Disco de Clipse: “Til the Casket Drops [Clean]”

For Virginia Beach rap duo Clipse, what more fitting time to release their third album than when the weather starts to turn white? Brothers Malice and Pusha T have long made their name on critically-acclaimed, popularly-ignored hardcore rap that largely focused on one thing and one thing only: cocaine, and all the business ventures and death threats that go along with it. From their brutal lyrics, relentless flow, and minimalist Neptunes-provided beats, they've always seemed darker than their contemporaries, more real and, most importantly, more believable. But after yet another long layoff and another sub-standard mixtape to whet their fans' appetites, Clipse have found themselves in a weird place: successful, and with nothing to prove.

Perhaps then they can be forgiven for making their first so-so record, one that on the surface seems to have all the necessary ingredients for another celebrated release. The brothers Thornton have retained their sharp tongues and smooth but distinctive flows, rapping out lyrics like "I keep that dirty money / I'm talkin' fast cash / I'm talkin' razor shaving / I'm talkin' duffle bags" with the same equal amounts of nonchalance and subtle vigor that they use to spit lines like "hell, even my garage a ménage / like my hoes exotic, same as my cars" or "they think it's cute / while they're giving me dome" so viciously. They're still obsessed with coke, although here they focus more on the money and fame it's brought them than the actual travails of drug dealing. And the Neptunes are still on board, providing low-key beats with the focus on the brothers' storytelling.

But while the formula is there, it seems that the cold heart that Hell Hath No Fury thrived on has been replaced with a lax sense of peace, a feeling that they've reached the plateau of the hip-hop/coke world and there's no point in trying to find anything more to climb. Hell Hath No Fury was a drug-rap classic, an album fueled by Pusha T and Malice's grimy, lurid stories, tales told with all the intensity of a grainy, black-and-white crime scene photograph. Til The Casket Drops, meanwhile, seems content to celebrate its' creators' ascendancy with look-at-me hoopla like the embarrassing "Kinda Like A Big Deal" and almost masturbatory self-congratulations like on the bland "I'm Good" or standard club jams like "All Eyes On Me" or "Counseling."

These are tracks that call to mind less savory and far less talented rappers with nothing better to write about, songs that concentrate more on all the sluts Clipse can score or how much high-class clothing they're currently sporting than the kind of realistic imagery they've made their name on. Clipse are still obsessed with reminding people that they "[got] it from the streets," but when they follow it up with lines like "rockin' those Prada goggles / you're my next top model / your style like Jackie yo now just sit back and let `em marvel" or "pump that camera mama, rip that runway baby / now pop that collar, see them dollars," it comes across as the kind of empty posturing Clipse used to be the antithesis of.

The Neptunes don't help things with beats that often come across as recycled or merely undercooked, from the lame synths of "Champion" to the faux-funk of "There Was A Murder," but by and large the blame here falls squarely on the Thornton brothers. Til The Casket Drop's hollowness is even more glaring when they actually sound like the Clipse of three years ago. Opener "Freedom" spins a tale of redemption from a sweet sample, melodic electric guitar, and sharp string accents behind spirited verses, while a hard-hitting song like "Showing Out" calls to mind Hell Hath No Fury's single-minded passion and boasts one of the catchiest choruses on the record. The best tracks, however, are those that return to Clipse's roots, namely the one-two punch of "Door Man" and "Never Will It Stop," both of which mix drugs, violence, and money in a volatile cocktail that always seems on the verge of blowing up in one's face.

But Clipse can do so much better than much of Til The Casket Drops, and it's disappointing to see such a talented duo seem to go through the motions so often. Clipse's biggest strength was always their realism and combustive flow, and when they spend so much of their talents rambling on about tired rap stereotypes like girls, fast cars, and huge diamonds, it only makes the difference between songs like "Kinda Like A Big Deal" and "Never Will It Stop" so painfully obvious. It's a deserved victory lap, to be sure, but one hopes that Clipse won't lose sight of what got them here next time around.

"I thought life was a bad girl, bad car/ Life is with your kids, watchin' Madagascar."

"Life Change," Malice rhymes "Now I see clearly with a family of four/ Never did I deserve a two-seater Porchse,"

"Wasted so much time stuntin' for folks/ When really the whole time I was stuntin' my growth." On "Footsteps,"

"These footsteps could lead you astray/ Lead you to the cell, or lead you to a grave...Don't let my wrongs give you the right of way."

This album represents why hip-hop/rap will continue to be relevant, because of artists like the Clipse who stay true to what rap is about. It's not just about materialism, crime, drugs and sex. These quotes represent what main stream media doesn't want the masses to know about some of our prominent hip-hop artist-they're thoughtful, introspective, intelligent and creative. They would rather pigeon-hole the entire hip-hip community as ignorant, frivolous and violent individuals. We help them by saying there is no redeeming quality about this album- "it's average"-do those quotes sound average? When did a positive message become "average"? The Clipse give you the good and the bad of their life with excellent lyrical skills. This album is top 2/3 Clipse albums(hell hath...is 3rd), giving you tangible examples of hope and redemption over some tight beats!

Mixtapes are a good way to keep your name circulating in between albums. The Clipse dropped two very good mixtapes since their last album "Hell Hath No Fury". The problem with mixtapes is nothing about it is original. Its nice to hear your favorite rapper rhyming over someone else's hit. But albums are where you make you money. Nobody else to blame but yourself. Their last album was critically acclaimed but that did not reflect in record sales. They haven't had a hit single since "Grindin". Now, the Thorton brothers are back to prove a point with "Til' The Casket Drops".

The Clipse are known for two things: "coke rap" and metaphors that would make Phife Dawg proud. The first thing you might notice is that The Neptunes are not responsible for the entire production on the album. That can be good and bad. Good because it shows the ability to step away from their comfort zone. Bad because it gets away from the sound they are known for. Veteran producers The Hitmen lend a hand on the lead off single "Freedom". "Kinda Like A Big Deal" is classic Clipse flow over a Neptunes beat featuring a weak 16 from Kanye West. "Popular Demand (Popeyes)" is what you would expect from a song featuring Cam'Ron. It makes no sense but the beat and hook is hot. "I'm Good" Ft. Pharrell is obviously a song for the club. But its catchy and grows on you. Other standouts include the reggae-themed "There Was A Murder", "Door Man" & the reflective songs "Footsteps" & "Life changes. This album is not without its flaws. "All Eyes On Me" ft. Keri Hilson is horrible. As well as "Counseling", "Champion" & "Showing Out" ft. Yo Gotti. What stands out is that all of the bad songs on this album are beats done by the Neptunes. (I always thought they were hit or miss). Overall this is a solid album. Not one of the best of the year but it will keep true hip hop fans pleased for now.

Back in 1994, a rap group from Queensbridge named Mobb Deep were the hottest rap duo of the early 90's. With a classic second album and 2 good follow ups, they had the streets on lock with grimy tales of hood life. Now in 2009, a couple magazines had the Clipse as the "greatest rap duo of all time". That is a smack in the face to some of the greats like Gangstarr, Meth & Red, EPMD and Pete Rock & CL Smooth. The problem with the Clipse is they seem to have no identity. In the past they were the heads of the "coke rap" game. Now what are they about. Is it duffle bags, watches and sluts or do they wanna make you dance or are they street pushers. It doesn't help when you don't get full attention from the Neptunes or your record label. Record sales have been the down fall of the Clipse career. Until they solve those problems, they will never dethrone Outkast as the greatest rap duo of all time.

A little over 2 years have passed since their highly acclaimed "Hell Hath No Fury" album, and the 2 brothers return with their 3rd album, and my least favorite of the 3 and worth 3.5 stars ("Lord Willin" & "Hell Hath no Fury" I'd both give a solid 4 star rating). No doubt the 2 can drop some street, hustling tales and tight lyrics into a good song, but this album just didn't live up to their potential. With 13 songs, you get 5 ok ones, (1 or 2 may be skippable material) and the other 8 are good, no classic or near classic tracks though. Guests are on 9 songs, rapping on 4 and doing hooks on the other 5. Production is up and down as well, and is handled by well known producers . Neptunes do 8 of the 13, DJ Khalil does 3 and Sean C & LV do the other 3. For their fans I'd pick it up, but I was a little disappointed in the album and like the other 2 better as I know they are capable of much better.

#1 - 9 (tight beat)

#2 - 8.5 (f/ Cam'ron & Pharrell)

#3 - 8.5 (f/ Kanye West)

#4 - 6 (f/ Yo Gotti)

#5 - 7.5 (f/ Pharrell)

#6 - 6 (f/ Kobe, who has a highly annoying hook)

#7 - 7 (another annoying hook)

#8 - 8 (f/ Ab-Liva)

#9 - 7 (f/ Keri Hilson)

#10 - 9 (f/ Nicole Hurst -- nice beat)

#11 - 8.5

#12 - 8

#13 - 8.5 (f/ Kenna)

MALICE -- Gene Thornton -- Virginia, Beach, VA

PUSHA T -- Terrence Thornton -- Virginia Beach, VA

Check all my reviews

There is depth and complexity of subject matter and word play on this album, but it is lacking a bit in the production area. The Neptunes deliver a lackluster performance. However, no complaints on the lyricism. If you are looking for a "Lord Willin'" part II you will be sadly disappointed; instead, I recommend "Hell Hath No Fury" for the Lord WIllin' fix.