The 25 Best Hip-Hop Albums Of 2022

'God Don’t Make Mistakes‘ - Conway The Machine

Conway The Machine and his Griselda Records counterparts have had one of the most prolific runs in recent rap history over the past five years, often releasing three or four new projects every 12 months. The approach could make it tempting to shrug off one record because you’ll eventually get another, but that would be an immense disservice to Conway’s God Don’t Make Mistakes, his first solo album under Eminem’s Shady Records.

Songs like “Piano Love,” “Drumwork” and the posse cut “John Woo Flick” excellently continue the same ominous, grumbling street rap that has become Griselda’s calling card. But it goes beyond aesthetic and wit, here: Conway gets startlingly personal. He revisits the trauma from the shooting that left him with cerebral palsy (“Guilty”), dealing with his son’s death (“Wild Chapters”), losing one child to death and another to a former partner who won’t allow him to visit (“Tear Gas”), and struggles with depression and addiction (“Stressed”). What’s also impressive is that he’s just as willing to drop personal revelations on solo cuts as he is on collabs with other superstars; the priority is the message, not the visibility. He’s always shown a willingness to dig into his personal traumas, but this is as deep as he’s ever gone and as dynamic as he’s ever presented his life over one album. Taking ownership of your story is what classics are made of, and Conway has done just that. — William E. Ketchum III

Listen: Apple Music | Spotify | TIDAL

'Duck Czn: Tiger Style' – Mach-Hommy And Tha God Fahim

New Jersey’s prolific and enigmatic MC, Mach Hommy, has methodically built one of the densest and most respected catalogs in rap today. And his collaboration album with Tha God Fahim, Duck Czn: Tiger Style is a lyrical showcase of the Haitian MC striking down the competition with some of his fiercest rhymes and thoughtfully minded content, as exemplified on the bluesy, sample-driven “Tiger Balm Ultra.” The partnership between him and Tha God Fahim unveils an amazing chemistry that pairs perfectly like breakfast and mimosas as their respective lyrical styles complement each other.

Duck Szn is practically a feast of some of the highest quality thoughtful, dexterous, and spellbinding lyricism Mach-Hommy has delivered to date. On “Pears Shake,“ the duo gets in their bag with bars like, “I just add the profit to pocket, yeah, Fah is a imperial/ Flip you like it’s acrobatics, like you Rey Mysterio/ Solve you if you problematic, drop some new material/ Cop some new material, hear me through your stereo.” Sonically, Mach-Hommy’s dizzying bars ride comfortably on smokey and trippy soul-sampled production led by Nicholas Craven that feels inspired by RZA’s earliest Wu-Tang production from the early to mid-90s. For those who might not have been initiated to Mach-Hommy’s cult following just yet, Duck Czn: Tiger Style is the perfect place to start with its concise album length, clocking in at 26 minutes and perhaps one of their easiest listens to date. — Mark Braboy

Listen: Apple Music | Spotify | TIDAL

'777' - Latto

Two years after her majestic debut Queen of da Souf, Latto continues her reign, hitting the jackpot with her second studio album 777. Headlined by the Billboard Hot 100 hit “Big Energy,” the 13-track LP is a flex tape as the Atlanta native raps from the inside of a money bag. 

Birkin-worthy bars are Latto’s bread and butter whether she runs up a tab on designer brands (see: the Kodak Black-assisted “Bussdown”), celebrates her CEO status (“It’s Givin’”), or dangles her ice as she spits on the opener “777 Pt. 1”: “The bigger the wrist, the bigger the Latto.”

Elsewhere, Latto — short for “lottery” – flourishes on raunchy raps with XXX-plicit cuts, “Like a Thug” and the Twista-sampling “Sleep Sleep.” The Rap Game season one winner also relishes in her spiritual wealth with the show-stealing “Sunshine,” a motivational meditation on her blessings (a.k.a. “hood gospel”) co-starring Lil Wayne and Childish Gambino. 

The wins keep stacking up for Latto on 777 and beyond. After the massive success of “Big Energy,” Latto secured a remix featuring Mariah Carey decades after Carey used the Tom Tom Club melody for “Fantasy.” Add two Grammy nominations, TikTok fame, and a spot on Lizzo’s tour, and it’s clear Latto is making big bets on herself. Looks like the gamble is paying off. — Adelle Platon

Listen: Apple Music | Spotify | TIDAL

'Face' – Babyface Ray

For some time, Babyface Ray has proven to be one of the most compelling newcomers among the rising wave of Detroit MCs that has been making an impact on the sound of Hip-Hop and crafting a new narrative for the historical legacy of rap from the D. His debut album, Face was a huge step forward for him as he balances explosive street raps with a soul-bearing narrative about his story and where he’s at in life. With the album’s tight focus on its themes, core sound, and motivating moments like “Tunnel Vision” Face is the best version of Ray we’ve seen as it carries the most replay value out of any of his albums thus far.

Face finds Ray taking full advantage of the spotlight without skipping a beat. “Same Pain” and “Me, Wife, and Kids” are two songs where he’s at his most honest while offering perspectives like, “Twenty-five years, Brodie still in the game/ I told him put the bag down, he say that’s how he get paid/ He tryna find his way out, you know that sh*t like a maze/ Since I lost my ni**a Snoopy, ain’t been feelin’ the same.” And the Southside and ATL Jacob-produced “6 Mile Show” with fellow Detroit player Icewear Vezzo might arguably be one of the most mind-blowing collaborations in its modern history. They go back and forth on a flexing spree, before clocking us over the head with an insane beat switch that finds the duo spitting fiery tough talk with an infectiously bouncy cadence.

Despite catching an unfortunate case this month, Face debuted at No. 31 on the Billboard 200, and was Babyface Ray’s biggest album prior to him releasing MOB later in the year, and peaked at No. 1 on Billboard’s Heatseekers Albums chart. The LP’s deluxe edition followed several months later. — M.B.

Listen: Apple Music | Spotify | TIDAL

'The Last Remnants' - Che Noir

Buffalo, New York, stand up! Che Noir is putting on for the 716, and her latest, The Last Remnants, showcases her as a bar-crazy emcee. Clocked at nine tracks, the brief but meticulous LP features guest appearances from Benny the Butcher, 38 Spesh, El Camino, Jynx716, Ransom, and Klass Murda, adding to an already hard-knocking audio experience. 

Che announces her arrival with “Handicap,” a self-produced gritty introduction to her latest era of artistry. The track sets the tone for the LP as she labels all of her competition “garbage” over modernized boom bap. Her lyrical exercise continues on “Promised Land,” a track bolstered by a Melba Moore sample of the same name. LT Beats’ craftsmanship brings forth a soulful highlight for the album, with Noir and 38 Spesh putting up all-star numbers while rhyming about the wonders of sticking by and eating with your people.  

One of Buffalo’s premier emcees sonically reminds us that bars will never go out of style, no matter how much Hip-Hop continues to evolve. But, more importantly, the 716 has something to say. — Marc Antonio Griffin

Listen: Apple Music | Spotify | TIDAL

'10' - Westside Gunn

“23′ def my last year doing this shit, I don’t have nothing else 2prove[sic]…” is what Westside Gunn posted on Twitter this New Years eve. It’s the beginning of a semi-annual rant that he goes through that usually ends with him explaining why he’s retiring from rapping. This statement was no different, yet, we always seem to get a fire album out of the self-proclaimed “FlyGod” every few quarters.

10 is the culmination of his Hitler Wears Hermes album series, where he’s had nine previous installments that never disappoint. Roughly since 2012 Gunn has been putting out studio albums and mixtapes and collaborative projects at a dizzying pace. One would be hard pressed to find the consistency and innovative style by which he delivers his raps, like his gun shot adlibs, infamous “Ayooo” intro word, and his elongated syllable stretches on various words.

Gunn really likes to play host on his records, like allowing different members of his Griselda crew shine. Through his HWH projects, Benny The Butcher, Conway The Machine and Rome Streetz have taken stage, but noone has built their status to feverish anticipation level like Stove God Cooks has on WG projects. He is the Ghostface to Gunn’s Raekwon on six of the 12 tracks like, “Shootouts in Soho,” “BDP” and the stellar Swizz Beatz produced “Science Class.” On the latter, Cooks holds his own against Gunn and legends Busta, Rae and Ghost.

For Gunn to tease us with the retirement word is foul…he’s still in the prime of his career as he gives so many talented underground artists and producers their best shot at stardom. Stay on the field Gunn, the game needs you, this album proves that. – Datwon Thomas

Listen: Apple Music | Spotify | TIDAL

'Spaceships On The Blade' - Larry June

Larry June’s Spaceships On The Blade finds the Bay Area representative grounded in his brand of flaunting the luxurious lifestyle that resulted from his unmatched hustle. The 20-track album takes listeners on a journey through June’s motivations, money moves, and muses. Overall, the album stands as proof that the 31-year-old musician’s consistency has paid off as his artistry continuously evolves. 

Featuring production from Cardo, The Alchemist, and more, Larry June offers a range of sounds without losing cohesiveness. Spaceships On The Blade does not depend on tricky metaphors or triple entendre for listeners to run songs back. Larry June’s strength comes in partnering smooth, straightforward lyrics rhymes with retro-inspired beats, making private jets, mink coats, and bad bit*hes seem attainable for all. 

Still, he pushes his creativity and actively welcomes fans to participate in his healthy and wealthy lifestyle with a keen awareness of the sacrifices made to put him in his current position.  Whether he is flexing his own Midnight Organic merchandise, closing a top-dollar deal, or spending a casual “couple days in Napa” just to pull the Ferrari out, after Spaceships On The Blade ends, listeners are made fully aware of Larry June’s humble coolness and promising talent. — D.I. 

Listen: Apple Music | Spotify | TIDAL

'$oul $old $eperately' - Freddie Gibbs

Here we have the one official major label debut from a longtime rap independent star that just so happens to be Grammy nominated with street ties. Freddie Gibbs has given us nearly 20 years of underground mixtapes, classic collaboration albums and furious freestyles to land at this moment of clarity with $oul Sold Seperately.

The album, on Warner Records in conjunction with his ESGN imprint, is truly a gumbo pot of all that Gibbs does best: Trap raps (“Zipper Bags”), the introspection analysis (“Decoded”), freak scenes (“PYS”), killer scenarios (“Dark Hearted”) and straight barfest goon shit (“CIA”). What Gibbs does with his staccato flow on this album is dig deeper into his bag of lyrical tricks and jumps over the snares and down bottom beat punches, making his vocals an instrument on the track. For dope beat lovers, Gibbs made sure to include his favorite music masters in Madlib, DJ Paul, Justice League and his Alfredo album partner Alchemist.

Previous Gibbs albums have a strong theme that is held together through the production, this one by Rabbit is no different, yet with a slight twist…the music and the collaborations are the special sauce that lifts the project to great heights. On “Pain & Strife” Offset of Migos lays easy on the bass heavy beat provided by Fraka and Sevn Thomas. The Bone Thugs & Harmony chorus is a welcomed melodic treat. Along with super surprise album cut spots by Rick Ross, Moneybagg Yo and even Anderson.Paak, it’s the contender for feature verse of the year by his cocaine cowboy co-d in Pusha T that makes the standout track “Gold Rings,” produced by Jahaan Sweet, Sean Momberger and Sevn Thomas the medal winning collab. And that’s saying a lot with Scarface’s “Decoded” spot ending this splendid win of a project.

Gibbs delivered the songs for his major label debut in grand style, if he continues in this vein, that Grammy win will be his shortly. – D.T.

Listen: Apple Music | Spotify | TIDAL

'Luv 4 Rent' - Smino

In the days after Luv 4 Rent was released, Smino tweeted, “don’t classify my genre . i am the genre.” . While some artists debate the categorization of their music for awards and recognition, the St. Louis-bred musician asserts himself, for himself. The album fuses various styles from Hip-Hop, R&B, Blues, Funk, and Soul to fully represent where the 31-year-old is from, where he is and where he is going.

On Luv 4 Rent, Smino wrestles with past actions,  old relationships, various vices, and the pressure to both succeed and fully understand his place in the world. As his first full-length release in four years,  Smino uses the album to elevate his signature laid-back, groovy style. 

Luv 4 Rent does not shy away from his witty one-liners or subtle flexes of flyness. Instead, Smino joins his stamped style with a gifted assortment of artists and producers for a showcase of musicality. Smino’s enchanting tone and distinct delivery are perfectly blended with production from Monte Booker, Phoelix, Groove, Kal Banx, Childish Major, and Cory Henry, among others.

Morphing back and forth from a rapid-rhyming rapper to a smooth, soulful singer, standout songs include the Miami-bass-infused “Pro Freak” with Fatman Scoop and Doechii, “Matinee” featuring Kal Banx, “90 Proof” with J. Cole, and “Curtains.” Additionally, the album features Lil Uzi Vert, Ravyn Lenae, Lucky Daye, and more. 

Overall, Luv 4 Rent reminds listeners that looking inward may get messy, but the gems uncovered when cleaning up are worthwhile. — D.I.

Listen: Apple Music | Spotify | TIDAL

‘Before Sh*t Got Weird’ - The Cool Kids 

With Before Sh*t Got Weird, The Cool Kids give listeners a peek into their worldview and offer a refreshing take on what’s to come. Chuck Inglish and Sir Michael Rocks pay homage to figures and sounds that helped establish rap music, highlight current talent, and signal the next wave. With the experimental LP, The Cool Kids unite different eras and subgenres of Hip-Hop for a perfectly surreal sonic journey. 

The album incorporates comical skits, lyrically-astute rap songs, and function-ready bops in 21 tracks. Before Sh*t Got Weird boasts Chuck Inglish on production, with additional artist features. Standout songs include “DAPPER DAN LEATHER” featuring G Dott, “ALL OR NOTHING” featuring Larry June, “LIGHTWERK” featuring J.I.D. and 6lack, and “SCAM LIKELY.”

The duo daringly calls for listeners to remember a time “Before Lil Wayne spilled his lean in that one interview, before you were paying $1,200 for a pair of Jordans, before Jake Paul was the world heavyweight champion of boxing.” Taking on the task of remembering simpler times, the album does not rely on callbacks or nostalgia. 

Before Sh*t Got Weird takes risks, adding a refreshing element to the sometimes melodic and mundane music currently popular in mainstream Hip-Hop. By channeling the classic style they popularized through the past two decades, the duo was able to stay true to their sometimes off-kilter, but always innovative sound. – D.I.

Listen: Apple Music | Spotify | TIDAL

‘Cheat Codes’ - Black Thought And Danger Mouse

After years of being heralded as one of rap’s “most underrated,” Black Thought is now simply considered one of the best rappers ever. But despite timeless albums with The Roots and viral freestyle moments, he still hasn’t released a definitive project with his name on the marquee. 

The Streams of Thought EP series merely maintains the quality that Thought’s fans expect from him. But Cheat Codes, his long-awaited joint album with Danger Mouse, comes as close as he’s gotten to capturing the wonder of his work with his Philly bandmates. Black Thought’s own brilliance has never been the issue, and he continues to do what he does great here: he integrates Black history into punchlines with the boastfulness and wit other rappers use to describe jewelry and cars, provides convictive social commentary, and exercises rhyme schemes and breath control with an assassin’s precision.

But while other collaborators have seemed focused on providing beats that were worthy of his powerful voice, Danger Mouse checks traditionalist boom-bap boxes while also taking risks like filtering Black Thought’s vocals and adding cartoonish touches. The result is a product that’s equal parts reliable and unpredictable — the only thing that’s been missing from Black Thought’s catalog. — W.E.K

Listen: Apple Music | Spotify | TIDAL

'It's Only Me' - Lil Baby

Lil Baby is arguably one of the biggest, if not thee biggest rapper in Hip-Hop right now. Although his third studio album It’s Only Me has been critiqued as “safe,” “uninspired,” and linear in sound by multiple outlets, Baby’s consistency and predictability to make a hit are actually what lands him a spot on our list. His personality does not steer too far from the characteristics of his music; he often appears uninterested in what’s happening around him. Yet, Hip-Hop can always depend on the Atlanta rapper to deliver catchy wordplay that sticks around long after the song has ended — making him a go-to feature. 

It’s Only Me boasts popular hits like “In A Minute” and the track “Heyy,” where the chorus may be the most unexpected vocal choice from Baby on the album. The LP also received musical assistance from Nardo Wick, Young Thug, Fridayy, Future, Rylo Rodriguez, Jeremih, EST Gee, and Pooh Shiesty — giving the project a sprinkling of flexibility in sound.

In reality, true Lil Baby fans may not mind the laid-back approach when it comes to creating his musical catalog. The 28-year-old’s supporters may be content with him only continuing to deliver consistent charting music as he also exercises other lucrative avenues besides rapping. Clearly, Lil Baby has plans to be on Jay-Z’s level as both a musician and businessman. There’s definitely a “Bigger Picture” in this case outside of music. 

Despite a few unsavory reviews, numbers may speak louder. It’s Only Me still peaked at No.1 in its first week on the Billboard 200 and Top R&B/Hip-Hop Albums charts, making it an undeniable selection to consider. — Amber Corrine

Listen: Apple Music | Spotify | TIDAL

'I Never Liked You' - Future

Future’s I Never Liked You was a firm reminder that one of the most prolific artists of the 2010s is not looking to slow down any time soon. The Atlanta superstar fully committed to his hedonistic and egotistical notoriety, spewing lines like “I gotta take this sh*t up with God ’cause I’m a god on the earth” on “712PM” and “Tell me you fallin’ out of love, it’s breakin’ my heart in two/ I just don’t wanna sit and pray, baby/ Almost like it didn’t happen to make you happy” on “Love You Better.” The hybrid artist who gave us his two iterations separately—in 2017 with his self-titled LP and the cult classic Hndrxx—fused his alter egos together across 16 records.

The apex of the project is “Wait For U,” featuring Drake and an impeccable flip of Tems’ “Higher.” The Billboard No. 1 record fuses their emotional dispositions into a relatable bop. Drake captures the essence of this album and the lines it toes with bars like:  “I cannot convince you that I love you for a living/ I be on your line, feelings flowing like a river/ You be textin’ back, you at Kiki On The River/ Message say delivered, but I know that you don’t get it.”

I Never Liked You succeeds due to its range, shown in records like the under-two-minute rap exhibition “Massaging Me,” the midtempo “Puffin On Zootiez,” and the menacing “Chickens,” featuring standout guest star EST Gee. The album’s deluxe edition—with features from Lil Baby, Lil Durk, and Babyface Ray—and the Valentine’s Day loosie “Worst Day” are just the cherry on top. And, like dessert, while too much of Future’s content may not be good for you (depending on who you ask), people simply can’t get enough. After all, this did mark his eighth No. 1 on the Billboard 200. — Armon Sadler

Listen: Apple Music | Spotify | TIDAL

'Drip Season 4Ever' - Gunna

Drip Season 4EVER—Gunna’s fourth and final installment of the Drip Season series—is the reason many were using the term “pushin’ p” to describe particularly “player” situations.  

Serving as his third studio album under YSL and Atlantic Records, the LP shows the many sides of the recently-incarcerated rapper. With production from Metro Boomin, Turbo and Mike WiLL Made-It, Wunna gets to be vulnerable on various songs about love and lust, reflect on his journey to eminence and just be a braggadocious rapper over heavy bass. 

Making a real name for himself in 2016, the Young Stoner Life Records signee hadn’t yet bridged the gap between street life and his new widespread fame. Still reflecting on his journey, Gunna channels his growing pains through DS4EVER rapping about tribulations from the past that still haunt him. 

He raps on “Livin Wild, “Judging me for trying the whippets, I’m tired of the critics/ But I can’t cap, I ain’t feel it, but this time I done did it/ The doc’ didn’t care who thе richest, I need to be admitted.” Gunna admits to not wanting to “Die Alone,” featuring Chris Brown and Bleu, as he has no remorse for all he’s had to do to get where he is on “So Far Ahead > Empire.”

Switching moods on “Mop” featuring Young Thug, “Poochie Gown,” or “Idk That Bi**h” with G. Herbo, Gunna details wild one-night stands he’s had with women. But he also showcases a softer stance on tracks like “You and Me” featuring Chlöe Bailey, “Missing Me,” and “P Power” featuring Drake, where his sentiments are more endearing.

With little over six years of prominence in Hip-Hop, Gunna has earned the right to boast about the fruits of his labor. He exercises a braggadocious demeanor on “Thought I Was Playing” featuring 21 savage and “Flooded,” but humbly reflects on tracks like “Private Island” and “25K Jacket” with Lil Baby. Drip Season 4EVER peaked at No. 1 in its first week on both the Billboard 200 and Top R&B/Hip-Hop Albums charts and deserves recognition. — A.C.

Listen: Apple Music | Spotify | TIDAL

'Few Good Things' - Saba

Saba is a poet for the everyman. With each successive project, he has grappled with life’s simplest pleasures and most complicated oddities. On Few Good Things, the Chicago rapper returns with ripe mindfulness informed by the understanding that peace comes with perspective. A 14-track journey inward, Saba contextualizes the beauty of family, love, success, forgiveness, and acceptance by his own standards and definition.  

“Come My Way” featuring Krayzie Bone is one of the LP’s standout moments. Over mellow sonics, the rappers’ flows are given the space they need to navigate themes of grief and the power to overcome. On the album’s closer, “Few Good Things,” Saba delivers a thoughtful treatise, unpacking his proximity to greed and success while attempting to remain authentic. Black Thought also appears on the track, ripping through a story of his upbringing and his mother’s matriarchal guidance.  

After wandering in search of satisfaction beyond the material, Saba arrives at the conclusion that life’s simple pleasures are the only truly tangible sources of fulfillment — that those few good things are paramount. 

Saba is one of Chicago’s brightest young rap stars, and Few Good Things is evidence.  — M.A.G.

Listen: Apple Music | Spotify | TIDAL

'Her Loss' - Drake and 21 Savage

Drake and 21 Savage’s Her Loss was a lightning rod in 2022. The album’s hilarious rollout and fans’ genuine curiosity about a full-length project from the pair made the project quite intriguing. Together on Her Loss, they earned another No. 1 album and the approval of the masses once again.

The Toronto rapper symbolically passed the torch to the Slaughter Gang CEO for his solo outing “3AM In Glenwood,” where the latter dips into a rare reflective, backpack rap bag. Drake, in one of his four individual efforts “Middle Of The Ocean,” follows suit with his vintage stream-of-consciousness flow targeted at party buses, hibachi, and Serena William’s husband, the last of which drew the ire of many fans for Drake’s inability to let go of an old relationship. The duo raises the tempo on the popular opener “Rich Flex,” the fusion force Kamehameha (for my Dragon Ball Z fans) “On BS” and the polarizing “Circo Loco” where The Boy controversially alluded to Megan Thee Stallion lying about being shot by Tory Lanez through a veiled metaphor about women lying about getting butt implants. 

Of course, it’s not a Drake project without emotions. An overflow of feelings is poured into “Hours In Silence,” a three-act play where he questions whether or not he can f**ck the idea of another man out of a woman’s mind. The track breaks down the three sides of a very 2022 story and throws in an impressive 21 Savage bridge. 

Then there’s the ballad “Spin Bout U,” where they threaten violence against anyone who dares try and run game on their women. The sobering acceptance laced in the album closer “I Guess It’s F**k Me” was palpable: “But you’re not one of mine / You belong to everybody else when you’re bored in your free time / Sh*t could make a thug cry, play it like a tough guy.”

This was a good Drake project made great by 21 Savage, heavy Southern influence, and the braggadocious-yet-earnest lyrics and delivery. — A.S.

Listen: Apple Music | Spotify | TIDAL

'The Forever Story' - JID

JID is one of Dreamville’s most talented emcees; he can go pop with Imagine Dragons and even slide on a Latin Trap bop with Trueno. But when it’s time to return home and give Hip-Hop its love? Jiddy Jid be rapping, and The Forever Story is conclusive evidence. The Forever Story is a sprawling sixteen-track odyssey that finds the East Atlanta native recalling his journey of growth and the lore surrounding his family’s struggles.

“Radar” is primarily a lyrical onslaught, but when examined closely, it also foreshadows themes of familial tension later in the LP. For example, with lyrics such as “Everything a ni**a learned gotta burn/My lil’ ni**a in a hearse, I was hurt/F**k a rap and f**k a verse, I could blur it/Tryna see how many urns I could earn/Are you entertained or are you concerned?” A question JID answers in “Crack Sandwich,” — a track featuring the rapper analyzing his familial bonds as he recounts a story where he and his ever-chaotic six siblings got into an altercation in New Orleans. He insists that the answer lies somewhere between being “entertained” and “concerned,” romanticizing his family’s impulsiveness, jokingly comparing their energy to wandering “crackheads” addicted to the plight of their circumstances and upbringings. But, while the story is rather comical, the unhinged methods to their madness drive their relationships forward in a loving way.

“2007,” the album’s closer, brings the family ties together with the 32-year-old’s story in full, from playing high school football to getting signed by J. Cole. While some of his family’s woes prevail, JID embraces them with love and acceptance. It took four years for Young DiCaprio to deliver The Forever Story, a time that has only improved JID’s ability to deliver a gripping narrative. His sharp yet pitchy delivery makes for an entertaining listen from start to finish. — M.A.G.

Listen: Apple Music | Spotify | TIDAL

'Romona Park Broke My Heart' - Vince Staples

Vince Staples’ Ramona Park Broke My Heart is an ode to the very place that made him into the man he is today: his Long Beach, Calif. neighborhood.

The 16-track album details the good and the bad found in the ‘hood that claimed the lives of his friends, forced him to grow up fast, and gave him a different meaning to the phrase “keep hope alive.” Not only does he rap about life on the other side of violence and uncertainty, he provides his fans with a map to follow exactly where he’s coming from. With spurts of ocean waves crashing in between tracks, the 29-year-old delivers moments of having to make “Magic” in unfortunate situations to being naive “When Sparks Fly.”

In the end, Staples still raps “The Blues,” even after prevailing through his hardship. But narrating the unfavorable side of growing up in Ramona Park doesn’t mean he isn’t proud of where he’s from. 

Staples documents his life as a gang member and the pressures of trying to make it out on high-energy songs like “Aye! (Free The Homie)” “Bang That” and “Lemonade.” Tracks like “DJ Quik,” ”East Point Prayer” and “Mama’s Boy” places you in Long Beach on a sunny day as the instrumentation found on the lo-fi G-Funk beats take you there. Staples also shows another side of how he once loved, lusted after, and lost women growing up on “Player Ways” and “Rose Street.” On “Papercuts,” Staples evokes the same feelings found in Lil Wayne’s “Hustler Musik” — a desire to make a way by any means. 

Peaking at No. 22 on the Hot 100 chart, Ramona Park Broke My Heart is an alternate choice to hard-hitting Rap albums, but of the same value in lyricism. His easy-going demeanor coupled with raw spitting reminds one of a young Curren$y — however, Staples makes his mark as his own artist. — A.C.

Listen: Apple Music | Spotify | TIDAL

'Melt My Eyez See Your Future' - Denzel Curry

Denzel Curry has always been cut from a different cloth. With references, sounds, and aesthetics all influenced by everything from Hip-Hop to punk rock, Melt My Eyez See Your Future makes use of Curry’s palette. Creative and loud,  his full spectrum shines brightest on his fifth album, representing a maturation of his execution. 

Curry begins Melt My Eyez See Your Future with jazz pillar Robert Glasper on “Melt Session #1,” where the emcee’s evocative lyrical prowess sets the tone. The South Floridian unloads a bevy of stressors plaguing his mind, stripping away clever punchlines and bluntly exorcizing his demons. He continues to bare his soul on the T-Pain-assisted track, “Troubles,” driving home the idea that strife is persistent in America — the great facilitator of systematic ills.

Concern for capitalism’s evils seems central to Curry’s latest body of work, a story is articulated clearest in “Walkin.” As Curry faces the social shortcomings of a corrupt country, he boldly chooses to keep fighting for clarity, justice, and peace of mind going. — M.A.G.

Listen: Apple Music | Spotify | TIDAL

Killing Nothing - Boldy James

Dropping a trifecta of releases over the past 12 months, Boldy James’ finest moments of 2022 were captured on Killing Nothing, his collaborative project with Real Bad Man. After dominating 2021 with his Bo Jackson and Super Tecmo Bo projects alongside producing great The Alchemist, the Detroit rhymer extended his campaign into the new year with an LP that finds Boldy nearing the height of his powers. Murder and mayhem theme the opening salvo “Water Under the Bridge,” as the rapper takes no prisoners while leaving no witnesses in his treacherous rhyme spill. “I’ll ground you, no punishment/ No pun intended, but back in grade school, you was running for student council,” Boldy muses, reducing his opponents to imposters while attacking the brooding backdrop. 

The rap scribe stiff-arms the long arm of the law amid drug wars and informants on the mellow groove, “All The Way Out” before lyrically drifting atop an entrancing backdrop courtesy of Real Bad Man on “Hundred Ninety Bands.” Paying tribute to fallen brethren and associates past, Boldy attributes his street exploits to the trauma experienced, reasoning, “All my peoples dead and gone, so pardon my behavior.”

Equally adept in a starring role in a collaborative setting, the wordsmith is supported by co-stars CRIMEAPPLE (“Medellin”), Knowledge The Pirate (“Cash Transactions”), and Rome Streetz and Stove God Cooks (“Open Door”) on Killing Nothing, pairings that find all parties volleying terse couplets atop a succession of percussive-driven compositions. On “Bo Jack,” the Motor City standout gets loose, merely showcasing his poetic guile via a succession of slick one-liners worthy of a highlight reel. Containing additional peak moments such as “5 Mississippi” and its jazz-infused title track, Killing Nothing is a full-bodied offering that further validates James’ distinction of being one of the premier talents in the genre. — Preezy Brown

Listen: Apple Music | Spotify | TIDAL

'No Fear Of Time' - Black Star

Yasiin Bey and Talib Kweli fulfilled the dreams of Hip-Hop heads around the globe with the release of No Fear of Time, the long-awaited sequel to their 1998 debut Mos Def & Talib Kweli Are Black Star. Their label at the time, Rawkus Records, lived by the slogan “Independent As F**k,” a credo the duo fully embraced by releasing No Fear of Time exclusively on the Luminary podcast platform. The move was an ambitious and rather risky one in terms of affording the album mass consumption but hasn’t kept multitudes of listeners from tuning in and singing its praises. 

Produced entirely by Madlib, No Fear of Time finds Kweli and Bey staring into the abyss that’s become of culture and politics. Crashing drums and guitar strings comprise the foundation of “o.G,” a selection that has Bey touching on the blessing of life and the value of understanding. Contemplating a move to the motherland, Kweli paints a picture of his native habitat, putting forth an aggressive, albeit measured performance that plays perfectly off his counterpart’s more mellifluous stylings.

Madlib molds a hodgepodge of sound into a sonic canvas that the pair rips to shreds on the explosive number “So Be It,” as the duo spews rewind-worthy quotables with reckless abandon. Delivering his bars like a man possessed, Bey aka Black Dante goes on a stream of consciousness, dismissing “hypes and wicked government” while pulling lyrical stunts with the adroitness of a trapeze artist. Echoing similar sentiments, Kweli takes aim at White Supremacists in the Senate before denouncing Confederate monuments. Black Star switches the vibes on “Sweetheart. Sweethard. Sweetodd,” a smooth ditty in a sonically similar vein to their classic cut “Brown Skin Lady,” but slightly strays from the original, conceptually. 

Another familiar wrinkle of No Fear of Time is the inclusion of a solo song by each artist. Bey shines on the doo-wop inspired “My Favorite Band,” which finds the mercurial rap star giving thanks for existence and humanity, a theme conveyed throughout the album. On “Supreme Alchemy,” Kweli reflects on distant memories while sharing revelations and lamenting the prevalence of drug abuse within Hip-Hop. However, Black Star are at their best when working in tandem, as evidenced by “The Main Thing is to Keep the Main Thing the Main Thing,” a head nod inducing salvo on which the partners-in-rhyme give the finger to forces opposing the Black community. “I ain’t begging for my equality” Kweli says, noting the decay of the structure among his constituents via the prison system and societal whims. Accounting for No Fear of Time’s lone features, Black Thought joins his fellow Soulquarians for a game of three-card-molly on “Frequency” while vocalist Yummy Bingham and late music journalist/afro-futurist author Greg Tate appear on the finale title track.

No Fear of Time is a masterful collection of tracks that not only marks one of the most significant releases of 2022 but within the last decade. — P.B.

Listen: Luminary

'It’s Almost Dry' - Pusha T 

With It’s Almost Dry, Bronx-born, Virginia-raised MC Pusha T continued to build upon his catalog of designer drug dealer tales with a body of work co-produced by two of the game’s most talented beatsmiths in Pharrell Williams and Ye, formerly known as Kanye West.  

Having two of the industry’s most revered producers score his latest vision allowed the rapper to fully challenge himself in ways we hadn’t seen from Push previously, menacingly personifying The Joker and sharpening his skills as a storyteller on Williams’ tracks while Ye records, like the phenomenal “Diet Coke” and “Just So You Remember” (co-produced by BoogzDaBeast and FNZ), allowed the top-tier lyricist to bar fans to death, which is exactly what a lot of them came for.  

The self-proclaimed “Dr. Suess” of cocaine also managed to elevate his signature coke lines this time around. That’s a seemingly impossible feat for someone who has literally been rapping about the contraband for no less than two decades, both as a solo artist and as one-half of Hip-Hop duo The Clipse (with his brother No Malice).  

Still, he manages to silence naysayers who constantly critique his art as repetitive when an active listener will tell you that his powder wordplay is often a metaphor for bigger concepts, from financial hardship (“Dreamin Of The Past”) to the mindf**k of betrayal (“Brambleton”).  

There’s something to be said for allowing an artist to express an idea with their theme of choice without branding them a one-trick pony, a label rarely associated with film directors who prefer particular metaphors throughout their filmographies to explore a wide range issues. Yes, Goodfellas, Casino and The Irishman center the mob, but legendary film director Martin Scorsese took it upon himself to explore loyalty and belonging in Goodfellas while assessing greed and self-destruction in Casino. His last big picture, Netflix release The Irishman, also had all the trappings of a mobster flick, but was ultimately about the process of aging and facing death with a heavy heart.   

Push deserves the same freedom to explore a myriad of topics via coke rhymes if he so chooses, especially considering he’s managed to elevate and innovate a sub-section of Hip-Hop boasting some of the best in the game, including his “Neck & Wrist” collaborator, Shawn “Jay-Z” Carter. 

As for features, not one is wasted on this incredibly lean record. Everyone more than carries their weight without outshining the man you came to hear, who snatched our attention with unconventional flows found on the aforementioned Hov collab, as well as the Lil Uzi Vert-assisted “Scape It Off” and solo stand-out “Call My Bluff.”  

One of the best verses on the album – and of the year – does come from the record’s final featured artist — Push’s brother Malice — who drops the “No” found in his current rap name to let ni**as know what time it is on “I Pray For You.”  

Upon its release, It’s Almost Dry debuted at number one on the US Billboard 200 chart, moving 55,000 album-equivalent units in its first week. It also became the rapper’s first number-one album and earned him a Grammy nomination for Best Rap Album, an honor that “hits a little different when you are unapologetically you,” Push shared following news of the nomination, and we couldn’t agree more. — Jessica “Compton” Bennett

Listen: Apple Music | Spotify | TIDAL

'2000' - Joey Bada$$

In 2012, 17-year-old Brooklyn rapper Joey Bada$$ delivered his breakout project, 1999. The mixtape showcased a lyrical talent and worldly understanding beyond the maturity level of the typical teenager. It still stands as one of the best releases of the era.

Ten years, two mixtapes, one album,  and one EP later, the rapper-turned-actor seeks new career heights. On 2000, Joey Bada$$ reflects on the years since 1999, remembering what he’s lost, recognizing what he’s gained, and exploring societal change. The album is an ambitious effort to certify the 27-year-old’s status as one of  Hip-Hop’s youngest auteurs. 

A large theme of 2000 is loss and the trauma that comes with it. “Survivors Guilt,” a follow-up to “Survival Tactics,” Joey Bada$$ reflects on the death of Capital Steez, his childhood friend and Pro Era groupmate who died by suicide in 2012. The emotional song remembers the two in their glory, while simultaneously drowning in the various stages of everlasting grief as he opens his mind to display his “darkest clouds.” The tear-jerking rap song ends with Ab-Soul sharing a memory about  Joey and Steez. 

Another theme across the 14 tracks is the once-angsty teenager stepping into adulthood. The album also includes acknowledgment from New York Hip-Hop titans; Diddy introduces Joey as the “baddest motherfu**er” while Nas is “proud to present” Joey as “a great one.” 

“1999 was about a boy growing up in Brooklyn, doing what he loves with his friends, just trying to make a way,” the Raising Kanan star explained to The Ringer. “2000 is that same boy, but on the other side of the fence. He’s a man now. He’s done made it, and this is his success story.”

More 2000 highlights come in the form of features. Larry June delivers one of the best moments of his career on the luxurious “One Of Us.” J.I.D. and Westside Gunn also deliver top-tier verses on “Wanna Be Loved,” and “Brand New 911” respectively. Production credits include Statik Selektah and Chuck Strangers, with contributions from Erick the Architect, Mike Will Made It, Kirk Knight, and more. 

2000 was not an attempt to keep up or even explore the trends; instead, Joey chose an honest pursuit to stay grounded in technical skill and lived experience. Hopefully, Joey Bada$$ does not take another five years to conjure a full album but if so, his “sh*t is timeless.” — D.I.

Listen: Apple Music | Spotify | TIDAL

'Mr. Morale & The Big Steppers' - Kendrick Lamar

Kendrick Lamar ended a five-year hiatus with his most personal offering to date,  Mr. Morale & The Big Steppers. The 19-track LP peeled back the layers of the Compton rap deity, revealing the imperfect core of a man battling his own demons. 

Disc one features the jarring spoken word-like effort “We Cry Together,” a five-minute and 41-second argument between actress Taylour Paige and the DAMN. artist over The Alchemist production. After a grand horn introduction, a voice says “This is what the world sounds like” before getting into the rhyming, back-and-forth screaming match. Though not necessarily a modern-day classic,  it is an accurate depiction of what romantic relationships can be like today. It is a daring effort that tells a story, even at the expense of being a “good” song. 

Harsh realities are balanced out by the upbeat pop jam “Die Hard” featuring Blxst and Amanda Reifer, Sampha-assisted introspective dive “Father Time,” and “Purple Hearts,” an affirming love song with Summer Walker and Ghostface Killah. 

Disc two goes even further into Kendrick’s psyche, especially with its run from “Auntie Diaries” to the closer, “Mirror.” “Auntie Diaries” received criticism from the LGBTQ+ community for the rapper’s use of a gay slur, and rightfully so. Still, it offers an honest recounting of a cis-hetero Black man’s experience with queer identity:  “My auntie is a man no / Asked my momma why my uncles don’t like him that much/ And at the parties why they always wanna fight him that much/ She said,  ‘Ain’t no tellin’/ Ni**as always been jealous because he had more women / More money and more attention made more envy/ Calling him anything but broke was less offending.'”

Lamar also defends Black male celebrities who fans expect to fix broken systems on “Savior,” noting that while J. Cole, Future, and LeBron James are all legends, they are not your savior. Baby Keem and Sam Dew join the track, with Keem offering an infectious refrain: “Bi**h, are you happy for me?/ Really, are you happy for me?/ Smile in my face, but are you happy for me?/ Yeah, I’m out the way, are you happy for me?”

Through an honest look inward, Mr. Morale & The Big Steppers also shows that what is inside Kendrick Lamar is sometimes affected by what is outside. — A.S.

Listen: Apple Music | Spotify | TIDAL

'King's Disease III' - Nas

In a game where the new blood is constantly looking to oust the old, Nas has defied the odds and the hands of time, both physically and lyrically. 

Infamously declaring the genre dead at one point in his career, Nas’ love for Hip-Hop and its culture has been fully revived, with the rapper spending the past few years in a creative flow that rivals any we’ve seen in recent memory. One catalyst for the Queens, New York royalty’s well of inspiration can be attributed to his musical partnership with California reppin’ producer Hit-Boy, who produced the entirety of Esco’s last three studio albums. Beginning with the Grammy Award-winning King’s Disease in 2020 and continuing with King’s Disease II and Magic both of 2021, the pairing has yielded spectacular results, with many fans wondering how long the run will last. While most artists would rest on their laurels and bask in their glory, Nas has instead raised the stakes, capping off this year with King’s Disease III, an album that finds the veteran putting forth his best work in two decades.

One knock on Nas throughout his career has been his beat selection, however, his alliance with Hit-Boy has tempered those critiques, which should become even more of an afterthought upon giving KDIII a spin. From the outset, Hit-Boy provides Nas with a rollicking composition on “Legit,” an upbeat number powered by a sample of The Five Heartbeats’ “A Heart Is a House for Love.” Keeping his “Ultra Black” vibes from the previous KD installment, Nas announces “We comin’ blacker than Black Panther 2” before reflecting on his rise from the Queensbridge housing projects to his legitimacy as a venture capitalist. With his business acumen and mic skills, that same success hasn’t diminished the pride he has for his home borough which is reflected in the hearty anthem “Thun.”

Shouting out various sections of the Q-boro, the native son shows love to everyone from famous residents of neighboring boroughs on this instant classic. Speaking of Hit-Boy, Nas waxes poetic on their innate chemistry, likening it to the iconic duo of “Michael & Quincy,” while recollecting chapters from yesteryear on the blaxploitation-esque standout “Recession Proof.” Known for his love of memories past, Nas flips a reworked sample of Mary J. Blige’s 1992 hit “You Remind Me” into “Reminisce,” spouting a flow that harkens back to his butter leather Avirex jacket era. “I didn’t have to die so that they could call me the great one,” he raps before later likening the greatness achieved in the latter years of his career to that of NFL icon Tom Brady. 

With all of the firepower included in the first half of the album, King’s Disease III reaches its highest plateau of excellence during its mid-portion, as Nas strings together a succession of masterful performances that exceed even his own lofty standards. “Serious Interlude” finds him touching on matters of the heart while juxtaposing his sex appeal with his romantic experiences, while “I’m On Fire” is simply a means to remind listeners of his sheer superiority as a rhymesayer. Adding to his long list of conceptual masterpieces, Nas shines on the contemplative offerings “Once A Man, Twice A Child” and “First Time,” but makes his most ambitious attempt this outing with the bristling cut “Beef.” Taking a page from past tracks like “I Gave You Power” and “Rewind,” he reimagines himself as the source of discord between two parties while detailing his impact on the world and how he operates. While falling short of those previous offerings, the song remains impressive in its own right and is a reminder that the rapper’s willingness to take artistic leaps is alive and well.

Nas has been defined by many labels throughout his career: prodigy, superstar, prodigal son, vanguard, and elder statesman. Now, in 2022, more than thirty years since his rapping debut feature, King’s Disease III adds another illustrious chapter to his storybook career. And puts him in direct contention for the title of being the best rapper alive and is our clear-cut choice for Album of the Year. — P.B.

Listen: Apple Music | Spotify | TIDAL