Table Of ContentParanoize is a non-profit independent 11/25/17
publication based in New Orleans, What a crazy year it’s been! I originally
Louisiana covering metal, punk, planned for this issue to come out in May
hardcore, sludge, doom, stoner rock and with a completely different collection of
pretty much anything loud and noisy. interviews (aside from the Curtis Cottrell
interview that Bill Heintz sent me back in
April). One morning I woke up with severe
Bands/labels are encouraged to send their
abdominal pains passed it off as a stomach
music in to review, but if we don’t like it,
bug and was just going to ride it out over
you can bet that we’ll make fun of you.
the weekend . Conditions didn’t get any
better a day later, so my girlfriend, Micki,
Advertisements and donations are what
told me to stop being an idiot and go to the
keep this publication FREE. Go to
emergency room. It turns out my appendix
www.paranoizenola.com or email
had ruptured and my insides were filled
[email protected] to find out with all sorts of nastiness. They couldn’t go
how to donate or advertise. in laproscopically and remove it because I
had waited too long so they had to cut me
You may send all comments, questions, open and clean me out. The surgeon said
letters, music for review (vinyl, cassette, that I should have been dead.
cd), ‘zines for trade, money, various I was to be out of work for 6 weeks, so to
household items, etc. to: Paranoize P.O. help ease my mind on how I would get my
Box 2334 Marrero, LA 70073-2334 bills paid, Kelley Quigley set up a
GoFundMe and Jenn Attaway organized a
Visit Paranoize on the internet at: benefit show and I was able to stay afloat
while I healed up.
www.paranoizenola.com
Thanks to all of you who contributed and
paranoizenola.bandcamp.com
helped out. I’d be in a world of shit without
www.facebook.com/paranoizenola
you!
www.twitter.com/paranoize
Anyway, on to this issue! Bill Heintz is on
Several staff members have shows on
board as a guest contributor (and I’ll
Core Of Destruction Radio:
probably be hitting him up more often!)
(www.coreofdestructionradio.com) interviewing long-time New Orleans scene
Bobby hosts Out Of Bounds, M.Bevis fixture Curtis Cottrell. The interview turned
hosts Sonic Relay, Lizard hosts Stoned out to be an essay, so we just went with
Insanity. Visit the site for schedules. that!
Tune in 24/7 for the best of the Jenn interviewed Dom Jones about his
underground! cassette label, A Necessary Evil, and the
upcoming Gulf Coast Slaughterfest (the ad
Paranoize #43 credits: for it is on the back page of this issue)
Bobby Bergeron: Raise The Death Toll Lizard interviewed Todd Zilla of Bloodsick
and I hit up Brawla, who has been in a few
interview, reviews, layout,
bands over the years (AggroFate, The
Unwilling Commencement) about his latest
Bill Heintz: Curtis Cottrell interview
project, Raise The Death Toll, and the
Bands In Your Backyard compilation series
Jenn Attaway: Dom Jones interview
he’s doing.
Lizard: Bloodsick interview
Thanks for reading all this! Enjoy the ‘zine!
Bobby
Ali Amarena: cover photo (Raise The
Death Toll)
NEW ORLEANS SCENE REPORT
Alright, since nobody really gave me Eat The Witch
much to publish here, I’m just going (sludge/doom/instrumental)
to publish a list of New Orleans area eatthewitch.bandcamp.com
bands and where you can listen to
their music. I don’t want to kill this Ekumen
section off! If I left your band out, it (punk/hardcore)
wasn’t intentional. This was thrown ekumen.bandcamp.com
together very last minute.
Fat Stupid Ugly People
Abysmal Lord (hardcore/powerviolence)
(black metal) fatstupiduglypeople.bandcamp.com
abysmal-lord.bandcamp.com
Gristnam
A Hanging (grind/hardcore/sludge)
(thrash/hardcore/crossover) gristnam.bandcamp.com
ahanging504.bandcamp.com
Mehenet
AR-15 (black metal)
(thrash/hardcore) mehenet.bandcamp.com
ar-15.bandcamp.com/
Mountain Of Wizard
Bloodsick (metal/rock/instrumental)
(death/black/doom metal) mountainofwizard.bandcamp.com
bloodsick.bandcamp.com
Mule Skinner
Big Pig (grindcore)
(metal/prog) themuleskinner.bandcamp.com
bigpignola.bandcamp.com
Mystic Inane
Capsizer (punk)
(doom/stoner metal) mysticinane.bandcamp.com
Capsizer.bandcamp.com
The NoShows
Cauche Mar (ska/punk)
(metal/punk/classical/latin/etc.) thenoshows.bandcamp.com
cauchemarnola.bandcamp.com
Out Of Reach
Cikada (hardcore)
(sludge/doom) Outofreachla.bandcamp.com
cikadadoom.bandcamp.com
The Pallbearers
(punk)
Classhole thepallbearers.bandcamp.com
(punk/hardcore)
classhole.bandcamp.com Patsy
(punk)
itspatsy.bandcamp.com
Donkey Puncher
(punk/hardcore) Raise The Death Toll
reverbnation.com/donkeypuncher (death metal/deathcore)
raisethedeathtoll.bandcamp.com
NEW ORLEANS SCENE REPORT
Recluse Checkpoint Charlie
(grind/hardcore/powerviolence) 501 Esplanade Ave. New Orleans
reclusenola.bandcamp.com
Twist Of Lime
Romasa 2820 Lime St. Metairie
(post-sludge)
romasa.bandcamp.com Babylon
2917 Harvard Ave. Metairie
Six Pack
(thrash!) Record Stores:
sixpack1.bandcamp.com Skullyz
907 Bourbon St. New Orleans
Space Cadaver
(sludge/doom/crust) Euclid
spacecadaver.bandcamp.com 3301 Chartres St. New Orleans
SS Boombox Sisters In Christ
(punk/garage) 5206 Magazine St. New Orleans
ussboombox.bandcamp.com
The Mushroom
Tomb Of Nick Cage 1037 Broadway St. New Orleans
(horror punk)
thetombofnickcage.com Press:
Sonic Boom Magazine
Torture Garden https://issuu.com/kevinp.johnson
(punk/hardcore)
torturegarden504.bandcamp.com Antigravity Magazine
www.antigravitymagazine.com
Totally Possessed Paranoize
(thrash/hardcore/crossover) www.paranoizenola.com
totallypossessed.bandcamp.com
Witch Burial
(black metal)
witchburial.bandcamp.com
For info on upcoming shows go to
www.noladiy.org
VENUES:
Santos
1135 Decatur St. New Orleans
Poor Boy’s
1328 St. Bernard Ave. New Orleans
Circle Bar
1032 St. Charles Ave. New Orleans
Gasa Gasa
4920 Freret St. New Orleans
WHY I LIVE IN NEW ORLEANS
by Curtis Cottrell as told to Bill Heintz stations, too. I liked Chipmunks,
Coasters and “Alley Oop” produced by
I first met Curtis at The Abstract Cafe Kim Fowley. When I was in third
during a Quincy Punx/FYP show grade, I met Bobby Charles when he
back in the mid 90's. He was wearing performed at a company picnic and
an orange prison jump suit and I hung out with him for the whole
questioned whether or not to pass him afternoon. I asked him why the radio
the joint. My brother said "Yea man, played Bill Haley’s version of “See
that's Curtis". At first I thought he You Later, Alligator” instead of his
was crazy. Then, I got to know him original. Bobby was the regional
and realized that he really is crazy. promoter for Chess Records and made
Kidding, he's actually one of the sure that their blues records were on
coolest people you'll ever meet and our local jukeboxes. We liked the
possesses the most incredible heavy guitars of Chuck Berry, Howlin’
knowledge about music that I have Wolf, Muddy Waters and Bo Diddley,
ever come across. Over the past 20+ but R’n’B songs with sax solos were
years he has gotten me into hundreds cool, too. Some big kids threatened us
of bands with mix VHS tapes, spindles for playing black music, but we kept
of CD's and countless conversations doing it just to irk them. The Beach
at gigs. He's a huge Party movies introduced us to surf
contributor/supporter of the New bands, but we liked Von Zipper’s
Orleans underground scene and has bikers better than Frankie and Annette.
done plenty to spread the word of our
antics throughout the world. He is I got a stereo for Christmas and began
sort of a glue that bonds the local testing my parents. First, I snuck a
scene from decade to decade by fuzz guitar into the house on the
introducing people that need to meet, Goldfinger soundtrack. Then came
preserving and passing on great music The Ventures Play Batman and Wild
from the past and boasting a general Angels soundtrack after reading Hunter
enthusiasm and drive that is Thompson’s Hell’s Angels. My
contagious. brother bought Sgt. Pepper in 1967 and
I sent him a list of questions for gave me Absolutely Free by Frank
Paranoize regarding his contributions Zappa’s Mothers for my birthday. I
and musical highlights from over the gave him Their Satanic Majesties
years and he delivered a pretty Request by Rolling Stones. I got the
incredible history of his musical single of “I Can See for Miles” by The
upbringing! "Curtis is on the case." - Who and The Crazy World of Arthur
Bill Heintz Brown, produced by Pete Townshend.
BFF Jeff Smith gave me albums by
I have always loved New Orleans
The Who, Seeds, and Grateful Dead—I
music. From ages six to ten, I watched
emulated Pigpen’s blend of biker and
American Bandstand daily with our
bohemian styles. Big Brother had the
maid, a Fats Domino fan. She listened
Hells’ Angels seal of approval, too. I
to the 50s R’n’B DJs on the local AM
got Jefferson Airplane’s Crown of
WHY I LIVE IN NEW ORLEANS
Creation and The Family That Plays Wall and The Gentrys at proms. Jeff
Together by Spirit. A girlfriend loaned Smith and I did the light show for
me Love, Quicksilver and White Light A440 from Houston at the 1968 Sock
White Heat by Velvet Underground. Hop with opaque, overhead, slide and
Jeff drove me all over town looking for 16mm projectors. The crowd liked it
Jimi Hendrix Experience. A music when I superimposed slides of flowers
store redneck wisecracked, over crash test dummy films while Jeff
“Psychedelic soul brother? What will mixed oil, water and food colors on the
they think of next?” overhead. The Rogues from Lafayette
High are on Greg Shaw’s Bomp comp
Highs in the Mid-60s. I have known
Sonny Landreth since 1958 and
admired his motorcycle jacket in the
second grade. Classmate Keith
Thibodaux was Little Ricky on I Love
Lucy and played drums on Persian
Market’s “Flash in the Pan.” I had
several classes with Jeff Pollard, who
fronted a hard rock quartet called Boo
Radley, then moved to Baton Rouge to
join War Babies and eventually
founded LA’s LaRoux, singing “New
Orleans Ladies” on Midnight Special
and MTV.
My involvement with the New Orleans
music scene began when I hung out
Beginning in 1966, I saw live bands at
backstage with members of the
Young Adults Recreation Center in
Grateful Dead and Jefferson Airplane
Lafayette including ? and the
after the New Orleans Pop Festival,
Mysterians, Kaleidoscope, Fever Tree,
Labor Day weekend, 1969. Then I
Uniques, John Fred, Greek Fountains,
took radio workshop at USL in
Roamin’ Togas, Isosceles Popsicle,
Lafayette to broadcast on KRVS-FM. I
Countdown 5 and Pebbles comped Bad
also operated camera and was holiday
Roads from Lake Charles—several
MC for an afternoon music program on
times. Bad Roads also played at
Acadiana Open Channel. In January,
Swingin’ Machine, where I saw
1970, I hitchhiked to New Orleans and
Mindbenders, ZZ Top, and Skid Row
worked as a stagehand for the first
from Ireland starring Gary Moore,
show at A Warehouse on
whom I would see again in 1978 as
Tchoupitoulas. The Grateful Dead
guitarist for Thin Lizzy. In the summer
headlined with The Flock and Peter
of 1968, I saw Soft Machine and Jimi
Green’s Fleetwood Mac opening.
Hendrix in Baton Rouge and went to
After the show, we dropped off
Houston for Moving Sidewalks and
manager Owsley Stanley at Royal
13th Floor Elevators. I saw Basement
WHY I LIVE IN NEW ORLEANS
Sonesta hotel on Bourbon Street. I am early DIY show by The Sheiks soon
glad I did not go to that party because after they moved here from St. Louis.
the cops busted it, as told in the song Lost the wife.
“Truckin’.” You can hear me
In 1975, I got a scholarship to study
introduce The Grateful Dead at
Modern British Poetry at Oxford
archive.org. When I met my wife on
University. While I was in England, I
Memorial Day weekend in 1970, we
read the trendsetting Melody Maker
saw several Michigan acts such as Bob
article about Ramones, Heartbreakers
Seger, SRC, Brownsville Station and
and Talking Heads. When I mentioned
MC5.
these punk bands from New York to
I got drafted, met a White Panther the bartender at the Hope & Anchor
MC5 fan in basic training, spent a year tavern in London, he told me about the
in Korea reading Creem and Circus and pub rock bands who played upstairs.
served my final year at the Customs Live at Hope & Anchor debuted Steel
House on Canal Street, then in 1974 Pulse, Stranglers, Suburban Studs, X
and early 1975 attended UNO, where I Ray Spex, and XTC. Judas Priest were
was a production intern at WWNO- prominent in London concert listings.
FM. My wife and I saw several
When I returned to Lafayette, I hosted
concerts at A Warehouse on
a KRVS show late at night, when I
Tchoupitoulas including James Gang,
could play what I wanted, but I had to
Faces, Savoy Brown, Humble Pie,
be careful. I had gotten in trouble in
Eagles, Loggins & Messina, Procol
1971 for playing “Motor City’s
Harum, UFO, Slade, Robin Trower,
Burning” by MC5. Someone
King Crimson, Foghat,White Witch
complained to the school
and Z.Z. Top’s Fandango show. Glitter
administration that I was inciting
rock was popular for dancing at Deja
students to riot. When the first punk
Vu and hard rock at The Dungeon.
albums were coming out in 1976, I was
Todd Rundgren’s Utopia brought synth
playing them in Lafayette. Our college
pop to Tulane’s McAllister Hall, and
radio record service published a
Suzi Quatro boldly challenged the
column by KROQ’s Rodney
audience when she opened for Uriah
Bingamheimer hyping Kim Fowley’s
Heep at Municipal Auditorium in 1974.
Runaways and other new bands. I
Saw Queen open for Mott the Hoople
visited San Francisco in 1978 and went
as well as ELO at St. Bernard Civic
to a couple of shows at Mabuhay
Center. Saw midnight screenings of
Gardens seeing Dils, Offs, Zeroes,
music films by Hendrix, Zappa and
Flesheaters and meeting Penelope from
Pink Floyd. Saw Joe Walsh, Lynyrd
The Avengers and one of the Dead
Skynyrd, War, Billy Preston, Trapeze,
Kennedys. The Ramones played in
Montrose, Black Oak Arkansas, J.
Lafayette on their Road to Ruin tour,
Geils, Foreigner, Frampton, Fleetwood
and I saw The Romantics in their red
Mac et al at City Park Stadium. Saw
patent leather suits. Bas Clas opened
The Meters on Oak Street, but didn’t fit
for both shows. I lived with Daisy
in with their local fans. I did enjoy an
Fiorello from New Orleans, so we
WHY I LIVE IN NEW ORLEANS
usually ate with her family and friends Subculture, Sand in the Face, and
instead of going to shows when we Dehumanizers as well as helping the
visited. We did see Rush open for Blue Soreheads put up flyers for Black Flag
Oyster Cult. I bought independent at Triangle Club in Cankton, a Cajun
label records at Leisure Landing on roadhouse with a cockfighting pit.
Magazine and in Baton Rouge. Back in Tulsa, I exhibited graphics and
Nuggets and Pebbles compilations pyrotechnic Situationism at the
clued me to cool garage bands whose Anarchy Art Show in 1984. I studded
records I got at a used book store. My a plastic jug with firecrackers which
four hour late night show started out people lit and threw around. I also
with cult classics and heavy metal taped bottle rockets to some poster
mixed with New Wave and pub rock, board with the tails facing in so that the
but became more punk after midnight fire would scorch the paper. All I had
with the most controversial material in was clear packing tape, so some of
the last hour when the faculty was them got loose. Oops!
asleep. I was also playing the early 70s
rap of Last Poets and Gil Scott Heron.
I took journalism, reviewed concerts
for the Lafayette Daily Advertiser, and
completed a master’s degree in
English.
When I attended grad school in Tulsa,
OK in the early 80s, I did inventory for
trade credit at DISCovery Records and
saw several SST bands at Crystal Pistol
as well as Stranglers, John Otway,
Angel City, and The Brains at Cain’s
Ballroom, where the Sex Pistols had
played. Los Reactors and None of the
Above were popular opening acts. On
school breaks in 1982 and 1983, Larry
Sorehead and I attended hardcore
I returned to New Orleans in 1986.
shows in Baton Rouge and New
The new wave of The Normals and The
Orleans moshing to DRI, Circle Jerks,
Cold had ebbed, and bar owners feared
Disappointed Parents, and Burnt
the slam dancing fans of Shell Shock
Eclipse. My final show at A
and Graveyard Rodeo, so the VFW on
Warehouse was The Clash’s Combat
Franklin became an all ages venue
Rock tour. Larry Sorehead got the SST
hosting DOA, Rollins Band,
connection from Jello Biafra and
Adolescents, Verbal Abuse, St. Vitus,
booked shows with Chris Cart of Toxin
No Trend and many local hardcore
III and Reality On Trial in Lafayette
thrashers. I hung out at Toxic Shock
and Baton Rouge. I saw Stark Raving
records and did their inventory. I took
Mad, Die Kreuzen, Slam, No FX,
manager Pete Landswick to give
