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That's a fair point considering the fact that I have not even finished uploading this album. And now instead Of finally finishing that upload I'm uploading this weird ass rework that I just did of one of my songs from that project. Part of the issue is that the software I'm using keeps on deleting my projects part way through so I was almost done with one of these and then it deleted everything. But another reason is that the next song on the album which I was just about ready with and going to upload until it finally just deleted everything is one of the tracks recorded in rehab and I'm thinking of redoing all of them since I can kind of "remaster" them. So I first tried it with the Necro beat on the next song, Black Skies, but I might re-upload Lost Souls now that I know which beat he's using cuz I didn't even know until RUclips recognized it, because when I carefully overlaid the beat by itself... at just the right volume level, so it doesn't just drown out the vocals, we still have the distorted vocals but It makes a big difference that you don't have the beat itself also suffering from having been recorded on a four-track or a track tape recorder which he obviously was using, based on the type of distortion that you hear on those tracks. I was pretty much done doing that for black skies and I just needed to go back and tweak the levels to make it sound ideal and it was not easy cuz I had to line up the beat again and I couldn't adjust the speed so I had to manually cut It up and realign it every few bars and after spending hours doing that it fucking deleted everything that I did just because that program hates me and corrupts my project files. So I have now gotten in the habit of creating a new copy every 2 seconds but at the time I hadn't been working on it except for that one night and so I hadn't had any reason to create a second copy... Or if I remember right, what happened was it corrupted the main file so I couldn't open it and I did have one backup that had a majority of the work done even if a lot of it was now lost and I was so frustrated. I just started working on it again and didn't think to create another copy of it not realizing this is my last copy and so if I lose this then I've really lost everything. And so of course right after I was working on it for only like 10 or 20 minutes, kind of rushing to try to redo the work that had gotten lost the fucking thing corrupts that file as well. It used to only do it if I let my battery die. But now it will do it every time that the program starts to freeze up. And I have also found out that even though I used to be able to tell it, hang on don't shut down the program .. And so then I could make sure it saves before I shut it down, there have now been times I am not having the program suddenly crash because my battery died. I'm just editing the file and out of nowhere it crashes and when I go to reopen it it tells me that the file is corrupted. So that really pissed me off and so it has been not very inspiring to finish work. In a way that's why the only thing I've been uploading is my new remixes.. I also want to redo that now that I found the recording I was missing before that has Rob talking about being descended from Dracula. It was at the Santa Cruz event for power and respect outside after the battle. I definitely want to find a way to fit that but I'm not sure how... Anyway, while I am busy with life and not able to get that shit done, I do have one option for anybody pissed off...

If somebody just gave me their email or their Facebook or anywhere that I could msg them, I have this Dropbox folder I'd be happy to share with them. It doesn't have music that was released as a track on someone else's project or things that he sent me once just a song at a time so Cobra Commanderz, which I have already shared here, isn't in that folder and nothing from Brothaz Bent... Except for the things that wound up on different compilations that he released. You won't find either of the songs with Sole, Stella Artois or David Lynch Hung from Lush One releases, etc. But I can still add the OTC albums if I locate any of those, but I think he kind of already put the ones he likes on Necrophiliac Blues. But anyway, it's a pretty decent collection. If you want to know what I'm really sitting on, it's the tapes of the radio show, the ones I still have left lol I'm really pissed about having lost some of them because it wasn't any fault of my own. It was straight up asshole behavior from people that aren't my friends anymore. But a lot of that is really very niche and you'd have to sift through a lot of us just playing records and then each week he would try to bring something new to the table, but it was a lot of the same material that he was honing and the most interesting sort of moments were often when he's interacting with somebody else who came to the show or if he was freestyling on a certain topic. But it's really hard to find those moments when they're relatively brief sections of longer shows. Back in the day when we made them it was plenty fun to just listen to our entire radio show. But now if you're looking for classic material to hear Robert when he was first starting out.. most of what you would hear is not going to satisfy that requirement and you'd have to go through a lot of it to find the really good stuff. So that's why I have always thought of it as my personal pile of treasure that would take so much effort to find the nuggets of gold others would appreciate that it makes more sense to continue to just hoard it. But yeah fair point... Give me your contact info if you want the link to gain access to that Dropbox folder.

Yeah, so I have been quite slow to get it all up on RUclips because I wanted to create a custom video from each one utilizing the artwork I created from scratch from Robert Paulson's drawings and Chuck E Cheese animatronics photographed in a deformed state, just doing my best to recreate a substitute for the original album art that I had in my possession when it was likely the only copy that anyone still had iintact along with the rest of their collection of CDs when he contacted me in search of it, and then, sadly, it seems thatt it was somehow lost because it was separated from the rest of my CDs, which I still have, because i set it aside and had it in my glovebox for a while, planning to scan it with a color copier into a computer and send to him, but wherever I had set it aside to take to Kinkos, when I suddenly had to move, it was lost in that move or the next ones; actually, the other moves after that initial crisis due to rent hikes beginning to be applied on a yearly basis pretty much everywhere, citywide, would have been moves I'd made following his passing, which was also a timeframe that I only later realized was characterized by some extremely poor mental health and substance abuse issues as a direct result of emotions I didn't want to grapple with, but just from memory... It was green version of the same sort of border that I have here in red, with a self-portrait of himself with very subtle hints at a vampiric identity, portrayed through just barely visibly protruding canines, and it may have also included some of those same characters but he has always drawn and are prominent in the artwork for Necrophiliac Blues, who have skulls for heads, but all that I am really sure of is that he obviously got a take home piece of paper from Chuck E Cheese used to frame photographs for for children to draw in, added his own drawings and then just made that the album artwork, and in a way the next album Black Tar Rap Star is what you would consider a collection of all of his more polished material from the same timeframe, whereas this has all of his least polished material, and in fact this includes demo versions of two songs on lBTRS: this demo of what became the opening track for that LP as well as a version of what became the single, & had a brilliant video, featuring Serp Dot, and directed by Evan Romoff that oddly got removed from RUclips and Vimeo, but well the entire video was great and had some excellent footage of DTLA... the best was when a masked Serp Dot has attacked him and hen has got him cuffed in a bathtub, then is essentially waterboarding him for the duration of Mr.Measly's verse, which was what it's originally titled, and it was actually just structured very differently, beginning at the start with the Measly verse and just drifts gradually away from that persona with the verses that eventually became the primary content of Mindframe, but instead of sandwiching in this Measly verse as an example of what he could become when he's using it just was an attempt to write from that persona he drifted from organically, stating more of his true feelings as the song progresses, but I'm interested to hear them back to back to make sure that I've remembered correctly how they differ. But yeah this whole album is almost as rare as it gets... with the only exception being the tapes that I have of our radio show from 99 to 2003... But I'm not sure that those personal treasures are ones that will ever see the light of day. To

@dang4369 hey I don't know if you will see this but I wanted to tell you I put the remastered version out now and I'm almost done with the one for black skies but since you might be the only one who would have heard both I was interested in whether you would be able to hear the difference and if you think it's better or worse because then I might save my time on the other ones like he actually already put out a version of Mr measly on the China White edition of black tar rap star and I don't think he attributed that beat and I'm curious to see what it is when I upload it but there's this other one called Mackz that's really great but it's definitely on a necro beat just like this one black skies that he called dark skies in one of his uploads but I have to think it's just a mistake because he says black skies at the beginning of the song really clearly and maybe that was intentional but it seems more likely that since I have it labeled as black skies in the MP3 folder I created when I still was looking at the CD with the album art, and he just called it dark skies when he was uploading it but cutting a lot of the songs out and changing the order... I think he just put all the ones that he knew were rehab demos at the end and he wasn't really listening to the music anymore and misremembered it as dark skies instead of black skies so I was thinking of calling a dark skies but I'm going to just upload it as black skies and I'm realizing more and more that that's the correct name and that's the name I should give it and in general even though I changed the song that I made by myself I'm not going to fuck with the song that we produce together even though there's not much I can do to remaster that one without any sort of professional shit... Because I made that with him as a collab and I'm not going to take his contribution out by updating it in some random way so aside from my song that I know sucked and so I can ruin it if I want to plus I put the original version on at the end as a bonus track ... Aside from that when I'm done with this it's going to be a 20th anniversary edition of Chuck E cheese's with everything exactly as it was on the original CD that he created as best as I could recreate it even though I didn't have the original artwork anymore and he made it even more confusing with the things he did in the years since then but I still have my MP3 folder and some of the files had been degraded so I'm actually glad for his uploads because now I don't have MP3 defects in any of these songs but everything else that I'm changing is definitely an upgrade and some of it is some hard work I had to put in to recreate what has gone missing but is going to honor the original more than anything he did

RUclips removed my other comment telling people to step offa moon's d|©

RUclips removed my other comment tellin people to step offa moon's d¡¢k!

RUclips removed my other comment tellin people to step offa moon's d¡¢k!

Lol

Sup Bill Morris, I remember your name... This is Lil Johnny, the guy who made the beat for Dead At 27's first track, Urgez, and had the radio show with Rob while he attended Reed College after he got himself banned from any other radio show but mine was the only where I would hook up the mic to rap over the airwaves so it was always kind of a no brainer for us to team up and make the mic available to pretty much anyone who wanted to cipher, and so we kept doing CHUD for years, he kept it alive after I was the one banned from campus, too... I just remember him calling CHUD Reed College's longest-running radio show because we began in 99 and he was still going in 2003 I think... Anyway I know you were a good friend to him and I hope you're well if you see this... RUclips can be really bad about sending me any sort of notification that I got a reply or a new comment on my videos and that's why I didn't see this even though it's from 2 weeks ago

I dunno, him and Alex are probably still selling those t-shirts, AIN'T NOBODY COOL, their clothing line, so maybe he is painstakingly creating the designs in illustrator since he hasn't put out any new music since Cadalack left us, it's my impression those two have retired from the music biz to make their jokes on t shirts they can sell easier than mp3s

Yes, but with Stigg of the Dump, too... VILLAIN ACCELERATE's 'Laurel's Canyon'... This Annexia EP, like the previous one, Organic Privileges, is again beats by Copy, but with the last two by myself, Little Johnny from Cadalack Ron's old radio show at Reed College, C.H.U.D., where we'd first hooked up with Elephant Smiley, whereas on the previous EP, it was all Copy except for an intro recorded over a beat that was borrowed from another underground producer: Bobito, as I recall. That's the reason I felt it was appropriate to again have an intro with a beat that is borrowed from a more well known artist, although an obscure beat that not all that many people would immediately recognize. I was alone at the time, but had found a discarded vocal track for what comes next, Nightgown, and took it to generate the main vocal track as well as create another as "icing" on the cake, the second layer of vocals, thru a careful process of using only the last few syllables of each bar, rendering them slightly out of sync. I also had doubled up the main vocal track but with a great deal of flange on it, and a lot quieter than the main vocal track, that fades in and out enough for it to become obvious, in parts, that there is heavy flange in sections of the song, like when he refers to the children that are running to hide underneath the floor, while remaining generally subtle throughout. The "icing" layer is something that the vocalist would normally record on their own, but this time I was "faking" it with the single vocal track I'd found to work with, but thought it effective, even with the lyrics repeating once you got to the next track, Nightgown. It's my opinion that what makes it work is hearing the lyrics on this beat with one mood and then hearing them all over again, with an entirely different vibe: one that makes them hit home in a way that's pretty compelling if people ever actually listened to it properly. Basically it was intended to be a little trippy, with a triumphant somewhat celebratory vibe, when you realize he's repeating the same lyrics from the intro but they sound radically different over such a completely different sounding beat.

Thanks for listening

It always bugged me we didn't use a spit guard but I'm glad people have noticed this one is a particularly strong track. Its dark energy really brings the rest of the album together to make it work as a whole, I think. Closing out the initially lighter, more playfully dark tracks that Copy had provided with a song this strong sets up the last two suddenly brighter, more mellow sample based songs to work perfectly, despite the obvious contradiction between the music and the content of his lyrics. If we had not already been prepped by this song to accept such irony it might fall flat and just come off nonsensical. But it's the dark edge of this scorcher that establishes his voice as one we'd take seriously enough to bear with him throughout sections that contain that rather glaring disconnect between the blissed out beats, which also provide some very desirable stylistic variety, and the sick ugliness of much of the lyrical content. I think it's only because he brings all of the energy (which is, at times, a bit undercut by moments of silliness) that's been building up to hit harder and bring iller, concentrated heat on this track, that we are properly set up to understand and enjoy the falling energy that follows this dramatic climax. The effect of this track is to amplify the strength of any further dark humor, as he's left no room for doubt that he can be relentlessly intelligent in skewering his subject matter. This is what allows the bizarre punch lines of Earth to truly function as humor, despite ultimately depressing subject matter. It's a bleak picture painted of yet another beautiful day perpetually soaked in the sickest shit humanity has to offer. Even on our sunniest of days we can only laugh at how they're overseen by drug dealers that stare at boys "with both hands on their dick", and once the kiddies are grown up enough to swallow a balloon if the cops pull up, they can buy heroin all day until the spot gets burnt. See Spot. See Dick. See both hands on Dick. See the addicts suck Dick and flip tricks. Dick gets burnt. See addicts run. See Spot get burnt. It's also somehow beautiful the way he depicts this space this art inhabits, bearing witness to all the scene offers on the surface level of reality, but sees this all the more clearly by virtue of (or rather more by a lack thereof) our place in life, "right under it, where the gutter drips". And this all culminates in the labyrinthian arcs of the eponymous track, sufficiently epic in scope to get the listener thoroughly lost in the burnt epiphanies of dmt fueled visions of everything, everywhere, all at once, all of it surely disintegrating, all of us knowing what it feels like to fall apart with it. And yet we exist. So listen up, kids. Or do you see? What it do. We still do. And in doing, exist... for we... For we do... Exist... For we are... Annexia....

Thanks! I produced that track. The instrumental is on the SoundCloud I link to in this account's About section.

DON'T LOOK! Who told you to look? Just get your face out of my pants.

Cool, I hope you noticed in the description I have uploaded the entire album, too. I made custom videos for each song lol but if you are a Cadalack fan, like me, there are some really great verses he did with Serp on this release I'd never heard elsewhere. And you might enjoy the upload you'll find on my channel of his 2007 album Dead at 27. I actually made the beat for its first song, Urgez.

But basically if you like this, just look at the list of albums that I labeled on my homepage as albums not previously streamable elsewhere and it's all in some way Cadalack related because Arson is his little brother's dark wave project and the EP Organic Privileges is by a couple dudes from this crew that Cadalack co founded that was called Annexia. That one is just Copy and Elephant Smiley but I should track down the album Klowdy Disposition because that has some really rare Cadalack material hardly anyone has heard because it's from before he hit skid row and did prison time, basically immediately prior to the phase that inspired that classic anthem of his Rehab Legend. And Dead at 27 is the year after that when he had started working with some serious artists on the LA scene like Open Mike Eagle and Existereo but it's before he hooked up with Machina Muerte and around the time he did the first couple songs with Brothaz Bent, but it's all the stuff he was self releasing on his own, with a variety of different artists, with the exception of the stuff the Arch Druids had him doing guest spots on. So Dead at 27 is kind of his last self-released less *official* LP, not on any label, just CDs he had printed with the artwork for him to sell at shows or take to record stores for them to put in the local artists bins, then after that sure he would burn mix CDs if he needed stuff to sell at shows but all of the albums were being put out on labels with real publishing rights involved, etc.

@@MisterW00D yea I first heard cadalack on a song during the damn funky productions shit and from brothaz bent in like 07 1n they been my shit since ..I wish I could have caught a caddy show . But I appreciate you bro ur music and all the caddy shit you put on here .I fucks with ya tuff

Well then you'll probably love this album if you didn't already get a copy of it because you heard him first in that era, Dead at 27 wasn't on any of the streaming services so I put it here on this account. It's got several tracks with Damn Funky, maybe not quite as many as on Black Tar Rap Star because he was beginning to branch out, so it wasn't on any label or anything, it began with a track I produced so he could still just put on songs he liked because he made them with friends but it's also his first album with Existereo on a track and he even had Open Mike Eagle on a song. I'm pretty sure he was already in the clique with Brothaz Bent, touring with them, by the time this came out. But it's basically a collection of all the other music he did on his own without their involvement up until a later phase when Last Known Photograph got put out as a more professional release with the publishing rights established properly, and it has several tracks that are in collaboration with people from Arch Druids but also has some more of the early Briefcase releases. The very first ones are all on Dead at 27, so Underwearz, LA after Midnight,maybe I am forgetting one but those are definitely by his little brother Chris, AKA Briefcase... Enjoy! ruclips.net/p/PL98RrnHth1VkD4Zx8JQALLifXJQfk2Kg-&si=ftbzWDvY1n1vd1lk

Thanks, your feedback means a lot bc the two songs don't quite mesh, really, and so I had to play with them a lot to try to address them constantly going off beat from one another. And while I wanted a certain amount of the chaos to remain, I was working on it for way too long to be sure if there was far too much noise in the end. I simply lacked sufficient perspective on it after hearing it again and again, and often just hearing individual sections I'd been cleaning up, on constant loop. It often takes a week before it's possible to hear something like this with fresh ears, instead of being fixated on whatever details I'd worked on and not properly hearing the rest the way others would. So I am very glad to hear you (and a few others also) enjoyed it... since for all I knew, my hours of labor had churned out little more than some intricately carved, but ultimately dry & painful piece of constipated s*** lol but no, now I remember rocking out to this noise-- it just was difficult to get those sections of pure noise just right, and in the right amounts, to find balance with those moments the disporate elements aligned in harmony, and thus coalesced into a single song that exists in its own right, distinct from the two tracks that struggle against achieving any such sense of unity, but in ways that make it all the more satisfying when the experiment proves successful. I feel like a mad scientist.

LOL this is serp dot... a lil something called slip hop

This is old Caddy. Wish the rest of this album was on here.

Indeed

So much so, got most everyone tryn run from that heat, but u just watch as they wavin goodbye bye, bye bye don't go into the night night, nite nite

thx for sharing your memories with us and your sitch is exactly WHY it's here, couldn't find this anywhere so I fixed it because plenty still haven't found this! some may even realize they needed to but most importantly ofc theres those with your need to reminisce... properly

& NO WE DON'T FUCK ROUND HERE, BOY