Tag Archives: Prince Po

New Joint – Prince Po & Oh No

Prince Po & Oh No – “1st Word To What Was Last Said” (@Soulspazm / 2022)

Organized Konfusion’s Prince Po and West Coast favourite Oh No revisit their 2014 collabo album “Animal Serum” with this new video.

New Joint – DJ Cosm / Sadat X / El Da Sensei / Prince Po

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DJ Cosm ft. Sadat X, El Da Sensei & Prince Po – “Rules” (BeatsHouse.BandCamp.Com / 2020)

Canadian producer DJ Cosm of Dragon Fli Empire fame enlists the skills of a timeless trio of golden-era greats on this limited edition vinyl release.


New Joint – Kriswontwo / Prince Po / Phylisha Mitchell

Kriswontwo ft. Prince Po & Phylisha Mitchell – “History” (@Kriswontwo / 2018)

Denmark-based producer Kriswontwo enlists the timeless lyrical talents of Organized Konfusion legend Prince Po for this slice of soulful sonic substance off his 2017 album “Back To One”.

New Joint – Mr Complex / Dres / Sadat X etc.

Mr Complex ft. Dres, General DV, Sadat X, Prince Po & Nadine Michel – “Gotta Get Home” (@PlexPlexPlex / 2018)

Mortal-produced collabo cut off the veteran NY emcee’s “Forever New” album.

New Joint – Son Of Sam / Prince Po

Son Of Sam ft. Prince Po – “Flying Fist” (@SonOfSam_UK / 2017)

The UK-based musical collective team-up with one-half of the legendary Organized Konfusion for the latest track to be lifted from their forthcoming “Cinder Hill” album.


New Joint – Agallah / Prince Po / Percee P


Agallah ft. Prince Po & Percee P – “This Is Hip Hop” (@AgallahFaro / 2016)

The three mic vets flex formidable skills with a nod of respect to the Crash Crew’s 80s classic “On The Radio”.

New Joint – Configa & HaStyle / Prince Po

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Configa & HaStyle ft. Prince Po – “World War Rap – Remix” (ConfigHas.BandCamp.Com / 2016)

The transatlantic duo enlist the lyrical talents of Organized Konfusion legend Prince Po for this rugged banger off their forthcoming album “HaStility (H1)”.

New Joint – Prince Po & Oh No

Prince Po & Oh No – “1st Word To What Was Last Said” (Wandering Worx / Nature Sounds / 2014)

Taken from the duo’s collabo album “Animal Serum”.

New Joint – Prince Po & Oh No / OC / Pharoahe Monch

Prince Po & Oh No ft. OC & Pharoahe Monch – “Smash” (Green Streets Entertainment / 2014)

Three of the illest lyricists in the history of NY Hip-Hop combine forces for this uptempo head-banger from the album “Animal Serum”.

New Joint – Prince Po & Oh No

Prince Po & Oh No – “Keep Reachin’ (Wandering Worx / 2014)

Taken from the Organized Konfusion emcee’s recently-released album “Animal Serum”.

New Joint – Iron Braydz / Prince Po

iron braydz cover

Iron Braydz ft. Prince Po – “Millennium” (@Braydz / 2014)

Plenty of lyrical darts hitting the target here on this Daniel Taylor-produced track from the UK emcee’s forthcoming EP “Verbal sWARdz”.

New Joint – Prince Po

Prince Po – “Machine Rages” (Wandering Worx Entertainment / 2014)

Apocalyptic verbals taken from the Organized Konfusion member’s Oh No-produced album “Animal Serum”.

No Ideas Original Radio Stream – DJ Enyoutee / Joe Gibbs / Bey Battery / Prince Po

no idea pic 2

Latest edition of NY’s No Ideas Original radio featuring music from Busta Rhymes, Ghostface Killah and Wildelux plus guest appearances from Organized Konfusion’s Prince Po and The Brotha Mans – listen here.

New Joint – Prince Po / Oh No / Roc C

prince po cover

Prince Po & Oh No ft. Roc C – “Bearz” (Nature Sounds / 2013)

Taken from the Organized Konfusion emcee’s collabo album with Madlib’s brother entitled “Animal Serum”.

New Joint – Marco Polo / Organized Konfusion

Marco Polo ft. Organized Konfusion – “3-O-Clock” (Soulspazm Records / 2013)

The talented Canadian producer reunites Pharoahe Monch and Prince Po for this track from his forthcoming album “PA2: Director’s Cut” which also features Masta Ace, Inspectah Deck, Large Professor and more.

Old To The New Q&A (Part One) – Mr. Complex

Photo by Jazzy Star

Making his name during the 90s independent Hip-Hop explosion, Queens, NY lyricist Mr. Complex gained a strong fanbase thanks to his confident wordplay, leftfield story-telling and ear for quality production. Early singles such as 1995’s Pharoahe Monch-produced “I’m Rhymin'” and 1997’s DJ Spinna collabo “Visualize” are today considered to be key releases in the development of the underground scene of the time.

With Organized Konfusion as early mentors, it was always clear that Mr. Complex would be more than just a blip on the Hip-Hop radar. A string of releases running into the new millenium further cemented the cocky-yet-likeable emcee’s reputation as a reliable source of true-school beats and rhymes, both as a solo artist and as part of the group Polyrhythm Addicts with Spinna, Shabaam Sahdeeq and Apani B. Fly (who was later replaced by Tiye Phoenix).

Yet following the 2007 release of the Addicts’ “Break Glass” album,  Complex seemed to quietly slip away from the music game. No blustering announcements of retirement. No angry website interviews complaining about the state of Hip-Hop. No final attempt to make some quick money from his catalogue by re-releasing earlier product. In recent years, Mr. Complex simply became a name that would be mentioned in rap-related conversations and greeted with a “Where is he now?” reaction.

Now offically back from his musical hiatus, Mr. Complex looks set to leave his mark on 2012 with two album releases plus other projects relating to his longstanding interest in the film world.

In the first part of this interview, the NYC wordsmith speaks on his new-but-not-new album “Swiss Chocolate Cake” which drops this Valentine’s Day, reuniting with old friends and his memories of coming up with Organized Konfusion.

So obvious first question – where have you been?

“Well, the name Mr. Complex came from the multiple talents I had, from drawing and writing to music and film-making. So when the music stuff started to slow down, with stores closing down and downloading, plus everyone being a rapper on the corner selling their CDs, it was really getting hard to make a living. At the same time I was getting older and becoming a family man with bills and responsibilities. So the film stuff sorta slipped in there and I started working on a lot of TV and film projects which really consume your time. I mean, if I’m working on a movie, I could have a month where I’m getting four hours sleep a day. So if you get caught working on back-to-back projects, before you know it a whole year has gone by and it didn’t even feel like a year (laughs). Then the next thing you know another year has gone by. I mean, it’s funny because I started doing the film stuff around 2003 and was heavy into it in 2004. But at the same time I was still releasing music and it was cool because I could be on set with someone like Will Ferrell and get him to do a skit for my album and be working at a job but still be able to put music out. But then the music really started to slow down and next thing you know six or seven years have gone by.”

What film and television projects have you worked on?

“When I first started I was PA-ing on “American Idol” and the final season of Dave Chappelle’s show, so I was there when all the craziness went down. I was working on a lot of independent movies. You’d have to look at IMDB or something to get the full list (laughs). But some of the big movies I was involved in were like “American Gangster” and some of Will Smith’s movies. I worked on a lot of food TV shows, I worked on Ice Cube’s “Are We There Yet?” show, “Law & Order”. It’s funny because on some of the TV shows they might throw me in a scene if they need an extra. So on “Law & Order” they put me in a scene around the same time the last Polyrhythm Addicts album came out. They didn’t know who I was in terms of my music, so it was funny to start getting phone calls and seeing messages like ‘I’ve just seen Mr. Complex on TV’ (laughs). I was in a scene in the Biggie movie “Notorious” as a deejay, but you’d barely notice it unless you knew it was me (laughs). I’ve also been directing some music videos at the same time. I did Pharoahe Monch’s “When The Gun Draws” video, Stacy Epps’ video “Floatin'”, three or four videos for Black Skeptic who now goes by the name Kyle Rapps, and also a video for Detroit’s Invincible. But now I’m going back to my own music and this first album I’m putting out this year “Swiss Chocolate Cake” is an album I recorded in Switzerland about seven or eight years ago that’s been sitting around for so long and I decided I really needed to get it out. I’ve also started recording some new stuff which is an experience because I haven’t actually recorded music for some time now.”

Are you working with anyone in particular on the new project?

“I’m back in Queens where I started and I’m working with a producer who was a friend of mine in high-school called Mortal-One who’s pretty much undiscovered. Back then he wasn’t about the music like that, but he was around with Prince Po so he was always part of the camp. Now, my first producer when I first started, his name was Omega Supreme and he was also Organized Konfusion’s early deejay. I started recording when they started recording, around late-80s / early 90s, and Supreme was the one who pretty much introduced me to a lot of people and he passed away a couple of years ago. At the funeral I got together with some of my old friends, and one of these friends, Mortal-One, also learned from Omega Supreme. So he was like, ‘You’ve gotta come over and listen to what I’ve been doing.’ So putting this new music together has been like a family thing and a reunion which has also been very emotional.”

With the new album coming out of those circumstances it must really add a deeper meaning to the actual creative process?

“Exactly. So this new album I’m working on now, which I’m going to call “Forever New”, this album is like the best stuff I’ve ever done to be honest. But I’m still working on getting that finished. So when I came across the “Swiss Chocolate Cake” album again and realised it was still a hot album, I thought putting that out first would be a good way to get people familiar with me again before I put out the new, new album (laughs) which should hopefully be out around summer. So this year I’ve got a lot of things on deck. I’m also primed to get a feature made this year as well. I have a few scripts, one of which I’ve been trying to shoot for awhile called “Revenge Of The Soundman” which is music-related and crazy but it was taking too long to get that one done as there were too many people involved. But then I wrote a whole other script with D-Stroy from The Arsonists which I’m planning to start shooting in April. It’s real low-budget, I’m probably going to use Kickstarter to raise some funds, and then I’m going to knock the movie out. The title of the project is “The Funny Thing About Trying To F**k” and it’s just bananas. So my plan is to get this “Swiss Chocolate Cake” album out, get the buzz back up and then get things happening with these other projects.”

Going back to your music video work, being an artist yourself do you have a personal rule that you’ll only work with artists whose music you like or do you view video direction as a job first and foremost?

“Being an artist and making the music that I do, I’m constantly surrounded by other artists who’re sorta on the right lines for me to work with. So most of those artists will come to me first, so it’s not that far of a stretch for me to do a video for someone like Invincible. Artists that I don’t really associate with whose styles are a little different probably don’t even know who I am or what it is that I do, as it’s not like I’m really out there heavy pushing the video director thing. I did, however, just recently shoot a video for an artist whose music isn’t necessarily my style and he didn’t know anything about me as an artist at all. I thought it was a challenge for me to listen to his song and come up with a video concept for a track that might be outside of what I would normally listen to. But it was funny, once we got on set some of this artist’s friends were like ‘Are you the same Mr. Complex who put out records? Ah man, I’ve got your s**t in my crate.’ Then the artist was looking at me like ‘Who the f**k are you?’ (laughs). Then he got a little sceptical thinking that maybe I wasn’t going to put my all into his project because I’m an artist myself. But I’m a professional so I put on a different hat when it comes to the directing thing. I mean, I have turned some songs down that people have come to me with, so I don’t think it’s going to get to the point where I’m making videos for Gangsta Gangsta Skinny Pants (laughs).”

The independent music game has changed considerably since you were last releasing product – has that affected your approach to how you’re promoting and pushing these new projects?

“It’s real different today and it’s funny how many people will tell you that you have to do this and have to do that now to make a project successful. But as far as I’m concerned there’s really no rules to it. Before the music thing I was in advertising, so I learnt a few things here and there about how to promote a product which are still valid today. People keep telling me that you need to be putting out all these mixtapes and giving songs away for free, paying publicists to then push those songs, so then I’m like ‘Well, if you’re doing all of that how are you supposed to make any money as an artist today?’ People get worried about putting an album out that nobody knows about, but as far as I’m concerned it’s your job as an artist to work hard after you’ve put it out to make sure people do know about it. I’m not going to try to promote a project by throwing out a bunch of random, unrelated songs on a mixtape that weren’t good enough to actually make the album I’m promoting. That’s just not my style.  I’m still going to go up to the radio shows to rhyme, I’m still going to be doing shows, I’m still going to be doing interviews and  doing what I need to do to let people know I have an album out.”

It’s seventeen years now since you dropped your debut three-track 1995 single “I’m Rhymin'” which featured production from both Pharoahe Monch and Prince Po of Organized Konfusion. For those who don’t already know the story, briefly explain how you hooked-up with Organized?

“Basicall we all went to the same high-school back in the 80s. There was me, Prince Po, Pharoahe Monch, and we also had Percee P, Kwame and a few others in that same school who went on to make a name for themselves in music. We were tight on the Queens side and me and Prince sat next to each other and I would hear him rhyming and used to be amazed. I was still too shy at that point to rhyme until some years later.”

So when did you actually first start rhyming in public? 

“What happened was, a guy on my block that I grew-up with, he was a little older and he used to have a studio in his basement and always had a lot of musicians coming over. Do you remember Tom Browne’s single “Funkin’ For Jamaica”? His keyboard player named Kevin Osborne used to play in this guy’s basement. There used to be a few other emcees who used to be there and I’d go over there and watch them jam. Then one day I just opend up and was like, ‘Y’know I can rap?!’ This would have been around 1986 / 1987 so they didn’t believe me at first because they just thought of me as being a baby (laughs). So I started rapping and they liked what I did and wanted me to do some stuff but I told them that instead of that I’d bring Prince Po over. Then he started rapping for them and really wanted to get into it. I mean, at the time I was just rhyming for fun, but Po was really serious about it. So he then started bringing Pharoahe over with him as well and they started recording which led to them getting their first single deal as Simply II Positive MC’s before they were known as Organized Konfusion. I watched things grow and I started going around with them and coming out of my shell, going to park jams with them and being like ‘Yo! Let me get on the mic for a minute.’ So it really just started from there for me. ”

So what were you doing around the time Organized Konfusion got their deal and came out in 1991 with “Fudge Pudge” featuring O.C.?

“At that time, O.C. lived just across the street, so it was more me, Pharoahe and O.C. building together. Then they started doing the Organized thing, putting records out and touring. I was still recording and was being managed by a guy at the time who was also managing the R&B singer CeCe Peniston. Then she dropped that record “Finally” which blew up and they started touring heavy and left me at home for about seven months. I was like, ‘Damn! Right when I was starting to get things going.’ I’d been recording some demos so I started trying to do the beats myself and that’s when my friend and producer Lee Stone started helping me out. It was at that point that I really started to develop the sound and feel of Mr. Complex as an artist. Before that, the people I’d been working with had been trying to get me to have more of an R&B flavour because of the other artists they were working with, so they didn’t really understand how I wanted the music I made as Mr. Complex to sound. They were trying to tell me that I could be a clean-cut, story-telling Fresh Prince rapper as he’d just started doing television at the time. But that just wasn’t me. I mean, I can tell stories in my rhymes, but not in the same way the Fresh Prince would have (laughs). So I started going to Pharoahe’s crib a lot, playing him stuff, getting him to chop beats up for me, and that led to me getting in The Source’s Unsigned Hype section in 1995. So after that I just decided to press up the demos and do it myself, which was the single “I’m Rhymin'” that also had “Against The Grain” and “Feel Me” on it.”

When you dropped that single it was part of the first wave of 90s New York indie releases – were you aware at the time that there was a real underground movement building that would go on to have such an impact on Hip-Hop?

“Nah, we weren’t aware that the underground independent scene was going to become what it was. At the time, we were just looking at pressing up your own single as another way to try to get signed to a major label. We weren’t thinking that we didn’t actually need a label behind us; putting our own music out was to us another way to let the major labels know that we were out there and serious about making music. O.C. had got signed to MC Serch’s Serchlite Music and I was there when that happened. I was also there when MC Serch signed Nas as well. So I was in the studio listening to the songs they were making and thinking that they were the next generation of Hip-Hop artists to break through and get signed to a label, and then after that it would be my turn to do the same. It was just after that period that I pressed that first single.  At that time, it was Serch’s man Mark who managed me, and he brought me to this guy named Georges Sulmers who was setting up a label called Raw Shack. He told me that he had an artist he was working with called J-Live and asked if I could do anything to help them out. So I took J-Live’s stuff down to The Source and that was how he got in Unsigned Hype. Then Georges pressed up J-Live’s record “Braggin’ Writes” and I was watching how both his record and mine were doing in 1995. But it wasn’t until around 1997 that I’d say I actually saw there was a movement happening. Before that, like when I was in The Source and putting my first record out, people would call me to book me on shows, but I was doing shows with people like Ja Rule and Nine who were both already signed and getting played on the radio. But then things started to change a little and it really became apparent that there were a lot of artists out there on the underground doing the same thing. Stretch & Bobbito were really supporting what these artists were doing, you started getting booked at the same shows together, then Rawkus came along and it really seemed like it was the beginning of an underground reign. It was crazy because I remember when I dropped the “Visualize” single with DJ Spinna in 1997, I was getting booked to go and do shows in places across the world that people I knew with deals didn’t even know about (laughs). I remember at the time Organized Konfusion were just putting there last album out, and they went out to Japan for a couple of shows and did some tour dates in the US with Artifacts and The Beatnuts, but they weren’t hitting Europe heavy like I was at the time.”

Were you surprised when you found out how much love your records were getting from Hip-Hop fans overseas?

“Yeah, it definitely surprised me. See, where I failed on the first record was that I didn’t put a phone number or any contact info on it because I wasn’t thinking that people would want to work with me off the back of it. I remember a distributor calling me from Jersey telling me they’d got my number from someone in Canada, who’d got it from someone in Chicago, who’d got it from someone in Florida (laughs). They took the last hundred and fifty copies I had of “I’m Rhymin'” and then a few days later called back asking for another thousand, and then another thousand. The second single on Raw Shack did have contact info on it but that went through the label. So I still didn’t really know how I was being felt. I’d seen a couple of things here and there in magazines but I still didn’t really know. Then when I finally got to travel overseas it really bugged me out. It really hit me that both of those records I’d done at the time had really done their thing.”

Part Two of this interview is coming soon.

Mr. Complex’s new album “Swiss Chocolate Cake” drops February 14th on Sub-Bombin’ Records.

Ryan Proctor

Mr. Complex – “Against The Grain” (1995 / Core Records)

New Joint – Prince Po / L.I.F.E. Long / U.G.

L.I.F.E. Long & Big Ape ft. Prince Po & U.G. – “Samurai Code Of Honor Remix” (Fly Definition / 2011)

Produced by Sweden’s Big Ape – the original version of this cut can be found on the Ape / L.I.F.E. collabo album “Crossing The Globe”.

Album Review – Pharoahe Monch

Pharoahe Monch formerly of Organized Konfusion W.A.R. We Are Renegades  Audio CD Front

Pharoahe Monch


(Duck Down Music)

There are rappers. There are emcees. Then there’s an artist like Pharoahe Monch. A virtual demi-god amongst discerning Hip-Hop heads, the lyrical king from Queens has been amazing listeners with his verbal gymnastics for precisely twenty years now, having debuted in 1991 as one-half of Organized Konfusion alongside childhood friend Prince Po.

The pair’s debut single, the upbeat “Fudge Pudge”, was definitely a dope head-nodder that sat well amongst the jazz-infused sounds of the time from the likes of Main Source and Tribe, but it only hinted at the lyrical explosions that were to be heard on Organized’s self-titled debut album released later that same year. Cuts such as the complex “Releasing Hypnotical Gases” and concept-driven “Prisoners Of War” found the pair playing with flows, verse structure and language like poetical mad scientists, mixing the influences of  golden-age heroes such as Big Daddy Kane and Kool G. Rap with their own love of comic books, science-fiction and vocabulary.

Although the duo released three albums as a partnership, it’s 1994’s “Stress (The Extinction Agenda)”, OK’s darker sophomore effort, that most fans consider to be their best, thanks to its almost flawless blend of brilliant wordplay and classic dusty-fingered production. It was also with this album that Organized stans really began to argue over who was the better out of the two, Monch or Po? 

To say that Pharoahe consistently outshone Prince would be unfair, as both were masters of their craft. However, on their 1991 debut the pair had seemed evenly matched, yet on its follow-up Monch did begin to gain more attention, not necessarily because of what he was saying, but how he was saying it. Classic Pharoahe verses on the album’s title track and the legendary Buckwild remix of “Bring It On” found the  former musical student of the late, great Paul C. gleefully playing with the constraints of structured rhymes, stretching out lines for effect, stuttering words, adopting different vocal tones, and generally rubbing the faces of lesser emcees in the enormity of his lyrical might.

All of which meant that by the time Organized Konfusion went their separate ways following 1997’s “The Equinox”, the rap world was hungry for a Monch solo project. A craving that was satisfied by 2000’s Rawkus-released “Internal Affairs”, which of course featured the timeless crowd-pleaser “Simon Says”.

But after such a memorable beginning to his solo career, Pharoahe’s output over the last decade has been sporadic to say the least, with Monch not releasing a follow up to the critically-acclaimed “Internal Affairs” until 2007’s “Desire”. So it’s something of an understatement to say that lyric-lovers have been heavily anticipating this new album from the self-proclaimed “God’s gift to vocabulary” since news broke of Pharoahe’s partnership with independent powerhouse Duck Down. With great power comes great responsbility, as the saying goes.

Straight off the bat, let it be said that “W.A.R.” is a good album. Is it a classic? No. Is it an album that sounds like it should’ve taken four years to complete? Probably not. But does it sound as though Monch has gotten lazy with the pen or lost his creative spark? Definitely not.

Although Pharoahe’s delivery may be a little more subdued and refined than his earlier excursions on wax, that doesn’t mean that his lyrical prowess has become any less impressive. One of Monch’s best performances on the album comes early on the Exile-produced “Evolve”. Over ethereal choir vocals the talented lyrical technician toys with his flow and cadence, delivering playful lines such as “So phenomenal with mics I don’t like myself, Sadomasochist emcee, I bite myself…”, subtly building a complex web of wordplay that hits from every angle with punchlines, metaphors and rhymes within rhymes.

The Marco Polo-produced title track sounds like theme music to a protest march, capturing the essence of Monch’s renegade rap persona perfectly with stomping drums and a searing rock guitar solo from Living Colour’s Vernon Reid. Amidst the chaotic soundbed, Pharoahe covers media manipulation, genetic experiments and New World Order dictatorship, claiming that he’s “guilty as charged if intellect’s a crime”.

The anti-police brutality anthem “Clap (One Day)” finds Australian producer M-Phazes doing his best DJ Premier impersonation, whilst the soulful “Black Hand Side” features a sensitive-yet-streetwise Styles P pouring out heartfelt ghetto angst as Monch ponders the future of today’s younger generation as they attempt to navigate their way through the senseless violence of the inner-city.

The Diamond D-produced “Shine” is another immediate standout, with the D.I.T.C. member supplying a warm backdrop of thumping beats and melodic chimes, as the asthmatic emcee boasts how “each line of speech is designed to transcend time”, with songstress Mela Machinko’s gritty vocals adding an organic dimension to the track.

“The Hitman” is proof of how a skilled lyricist can make familiar subject matter sound fresh, as Monch targets music industry politics and the lack of support for underground rap artists, attacking the obvious without saying the obvious (“If you are not performing fellatio for radio rotation, What’s the ratio for radio play at your station? If you’re not paying to play the record is dead, Puts a whole new spin on Radiohead”).

On the inspirational “Still Standing”, a beautiful blend of soaring strings and horns, Pharoahe ponders how challenges he’s faced both personal and professional have shaped the man and artist he is today.

Whilst fans will have little to complain about when it comes to the quality level of Monch’s rhymes throughout “W.A.R.”, the same cannot be said for some of his beat choices. “Let My People Go” is built around solid but unsurprising production from Fatin “10” Horton, whilst performances from Jean Grae and Royce Da 5’9″ on “Assassins” are hampered by a track that just doesn’t have the impact to match each emcee’s dynamic vocal presence.

“The Grand Illusion (Circa 1973)”, a rock/rap hybrid, also fails, sounding like a cross between an outtake off the last album from The Roots and a hungover Rage Against The Machine.

Yet that said, “W.A.R.” is still a strong effort that will do nothing to damage Monch’s reputation as one of the most advanced microphone masters of his generation. To still even be in the music business two decades after your debut would be considered a success by some, but for Monch to still be considered one of the best in his field twenty years after first unleashing his skills on the world is a testament to both his integrity and artistic individuality.  Let’s just hope it doesn’t take the NYC legend another four years to drop his fourth solo album.

Or would an Organized Konfusion reunion project perhaps be too much to ask for?

Ryan Proctor

Afar Lifelong Travel Through Sound Mixtape Download – L.I.F.E. Long / DJ Afar

Download this new mixtape from NYC lyricist and Stronghold affiliate L.I.F.E. Long here – featuring appearances from Raekwon, Prince Po and Lil’ Dap plus production from Pete Cannon, Sci-Fi Stu and Finsta.


01.) Intro (Produced by Irealz) (Cuts By DJ Afar)
02.) War Inna Babylon (feat. C.A.T.) (Produced By Kolor Brown)
Worldwide (Produced By Waxaholics)
The Heist (feat. Power In Numberz Fam Rhyme Therapy I.S.R. Terrestrial Papo) (Produced by Zel)
Veteran (feat. DJ JS-1) (Produced By BlackSparx)
Get Up Off It (feat. Melodic Yoza) (Produced By BlackSparx)
Samurai Code Of Honor (feat. Prince Po & U.G.)
When The Pen Hits The Paper (feat. Pryme Prolific & Tone Liv)
Get Up (feat. Premonition) (Produced By K-O Beats)
Other Worldz (feat. Terrestrial Papo & Irealz)
Energy Substance (feat. I.S.R.) (Produced By Xifedy)
Deep Thinkers (feat. Elohem Star) (Produced By Sci-Fi Stu)
Motive (feat. DJ Connect) (Produced By Big Ape)
Broke (feat. Nutso) (Produced By Pete Cannon)
Dollars & Sense (feat. Nena Bleu) (Produced By Finsta)
Crimewave (feat. Raekwon & Irealz)
Morgan Freeman 2 (feat. Atari Blitz & Lil Dap) (Produced By Khrome)
Mind Over Matter (feat. Venomous) (Produced By Mishaps) (Cuts By Afar)
19.) Journey (feat. DJ Devestate) (Produced By Big Ape)
Damn Beers (feat. Rhyme Therapy)
Winter (feat. Iomos Marad) (of Allies Crew) (Produced By Aneeway)
As He Goes On (feat. Breez Evahflowin & Kid Lucky)

Checkmate! – Chess Move Cartel

Promo video from the Chess Move Cartel camp listing the names of various artists who’ll be featured on upcoming CMC releases including The Alchemist, Ruste Juxx, Prince Po, Genesis Elijah, Mr. Thing etc. – you’ll also see the name of yours truly in the mix as well as I’m involved with the media side of Chess Move.

Beat by Chess Moves / Scratches by DJ Jabba Tha Kut.

Lookout for big things from CMC in the coming months.