![\"Legend](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/Nas-01-mika-1013x1024.jpg\")
<\/p>\n<\/p>\n
In an era where Hip Hop often chases fleeting trends, viral moments, and algorithmic dominance, few figures stand as unwavering pillars of the culture quite like Nasir Jones\u2014better known to the world as Nas. Widely regarded as one of the greatest emcees of all time<\/a>, Nas has not only shaped the genre\u2019s lyrical landscape but has consistently evolved while preserving its soul. His pedigree is unimpeachable: born on September 14, 1973, in the Crown Heights neighborhood of Brooklyn before moving to the Queensbridge projects in Queens<\/a>, New York City, Nas grew up immersed in the raw realities of urban life. The son of jazz musician Olu Dara and postal worker Fannie Ann Jones, he drew early inspiration from his father\u2019s musical world and the burgeoning Hip Hop scene exploding around him in the late 1980s. Dropping out of school in the eighth grade to pursue his passion, Nas honed his craft through freestyle battles and demo tapes, channeling the struggles of poverty, violence, and ambition into poetry that resonated with authenticity.<\/p>\n Nas\u2019s significance in Hip Hop cannot be overstated. He is a poet of the streets, a historian of Black experience, and a master craftsman whose bars dissect love, loss, systemic injustice, and personal triumph with unparalleled depth. Before his landmark debut, Nas made waves with legendary guest appearances that put him on the map as a prodigious talent. In 1991, at just 17, he delivered a show-stealing verse on Main Source\u2019s \u201cLive at the Barbeque\u201d from their album Breaking Atoms. His opening lines\u2014\u201dStreet\u2019s disciple, my raps are trifle \/ I shoot slugs from my brain just like a rifle\u201d\u2014introduced his vivid imagery and complex rhyme schemes, earning him instant buzz in underground circles. The following year, he followed up with another scorching feature on MC Serch\u2019s \u201cBack to the Grill\u201d from Return of the Product, where his bars about survival and intellect further solidified his reputation as the \u201cnext big thing\u201d from Queens. These spots were pivotal; they showcased Nas\u2019s ability to blend storytelling with multis, foreshadowing the genius that would define his career. They also connected him to the Native Tongues collective and other East Coast luminaries, building anticipation for his solo work.<\/p>\n That anticipation culminated in Illmatic (1994), released when Nas was just 20. Often hailed as the greatest Hip Hop album ever, it painted a gritty portrait of Queensbridge life over production from icons like DJ Premier, Pete Rock, Large Professor, Q-Tip, and L.E.S. Tracks like \u201cN.Y. State of Mind<\/a>,\u201d \u201cThe World Is Yours,\u201d and \u201cIt Ain\u2019t Hard to Tell\u201d captured the essence of 1990s New York Hip Hop\u2014introspective, cinematic, and unflinchingly real. Illmatic debuted at No. 12 on the Billboard 200. Its platinum certification came years later, but its cultural impact was immediate, earning Nas comparisons to Rakim and establishing his place among the elite.<\/p>\n Building on this foundation, Nas\u2019s career overview<\/a> reveals a trajectory of resilience and reinvention. It Was Written (1996) marked his commercial breakthrough, debuting at No. 1 and going triple platinum. With production from DJ Premier, Dr. Dre, and Trackmasters, it blended street anthems like \u201cIf I Ruled the World (Imagine That)\u201d featuring Lauryn Hill with mafioso narratives in \u201cThe Message.\u201d This album expanded Nas\u2019s reach, proving he could balance artistry with accessibility. However, the late 1990s brought challenges: I Am\u2026 (1999), originally a double album but leaked online, featured hits like \u201cNas Is Like\u201d and \u201cHate Me Now\u201d with Puff Daddy, while Nastradamus (1999) faced criticism for rushed production but still yielded gems like \u201cProject Windows.\u201d<\/p>\n Entering the 2000s, Nas reclaimed his crown with Stillmatic (2001), a triumphant return that addressed detractors and ignited one of Hip Hop\u2019s most famous feuds. The track \u201cEther\u201d dismantled Jay-Z in their lyrical war, with lines like \u201cI rock hoes, y\u2019all rock fellas\u201d becoming battle rap staples. The album\u2019s success\u2014debuting at No. 5 and going platinum\u2014reaffirmed Nas\u2019s longevity. God\u2019s Son (2002) delved deeper into personal themes, honoring his late mother with \u201cDance\u201d and featuring soulful production on \u201cMade You Look.\u201d Street\u2019s Disciple (2004), a double album, explored maturity and fatherhood, while Hip Hop Is Dead (2006) critiqued the genre\u2019s commercialization, sparking debates with its title track featuring will.i.am.<\/p>\n Nas\u2019s provocative streak continued with Untitled (2008), originally titled N**r, which confronted racial slurs and identity in tracks like \u201cHero\u201d and \u201cQueens Get the Money.\u201d Despite controversy, it debuted at No. 1. Collaborations kept him relevant: Distant Relatives (2010) with Damian Marley fused Hip Hop and reggae for a global perspective on African diaspora. Life Is Good (2012), with its iconic cover of Nas in a wedding dress holding his ex-wife Kelis\u2019s gown, earned four Grammy nominations for its reflective bars on divorce and growth, featuring \u201cDaughters\u201d and \u201cCherry Wine\u201d with Amy Winehouse.<\/p>\n Yet, Nas\u2019s true renaissance began in the 2020s, proving his enduring relevance. At 47, he teamed with producer Hit-Boy for King\u2019s Disease (2020), a triumphant return that won his first Grammy for Best Rap Album. Blending boom-bap with modern flair, it featured reunions with The Firm and guests like Big Sean and Anderson .Paak. King\u2019s Disease II (2021) upped the ante with Eminem, Lauryn Hill, and EPMD, debuting at No. 3. The surprise Magic (2021) evoked classic vibes, while King\u2019s Disease III (2022) stripped back features for pure Nas lyricism. Magic 2 (2023) brought 50 Cent and 21 Savage, and Magic 3 (2023) closed the Hit-Boy saga with Lil Wayne, forming a six-album run hailed as one of Hip Hop\u2019s most consistent.<\/p>\n Through 17 studio albums\u2014ten certified gold, platinum, or multi-platinum\u2014Nas has sold over 15 million records worldwide, collaborated with everyone from AZ to Kanye West, and influenced the genre\u2019s evolution. His longevity stems from adaptability: embracing streaming, social media, and ventures like his investment in Ring and Lyft, while staying rooted in lyricism. Nas\u2019s impact extends beyond music; he\u2019s a venture capitalist, actor (in Belly and Sacred Is the Flesh), and philanthropist supporting education and criminal justice reform.<\/p>\n This multifaceted legacy led to Mass Appeal Records<\/a>, co-founded in 2014 with Peter Bittenbender. Reviving the 1990s graffiti\/Hip Hop magazine as a media empire, Mass Appeal became a platform for authentic artistry. Nas envisioned it as a bridge between generations, free from major-label pressures. Early releases like Fashawn\u2019s The Ecology (2015), Bishop Nehru\u2019s collaborations, and DJ Shadow\u2019s The Mountain Will Fall (2016) set a tone of innovation. Posthumous J Dilla projects and global expansions, like Mass Appeal India, broadened its scope. Nas\u2019s own Nasir (2018), executive-produced by Kanye, was a label highlight\u2014concise and experimental.<\/p>\n Mass Appeal\u2019s mission\u2014to \u201cpush the culture forward, educate, and inspire\u201d\u2014intensified in the 2020s. Nas\u2019s Hit-Boy albums were all Mass Appeal drops, revitalizing his career and the label. Documentaries and tours underscored its commitment to lyrical depth and independence.<\/p>\n This culminated in the \u201cLegend Has It\u2026\u201d series, announced in April 2025\u2014a seven-album tribute to New York\u2019s Hip Hop pioneers. Nas, as visionary, curated projects honoring living icons and fallen legends like Prodigy, Big L, and Trugoy the Dove. Origins trace to Nas\u2019s reverence for influences: Slick Rick\u2019s storytelling, Wu-Tang\u2019s grit, Mobb Deep\u2019s street realism. The series rolled out monthly, starting with Slick Rick\u2019s Victory (June 2025), followed by Raekwon\u2019s The Emperor\u2019s New Clothes (July), Ghostface Killah\u2019s Supreme Clientele 2 (August), Mobb Deep\u2019s Infinite (October), Big L\u2019s Harlem\u2019s Finest: Return of the King (October), De La Soul\u2019s Cabin in the Sky (November), and Nas & DJ Premier\u2019s Light-Years (December). Marketing included billboards, a Marvel comic, and Nas\u2019s features, emphasizing preservation amid Hip Hop\u2019s commercialization.<\/p>\n In essence, Nas is Hip Hop\u2019s president\u2014elected by acclamation through decades of leadership. He presides not from a podium but through actions: mentoring youth, elevating peers, and ensuring the genre\u2019s roots thrive. If Hip Hop has a constitution, Illmatic is its preamble; Mass Appeal, its executive branch. \u201cLegend Has It\u2026\u201d is his magnum opus policy\u2014a State of the Union celebrating the legends who built the empire. As we review each album, we\u2019ll see how this series not only honors the past but propels Hip Hop forward under Nas\u2019s stewardship.<\/p>\n Slick Rick – VICTORY <\/p>\n Kicking off Mass Appeal\u2019s ambitious \u201cLegend Has It\u2026\u201d series with flair, Slick Rick\u2019s Victory emerges as a triumphant, if understated, return for one of Hip Hop\u2019s most charismatic storytellers. At 60 years old, Richard Martin Lloyd Walters\u2014better known as the eyepatch-wearing, British-accented icon who revolutionized narrative rap\u2014delivers his first full-length project in 26 years since 1999\u2019s The Art of Storytelling. Mass Appeal positions this as the opener in a lineup honoring New York Hip Hop pioneers, and it\u2019s a fitting choice: Rick\u2019s laid-back, sing-song delivery feels timeless, bridging golden-era charm with subtle modern touches. Executive-produced by Idris Elba, the album clocks in at a brisk 27 minutes across 15 tracks, blending boom-bap, reggae influences, and even house elements. It\u2019s a victory lap that reminds us why Rick\u2019s influence endures, from his sampled classics like \u201cLa Di Da Di\u201d to his role inspiring lyricists like Nas himself.<\/p>\n From the opening \u201cVictory Intro,\u201d a spoken-word manifesto over gentle waves, Rick asserts his legacy without pretense. Tracks like \u201cStress\u201d featuring UK rapper Giggs burst with classic energy\u2014Rick\u2019s witty bars on everyday pressures ride a knocking beat co-produced by Parker Ighile, while Giggs adds gritty transatlantic flavor. It\u2019s an instant standout, evoking the raw, relatable tales that made The Great Adventures of Slick Rick (1988) a blueprint for Hip Hop storytelling. Similarly, \u201cDocuments\u201d shines as a highlight, reuniting Rick with Nas for a seamless collaboration that nods to their shared Queens roots and mutual respect. Over a self-produced beat with late-\u201990s sauce, Rick weaves espionage-like narratives of survival and style, while Nas drops polished gems about \u201cdope boy grace\u201d and high-stakes chases. It\u2019s a moment that underscores Nas\u2019s vision for the series: elevating legends while fostering intergenerational dialogue.<\/p>\n Production-wise, Victory leans into throwback vibes, with Rick handling much of the boards himself. \u201cLandlord\u201d flips a sample from his own 1994 cut \u201cA Love That\u2019s True,\u201d turning a mundane tale of property woes into a reggae-tinged commentary that\u2019s equal parts humorous and candid\u2014though some might debate its landlord-tenant dynamics. \u201cAngelic\u201d offers melancholic reflection on aging and faith, with Rick\u2019s effortless flow floating over Dirty Harry\u2019s atmospheric layers. \u201cSpirit To Cry\u201d adds emotional weight, while the overall production evokes an unearthed \u201990s gem with fresh polish.\u00a0The Q-Tip-produced closer, \u201cAnother Great Adventure,\u201d caps things off poetically, blending introspection on family and legacy with fareed\u2019s soulful touch, leaving listeners with a sense of enduring wonder.<\/p>\n Yet, for all its charm, Victory isn\u2019t without flaws, making it arguably the weakest entry in the \u201cLegend Has It\u2026\u201d \u2014though still a solid, respectable effort that debunks ageism in rap. Rick sounds sharp and energetic at 60, proving he hasn\u2019t lost his edge after decades away, but the album\u2019s EP-like runtime and vignette structure feel more like a teaser than a fully fleshed-out statement. Many tracks hover under two minutes, including interludes like \u201cMother Teresa\u201d and \u201cMatrix,\u201d which disrupt the flow and leave ideas underdeveloped. The house-infused experiments on \u201cCome On Let\u2019s Go\u201d and \u201cCuz I\u2019m Here\u201d are bold but jarring, clashing with the project\u2019s core boom-bap and reggae essence\u2014we simply didn\u2019t connect with these departures, which feel haphazard amid the otherwise cohesive nostalgia. Tracks like \u201cForeign,\u201d a quick patois-laced nod to family heritage over Rory Taylor\u2019s flip of a Dave and Ansel Collins sample, charm briefly but end abruptly, craving more depth. Even \u201cWe\u2019re Not Losing,\u201d with its satirical jabs at global anxieties, misses the mark on clarity, diluting Rick\u2019s signature humor that once cut through darker themes with exaggerated flair.<\/p>\n Slick Rick has always been one of Hip Hop\u2019s most lovable figures\u2014his swanky, character-driven style makes it impossible not to root for him\u2014and that warmth permeates Victory. It\u2019s not chasing trends or forcing relevance; instead, it\u2019s an authentic extension of his persona, from the comic impressions to the moral fables. In the context of Mass Appeal\u2019s series, this serves as an intriguing launch, setting the stage for heavier hitters like Nas and DJ Premier\u2019s collaboration. It may feel fleeting and mixed musically, with some half-baked ideas amid the heaters, but Victory reaffirms Rick\u2019s place as a pioneer. For fans of pure, unadulterated storytelling, it\u2019s a welcome reminder that true rulers never truly abdicate the throne.<\/p>\n Raekwon – The Emperor\u2019s New Clothes<\/p>\n As the second installment in the \u201cLegend Has It\u2026\u201d series, Raekwon\u2019s The Emperor\u2019s New Clothes arrives as a deliberate nod to the genre\u2019s storied past. At 55, the Staten Island legend<\/a>, born Corey Woods and forever etched in Hip Hop lore as \u201cThe Chef,\u201d brings his eighth solo album after an eight-year gap since 2017\u2019s The Wild. Raekwon\u2019s pedigree is legendary: As a core Wu-Tang Clan member, his 1995 debut Only Built 4 Cuban Linx\u2026 revolutionized mafioso rap<\/a> with its cinematic narratives<\/a>, coded slang, and RZA\u2019s gritty production, influencing everyone from Nas to modern street poets. Sequels and efforts like Shaolin vs. Wu-Tang (2011) have kept his catalog robust, blending luxury hustler tales with unflinching street wisdom. Here, distributed through Nas\u2019s Mass Appeal, Raekwon crafts a 17-track, 40-minute set that reaffirms his elder-statesman status, though it plays it safe amid the series\u2019 bold revival ethos.<\/p>\n The album pulses with Raekwon\u2019s signature vivid storytelling, delivered in his husky baritone over a mix of boom-bap and soulful chops. Producers like Nottz, J.U.S.T.I.C.E. League, and Swizz Beatz provide a polished foundation, evoking dusty samples and crisp drums that echo his \u201990s prime without fully recapturing its raw edge. Skits like \u201cVeterans Only Billionaire Rehab\u201d and \u201cOfficer Full Beard\u201d structure the project like a mob film, framing themes of loyalty, survival, and opulent grit. Raekwon\u2019s bars remain sharp, painting intricate portraits of Black urban life\u2014 from entrepreneurial hustles to the high stakes of street hierarchies. Tracks like \u201cBear Hill\u201d demonstrate his solo prowess, detailing fresh bricks and crisp stacks with intricate wordplay, while \u201cDa Heavies\u201d throws back to his Lex Diamond era with lines about Cuban cigars and final drops, balancing luxury with grounded roots.<\/p>\n Features elevate the energy, reuniting Wu-Tang kin and bridging generations. Ghostface Killah appears thrice, their chemistry intact on the plush \u201cMac & Lobster,\u201d where they boast of untouchable plans over smooth loops, and the tense \u201c600 School\u201d with Method Man, who steals scenes with resilient bravado despite some off-beat spots. Inspectah Deck adds precision to \u201cPomegranate,\u201d trading Don-level bars on never bowing. The Griselda posse cut \u201cWild Corsicans\u201d\u2014featuring Benny the Butcher, Conway the Machine, and Westside Gunn\u2014infuses raw East Coast fire, with Raekwon anchoring as the veteran passing the torch over chipmunk soul. Marsha Ambrosius brings silky warmth to \u201cDebra Night Wine,\u201d though its atonal struggle-love vibe falters. Standout \u201cThe Omert\u00e0\u201d links Raekwon with Nas, whose verse ponders power through Torah, Quran, and palm readers, weaving faith and influence into Raekwon\u2019s underground code\u2014 a poignant nod to their shared \u201990s dominance and mutual respect.<\/p>\n Yet, for all its authenticity, The Emperor\u2019s New Clothes is solid but misses the spark to make it truly memorable. The production, while clean, often feels generic and dated\u2014Swizz Beatz\u2019s orchestral swells on \u201c600 School\u201d recycle familiar New York tropes, and cuts like \u201cOpen Doors\u201d plod with histrionic horns lacking innovation. It leans too heavily on nostalgia without pushing boundaries, resulting in a listless flow where narratives screech short (e.g., \u201cThe Guy That Plans It\u201d ends abruptly mid-caper) and interludes disrupt momentum. Compared to OB4CL\u2018s gravity or even The Wild\u2018s expansive grit, this feels like a work-for-hire rather than a bold declaration, compounded by safe arrangements that neither lavish nor humble Raekwon\u2019s gifts.<\/p>\n In the \u201cLegend Has It\u2026\u201d context, this album serves as a respectable bridge, honoring Raekwon\u2019s legacy while spotlighting his refusal to chase trends. It\u2019s good\u2014not great\u2014a confident dose of raw NYC Hip Hop for loyalists, proving age is irrelevant when talent endures. Still, one wishes for that untapped chamber to fully reignite the Chef\u2019s fire.<\/p>\n Ghostface Killah – Supreme Clientele 2<\/p>\n As the third chapter in the \u201cLegend Has It\u2026\u201d series, Ghostface Killah\u2019s Supreme Clientele 2 lands with the weight of legacy. Dennis Coles, aka Ghostface, boasts the strongest solo catalog among Wu-Tang Clan members, a run of vivid, emotionally charged street operas that spans over three decades. His 1996 debut Ironman and 2000 masterpiece Supreme Clientele are stone-cold classics, blending gritty narratives, surreal slang, and soulful production into timeless blueprints for East Coast rap. Efforts like Fishscale (2006) and Twelve Reasons to Die (2013) further solidified his rep as Hip Hop\u2019s most imaginative storyteller, outpacing even his Clan brethren in consistency and depth. After a quieter stretch, including the underwhelming Set the Tone (Guns & Roses) (2024), this sequel\u2014distributed via Nas\u2019s label\u2014feels like a calculated reclamation, channeling golden-era energy while grappling with the ghosts of past triumphs.<\/p>\n Clocking in at 48 minutes across 22 tracks, the album favors brevity, with many cuts under two minutes, creating a dense, episodic collage rather than a seamless narrative. Redman\u2019s intro sets a hype tone, leading into \u201cIron Man,\u201d where Ghostface unleashes hyperspecific bars over Chedda Bang\u2019s clanging, soul-infused beat\u2014lines about Ronald Reagan-stamped dope and crunching legs evoke his signature absurdity and detail. The momentum builds with \u201cSample 420\u201d featuring M.O.P., a hazy, aggressive cypher that crackles with raw energy, and \u201cCurtis May,\u201d uniting Styles P and Conway the Machine for a generational torch-pass of hardcore lyricism. Production draws from dusty boom-bap and vintage samples, nodding to Ghostface\u2019s roots without feeling forced, as on the Scram Jones-co-produced \u201cWindows,\u201d a noir-tinged banger that pulses with fast-paced menace.<\/p>\n Features amplify the project\u2019s Wu-Tang essence and intergenerational appeal. \u201cThe Trial\u201d assembles Raekwon, GZA, Method Man, Reek da Villian, and Pills for a courtroom drama posse cut, each playing roles in a tense homicide saga\u2014it\u2019s theatrical and immersive, a peak that honors the Clan\u2019s collaborative fire. Nas joins on \u201cLove Me Anymore,\u201d their chemistry yielding a reflective dialogue on loyalty and betrayal over Rose Royce samples, with Nas\u2019s weary wisdom complementing Ghostface\u2019s terse grit. \u201cSoul Thang\u201d ropes in DriZ, Nems, ICE, Supreme-Intelligence, Sun God, and more for a hilarious, bar-heavy explosion, while the mid-album triptych\u2014\u201dBreak Beats,\u201d \u201cBeat Box\u201d with Ty Boogie and Aisha Hall, and \u201cRap Kingpin\u201d\u2014revives \u201980s block-party vibes and Eric B. & Rakim nods, proving Ghostface\u2019s flow remains hungry and unpredictable at 55.<\/p>\n Yet, the album\u2019s patchwork structure introduces unevenness. Excessive skits like \u201cPause,\u201d \u201cSale of the Century,\u201d and \u201cKnuckles\u201d disrupt flow without adding value, feeling like filler in an already fragmented set. Some tracks, such as the conceptual \u201cCandyland\u201d (using sweets as drug metaphors) or \u201cThe Zoom\u201d (a Lionel Richie-sampling love jam), shine in isolation but fade amid the brevity, ending abruptly before ideas fully bloom.<\/p>\n In truth, titling this Supreme Clientele 2 invites unfair scrutiny; it doesn\u2019t feel like a direct sequel, lacking the original\u2019s cohesive arc and phantasmagoric spark. Perhaps avoiding the name would have sidestepped those expectations\u2014this is a more than fine album on its own, a rewarding return that reaffirms Ghostface\u2019s vitality. In the \u201cLegend Has It\u2026\u201d lineup, it bridges Slick Rick\u2019s teaser-like charm and Raekwon\u2019s solid craftsmanship, proving age hasn\u2019t dulled his edge. Not a classic, but a potent reminder of why Ghostface remains essential: bursts of grit, emotion, and imagination that hit hard, even in fragments.<\/p>\n Mobb Deep – Infinite<\/p>\n In this series, Mobb Deep\u2019s Infinite stands as a poignant outlier, marking the duo\u2019s first full-length since 2014 and the first without Prodigy (Albert Johnson), who passed in 2017 at 42 from sickle cell anemia complications. Havoc (Kejuan Muchita) and longtime collaborator The Alchemist helm this 51-minute, 15-track project, drawing from Prodigy\u2019s unreleased verses to craft a respectful farewell. Skepticism surrounds posthumous releases, often criticized as exploitative vault raids, but Infinite defies that, emerging as a refined, cohesive testament to the Queensbridge icons\u2019 enduring bond. It\u2019s handled with evident care, echoing the thoughtful curation of A Tribe Called Quest\u2019s final album rather than rushed cash-ins.<\/p>\n![\"Legend](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/267-1994-1017x1024.jpg\"\/)
<\/p>\n![\"Legend](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/IMG_4174-819x1024.webp.webp\"\/)
<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/slick-rick-victory-1024x1024.webp.webp\"\/)
<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/Raekwon-The-Emperors-New-Clothes-1024x1024.webp.webp\"\/)
<\/p>\n![\"Ghostface](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/09\/Ghostface-Killah-Supreme-Clientele-2-Review.png\"\/)
<\/p>\n![\"Mobb](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/Mobb-Deep-Infinite-1-1024x1024.png\"\/)
<\/p>\n
![\"Big](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/BIGL_PRODUCT_01-1024x1024.webp.webp\"\/)
<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/de-la-soul-cabin-1024x1024.jpg\"\/)
<\/p>\n![\"Nas](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/Nas-DJ-Premier-Light-Years-Review0x1600-1024x1024.webp.webp\"\/)
<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2025\/12\/mass-appeal-legend-has-it-album-series-1024x576.webp.webp\"\/)
<\/p>\n