As we're winding down a stellar 2022, the ROCK THE BELLS writing staff got together to share some of our favorite releases from this past year. Here are our picks for the BEST ALBUMS OF 2022.

It's Almost Dry by Pusha T

Pusha T has staked his claim as having one of the best two album runs in Hip-Hop history. Beginning with 2018's Daytona — a gritty, coke-centric tale surrounding the pitfalls and triumphs with the Pyrex — he continued that momentum with 2022's It's Almost Dry. While the album will forever be impacted by the inclusion Kanye West's production — following a series of Antisemitic comments that would emerge later — the album is much more about Pusha T's lyrical abilities, than it is about West's problems.

If there were a single lyric that best embodies the spirit of It's Almost Dry, it appears on "Dreaming' Of The Past," where he raps, "You know the type, always tryna get in your picture/I was tryna get the dope through, in your sister." It's equally witty as it is jarring: imagining a scenario of a young woman using her crevices to outsmart would-be drug detectors.

Pusha T has the uncanny ability to put listeners in that uneasy place where you're unsure if the main character in the movie is being ingenious or reckless. For most people, that little voice in the back of our head, and the bead of sweat that rolls down the small of our back, tells us to stop. For Pusha T, he silences the anxiety associated with the dope game by revealing that there are always ways to outsmart law enforcement.

When I listened to It's Almost Dry, I was reminded of the quote from Blow from George Jung: Danbury wasn't a prison, it was a crime school. I went in with a Bachelor of marijuana, came out with a Doctorate of cocaine." Listening to Pusha T is like attending the Cambridge of cocaine.—Alec Banks

Cheat Codes by Black Thought & Danger Mouse

When they first announced that they were working on an album together, I found myself excited for the project in ways I haven't felt about a Hip-Hop album in a very long time. It made me think back to a time when I imagined constructing my own version of a fantasy football team. The closest I ever got to that feeling of having everyone I loved on one song was LL COOL J's posse cut, "4,3,2,1."

That is, until Cheat Codes came out.

What Black Thought and Danger Mouse accomplished was nothing short of an absolute rarity the days: a project with an infectious single, "No Gold Teeth," that you didn't want to immediately skip to. It's a testament to not only the strength of the entire body of work, but also the sequencing of the record. Moodiness is enhanced by unfussy breakbeats, and traditional boom bap is given a taste of Danger Mouse's production sensibilities with Gnarls Barkley. Collectively, it feels like a 21st century project with Gang Starr embedded in its DNA.—Alec Banks

Drill Music in Zion by Lupe Fiasco

Truth is, there are few people as lyrically gifted as Lupe Fiasco. His lyrical dexterity coupled with his cooly profound, deeply insightful life observations has made him one of the most exciting MCs to watch since his 2006 debut, Food & Liquor. Nearly 20 years later, he’s more settled in his talent and ability to build a conceptual album as evidenced on Drill Music in Zion, which Lupe has said was inspired by a scene in The Matrix 2, where humans were able to live “away from all the agents and other stuff.”  

This isn’t a loud album. It’s deliberately quiet as it approaches the heavy themes that’ve taken on a different sense of urgency over the past few years— what it means to truly exist, our constant wrestling with grief, reality, and self-image in an Internet-dependent world, how Blackness intersects with American culture, which has too often fed off the systemic disenfranchisement of Black folks.

The project’s thoughtful tone is set on “Lion’s Den” delivered by activist/poet Ayesha Jacob (Lupe's sister), who also opened up Food & Liquor. “Drill music, pop that pill music, kill music/Desecrating the temples in the ghetto/Funeral processionals increase their frequency/Because we can't break the spell of Geppetto.”

Lupe's futuristic lyricism is displayed on tracks like the profoundly observant assault on capitalism and western definitions of success, “Kiosk”: “Diamonds only worth what you are willing to pay/A deceptive game you are killing to play/Now I have diamonds, it's odd feeling this way/But when they start to sparkle that star-glittering glaze/It sways, takes your mind off todays/Where preachers can praise AIDS as God killing the gays/What a fucking phrase, never ceases to amaze/But when he dies from cancer, that's God's mysterious ways.”

Of course, “Ms. Mural,” the final installment in his incredible “Mural” series is a standout, as well as “Ghotti,” the title track, and the lead single, “Autoboto,” which all showcase Lupe’s superior writing skills. The concise sonic cohesion adds to the texture of the 10-track project, which comes in at a crisp 40 minutes. Produced entirely by Lupe and Soundtrakk (and made in only three days), its deceptively relaxed, heavy jazz-laced grooves make its urgency more palatable if not more subtle, and allow Lupe the space to both wade and swim deep musically. With Drill Music In Zion, Lupe has delivered one of the year’s most thoughtful, inspired projects. —Jacinta Howard

Snoop, Cube, 40, $hort by Mount Westmore

West coast Hip-Hop superstars Ice Cube (Compton), Snoop Dogg (Long Beach), Too $hort (Oakland), and E-40 (Vallejo), have been friends and frequent collaborators for decades. So when they announced they’d come together to form a supergroup and were treating fans to an entire album it seemed like a no-brainer, an automatic win for everyone involved. Still, delivering a few loosie singles here and there is one thing, an album is a different beast. Lucky for fans, the four veterans understand the basic tenants of making good music and do so throughout the project.

The top half of the project leans heavily into Bay Area production, and it’s where all four rappers shine the brightest, including on tracks like “Motto” produced by veteran beatsmith Rick Rock and on “Sub Woofer” where E-40 opens with a comical verse about enjoying life (and women).

In between declaring their standing as big homies, uncs, and elder statesmen in the game, completely with wisdom-laced warnings for young rappers with too much access and not enough direction (“Lace You Up”), they’re content to just bask in the successes of their individual empires, and in the knowledge that they didn’t need to do this project, they wanted to, and you’re blessed to be on the receiving end of it.

Cube previously said they have more music to deliver — here’s hoping we get it sooner than later. —Jacinta Howard

King's Disease III by Nas

There aren’t many artists who can claim to be making among the best work of their entire career 30 years in, but Nas is in that company. His connection with California super producer Hit-Boy has proven to be not only invigorating for the Queensbridge rapper, who is easily among the best lyricists of all time, but pivotal for Hip-Hop — namely because their inspired connection showcases the value in consistency and chemistry.

Yes, Nas’ legacy had long been cemented prior to their connection in 2020, but his seemingly out-of-nowhere incredible four-album run is special in a way that feels unique. After three stellar, album-of-the-year-worthy releases — King’s Disease, King’s Disease II, and Magic — fans wondered if the duo could continue their hot streak with King’s Disease III. They needn’t have worried.

Together, Nas and Hit-Boy have once again produced one of the best Hip-Hop records of the year, steeped in the perspective and observations about life and the game that Nas has spent years uncovering. It isn’t easy to craft an entire album with one producer at the helm, let alone four, without things getting redundant, but Nas and Hit-Boy make it look simple, even ideal on songs like the nostalgic, Mary J. Blige-sampling “Reminisce” and the head-nodding midtempo groove “Serious Interlude” where Nas remembers surviving sketchy situations.

Hit-Boy is still in top form musically, with his accessible production managing to feel nostalgic and current at the same time, simple but sweeping, simultaneously, including on tracks like the stand-out “Michael & Quincy” where Nas cleverly compares their musical chemistry to that of pop icon Michael Jackson and legendary composer Quincy Jones. On “30,” with its groove-heavy production and steady “30 for 30” references throughout (in addition to a Pete Rock reference that ruffled a few feathers), Nas settles in on the track, summing up the overall theme for the series with lyrics like: “This is practice, this is magic/History, havoc, instant classic (30)/This is madness in all fairness/We been movin' how you fuck niggas wanna/My 30 for 30 highlights doin' numbers.”

King’s Disease isn’t simply about celebrating riches, it’s about honoring the tenacity and spirit of Blackness as divine, and walking head-up in the spoils of that realization. —Jacinta Howard

The Rear View by Diamond D

Diamond D is one of the very few MC/producers who treats both disciplines with equal passion and who possesses a strong skill set in both. The Rear View represents an artist who has grown and matured in approach, execution and technique. Chris Rock summed up Diamond's position with many Hip-Hoppers perfectly on the album's intro. "I knew of Diamond D" the comedian says. "I remember a couple of rhymes, but then did a deep dive and man this guy is one of the all time greats." Diamond remains the games best kept secret and his latest full length offering is grown folks Hip Hop. The slow to mid tempo of the majority of the songs force the listener to listen to his lyrics. The slower tempo of the songs was not intentional," Diamond shared with ROCK THE BELLS. "I actually recorded more songs than those that made the final cut, but I wanted my vocals to shine through and be heard clearly. In hindsight, that may have been a premise for the laid back feel of some of the songs."

On "Life Is What You Make It" Diamond drops the life lessons "Life is what you make it/never beg for shit just take it/ never bite ya tongue bullshit and fake it/never say ya word is ya bond and break it." He spits like a man who is focused and satisfied with what he has done thus far, but is not complacent. Diamond unites with Westside Gunn on the soulful "Faithful" and with De La Soul's Posdnous on the uptempo "Flying High showing his versatility and ability to flow with MC's from multiple generations and variable tempos. "Ouuu" features Stacy Epps over a dope soul sample and sung hook. D explained to ROCK THE BELLS that he remains a sample based producer, but he has added a few tools to his arsenal. "Im still sample based, but I use live musicianship to give the songs a BIG feel," the "Sally Got A One Track Mind" producer revealed. "I picked up that technique from producers like Nottz, Dr. Dre, and Battlecat. Though I'm still sample based, I have to compete with what is on the radio, so it all ties in." If you haven't already, do yourself a favor and cop The Rear View for quality adult riding music. —JayQuan

Last Of A Dying Breed by Kool G Rap

Kool G. Rap is one of the Golden era's most revered MC's. Along with Rakim, Big Daddy Kane and KRS-One, G.Rap was a giant amongst MC's from the the mid 1980s well into the 90's. Originally with DJ Polo, and then on his own the Juice Crew favorite has continuously delivered vivid story, clever wordplay and one of the dopest cadences that the rap game has ever witnessed. Executive Produced by The National Hip-Hop museum, and produced by Domingo, Last of A Dying Breed is G.Rap's first album since 2018's Son of G Rap with producer and MC 38 Spesh, and his first solo project since 2017's Return of The Don. National Hip Hop Museum founder Jeremy Beaver spoke with ROCK THE BELLS about the importance of the project earlier this year. “The National Hip Hop Museum has forged a relationship with label Ewing Athletics," he said. "Coming off the heels of Rakim’s sneaker deal, label owner Dave Goldberg and I saw an opportunity to record, revive and reinvigorate one of the greatest MCs in the history of Hip-Hop through his first album in five years."

The album's first single "Fly Til I Die" features fellow Juice Crew MC Big Daddy Kane with cuts and scratches by DJ RBI. The mid tempo single see the two MC's trade verses biggin' up Queens and Brooklyn their respective boroughs, while RBI cuts vocals that reflect both boroughs. "Scared Money" featuring General Vee sets the album off with G. Rap speaking of the perils of hustling over a horn heavy track. G speaks in his signature multisyllabic cadence while Vee sings the hook declaring "Eyes wide open in the valley of the shadow of death I don't fear no man/ scared money don't make no money got the whole world sittin' in the palm of my hand."

"Never Be" featuring Vado, Royal Flush and Folkland Los is one of the albums standout cuts that sounds like it could have fit perfectly on 4,5,6 or Roots of Evil. Over a piano loop G. reminisces on having a foot in the streets, and how much things have changed since those glory days. On "Official" G. reminds the listener why he's the best at the East Coast gangster lane of rap that he created. Features on the album include Grandmaster Caz, Doo Wop, Al Skratch, Nems and Jigsaw.—JayQuan

Hip Hop 50: The Soundtrack, Volume 1 by DJ Premier

2022 was an extremely busy and productive year for DJ Premier. Amongst the many projects that he released this year is Hip-Hop 50 The Soundtrack Volume 1. The Mass Appeal distributed project featured collaborations with Run the Jewels, Joey Bad A$$, Slick Rick & Lil Wayne and Remy Ma & Rapsody. The project is the first installment in Mass Appeal's The Soundtrack Series, which celebrates 50 years of Hip-Hop, and will include a total of 10 EPs curated by Swizz Beatz, Mustard, The-Dream, Mike Will Made-It, No I.D., Hit-Boy, and others. “Hip-Hop continues to inspire fans across the globe and it’s incredible to think of what the next 50 years will bring", Preemo said in a statement upon thee projects release.

Remy Rap, a standout on the 5 song EP features two of The Games best female MC's Remy Ma and Rapsody spitting braggadocious verses over Premier's drum heavy production and signature cuts and scratches. The official video for the song exhibits great chemistry between the two MC's. "The Root of All" featuring the legendary Slick Rick and Lil Wayne seemed like an odd pairing on paper, but the two MC's compliment other extremely well as they speak of the dangers of placing money above all. Slick Rick always holds his own and this track is no exception, while Wayne spits a dope verse with a masterful cadence. The best we've heard from him in a bit.

Premier reunited with Nas for Beat Breaks over Dexter Wansel's classic "Theme From The Planets" break. “When Nas says, ‘Hey, man, I want you to be a part of something,’ obviously you don’t really want to say no,” Preemo said. “In my whole career, I’ve never done an EP. And then Nas said, ‘You get a record from me.’ …. The ‘Theme From the Planets’ is one of my favorites out of all the ultimate breaks and beats and that’s the reason why I shout it out. When I told him, ‘Let me do a quick chop of it on my Serato’ just so I could just figure out an idea of reworking that song, he fell in love with it right off rip. He said it reminded him of the park jams.

Mr. Morale and The Big Steppers by Kendrick Lamar

"It's not an album I would ride around bumping in my car." That's become a somewhat concerning and commonplace take on the latest offering from Kendrick Lamar; but it speaks more to how we see music in 2022 than the merits of Lamar's work itself. To be certain, Mr. Morale and The Big Steppers is a creative high water mark in a career that seems to regularly deliver such projects, but reducing the album's ambitions to "bangers" and how listenable it is in the most leisurely settings almost entirely misses the point. Lamar's pained, introspective and often abstract fifth official studio album is one of the year's best because of how uncompromising it is and how successfully he pulls off what he's attempting to do on it.

The album dropped after a relatively quiet period from Kendrick, and doesn't have the grandiosity of 2017s DAMN. or the easy accessibility of good kid, m.A.A.d city. Instead, Lamar drops an album with songs delve deeply into his own psyche--complete with narration from his longtime partner Whitney Alford. The jagged "Count Me Out" finds him almost completely rejecting familiar song structure; while "We Cry Together" is a pained exercise in the complexities of relationships. It's an intense listen, and the album never stops being gripping, even if it rarely is "fun."

Hip-Hop has always served a myriad of audiences, tastes and settings. Like any other genre of music, there's a project for every context; and Mr. Morale... may not be a feel-good album full of catchy hooks and accessibility; but it's no less for it. That's actually the greatness of the album itself; it sits alongside projects such as A Love Supreme and Here, My Dear as albums that don't exist for casual consumption. Some stuff you're supposed to put on late at night, sit and absorb. And that's the best way to "hear" Kendrick's latest.—Stereo Williams

God Don't Make Mistakes by Conway The Machine

Conway The Machine made all kindsa noise in 2022. He made headlines back in February by announcing that he was departing from Shady Records and the famed Griselda camp. “… Like, sitting right here right now, I’m not on a contract with Griselda, Shady — none of that shit no more,” he said. “It’s free agency right now you heard,” he said. “I need that supermax man — I need that Giannis bag."

And, as it turns out, he had a helluva album waiting in the wings. God Don't Make Mistakes dropped just days after he made the news official, and the project did not disappoint. The album is his first studio project from the aforementioned Shady Records deal, and the Buffalo product shows no shortage of inspiration, ideas and introspection throughout ...Make Mistakes. "Stressed" is an album highlight, as Conway raps about those who take advantage of his success, sponge off of his hard work, and never even notice when he's battling his own anxieties. And his pairing with Beanie Sigel on "Lock Load" is a match made in gritty street rap heaven.

The (former) Griselda standout has been widely praised for his lyricism, but on God Don't Make Mistakes, Conway proved that he has the full creative arsenal at his disposal. And now, he has his destiny in his own hands. —Stereo Williams