the band we caught there last week, were definitely worth squeezing into the night-hopping schedule. Featuring L.A. rock vets from bands including The Stitches, Superbees, Teenage Frames and Richmond Sluts, the quartet chugged out some grimy-good garage and glam-soaked stomps. Sure seemed to please the New York Dollsy–looking young dudes in the crowd that night, especially when Joey Pinter, from legendary NYC gutter-punx The Waldos, joined for the ferocious finale. Look for TCS's debut out this winter.”

"Heartbreaker"/"Action" In fact, until a year or two ago, when Japan's 1977 Records negotiated the reissue of the single, he'd nearly forgotten it existed. And as the guy who penned and played on both tunes, he's surprised that it recently fetched as much as $700 on eBay.

“TOO MUCH JUNK The Knots (NYC, 1980) is a record that seems to get blank stares when I ask most punk fans if they know it. Perhaps it's because it was comped over 10 years ago on a Back To Front, a series which has not been kept in print nearly as well as the early KBDs. It's also very possible that more people heard "Action" as a New Bomb Turks song, and either did not realize it was a cover, or looked at the credits wondering "Who are the Knots?" It's also very difficult to find, especially for a big-city record with a nicely printed and glued sleeve. About a half-dozen copies came out of the woodwork recently when a "Major" (pun intended, for the three of you who get the reference) psych collector/dealer found them in old stock he had and slowly disposed of them via eBay,”

“it used to be fun. Walter oozed his vampire charm ... Guitarist Joey Pinter fucking smoked Thunders-a total firebrand, an absolute outlaw on Guitar, blazing, defiant, meaner than mean. He had that Keith thing that nobody ever gets right-without trying. Like Cheetah”

flash metal waldos

“I wanted to interview Mister Pinter, because I saw him live, about a half dozen times, back in the day, and he SMOKES, people. A TRUE ROCK'N'ROLLER. If you weren't hip to him, before now, hopefully, you will be, after this interview.”

“One of the first times I went to Max's, I met Alice Cooper, this is when 'Billion Dollar Babies' was the biggest record in the world. I was in a band called "Brooklyn Trash" and he seemed very amused. I do admit being there, in the middle of that wonderful time, was great. One of my fondest memories is one of the times "Fuse" or "The Knots", I don't remember which band i was in at the time, was opening up for "The Heartbreakers", we were at the sound check (that's when I actually went to those things) and was having a real hard time tuning, it was really pissing me off. So right when I was going to throw my guitar across the stage.....”