Nas, I am speechless. His writing and song concepts are evergreen. Preemo could have stepped up quite a bit, but he gave a rudimentary, old school charm to the record, so it's not too bad. They should have saved the idea for NY State of Mind Pt. 3 for later or just give it another name; cause this ain't it.

While it is better than the last installment, and got some highlights, this is not the grandest goodbye; I just want them to comeback, maybe in a couple of years. It's been a great run nonetheless.

Unlike the first Magic, this record definitely gives "leftovers" impression. Nas should have known 50 is washed in 2023. He ruined that song.

It's a decent start to the series. The marriage between the raps and beats weren't perfected yet. And the trendy features are hit or miss.

I'd like to forget this ever happened and I wouldn't lose anything. I got classics with Hit-Boy. The only thing that bothers me is that this is the Nas self titled album out of everything he put out in his career.

Nas sounds as passionate as ever on his 10th album. If not for that one outlier, this album would have been spotless; overall, a strong return to form for the legend. The song "Daughters" is absolutely precious.

Despite it's flaws, especially on the music side of things, it is a significant album in the pool of its kind that bridges hiphop and politics.

This is OK, definitely a step up from that dead double album.

It's just mid and forgettable throughout. Besides "War" & "Street's Disciple", I am not coming back to this album at all.

This album makes me believe Nas is the greatest. Songs like "Book of Rhymes", "Warrior Song" and "Heaven" are testament to his unique and creative artistry, while the first 3 tracks are classic Nas tunes full of lyrical genius. The song "Zone Out" is annoying af.

I'm glad Nas found this. "Drunk by Myself" is an amazing song.

Nas should have ended the record with the beautiful "God Love Us", but he had to torture us with the criminal "Big Girl". There are definitely some highlights on the album like "Life We Chose", but man, Nas was definitely lacking on multiple fronts during this period, whether it is atrocious hooks, forgettable instrumentation or some weird song ideas and awkward flows at times.

It's alright.
Some amazing raps filled with substantive lyricism, but the production for the most part is just there to be there. And some of the hooks are kind of embarrassing. I'd like to forget that Nas made a song like Dr. Knockboot and move on. Nas Is Like is one of his quintessential tracks. And I liked the collaborative tracks with Scarface, Aaliyah and DMX, along with a couple of other deep cuts.

It's a solid return to form for 6LACK after his last record leaning too heavily on soft and sleepy melodies, which I usually like from him. Here, the same gentle vibes are finely mixed with introspective raps, more interesting instrumentation and guest appearances.

A quintessential tale of the streets of Queens back in '94.

The album is worthy of the name. One Mic is a mind blowing song. And Nas was spitting some gems in the final leg of the record.

GZA's solo after the big-bang record that is the Wu's debut is super consistent throughout; it's interesting how GZA, unlike any other member of the clan, makes you feel like sitting down and listen to his raps. His meditative delivery keeps you engaged with his writing.

An underrated Blu record from 2023; its a 8-track mini explosion.

90's conscious hip-hop doesn't get better than this; elite rapping, high-level song concepts and social commentary with very versatile sound and delivery. Mos Def's vocalization in Habitat alone shows that he could have easily made a soul record, not like this album ain't full of soul and passion.

Biggie's debut is a staple for New York hip hop scene in the 90s. Biggie was just effortless with his rhymes and he had some interesting ideas throughout the record. Overall, a definite classic album from the golden age despite the final leg slightly tainting the record.