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Editorial Reviews
2009 release from the Virginia-based Hip Hop duo formed by brothers Malice and Pusha T. Clipse has reunited with original producer and mentor Pharrell Williams on Till the Casket Drops. The album includes the DJ Khalil-produced viral set-up track, 'Kinda Like A Big Deal' (featuring Kanye West), as well as, the Pharell Williams produced singles 'All Eyes On Me' (featuring Keri Hilson and Pharell) and 'I'm Good' (featuring Pharell).
Customer Reviews
Most Helpful Customer Reviews
12 of 14 people found the following review helpful
5.0 out of 5 stars
Clipse own their role as the world's best duo, finally use their powers for good
December 8, 2009
By Akash
VINE™ VOICE
Format:Audio CD|Amazon Verified Purchase
One of the enduring mysteries of music is how commercial success has eluded Clipse, a group that appeals to every demographic from hipsters to gangsters to suburban teen girls. After two (now three) acclaimed albums, four anthem-filled mixtapes and one staggeringly successful clothing line, Clipse are no longer waiting to be legitimized by the RIAA and have unapologetically assumed their roles as the "best duo ever." Alongside this swagger, Til The Casket Drops showcases a new repertoire that goes beyond the crack rap that has pigeonholed Clipse for so long and instead offers a deeper appreciation for life.
The confidence exuded on this album is exemplified by Pusha's parting words on the album's opening cut (Freedom), "I own you all." The journey through the rest of the record includes the catchy conceit of "Kinda Like a Big Deal" ("Lights, camera, action/ The chain itself's a dang distraction/We claim the belt/ The glory I bask in,") and the simple satisfaction of "I'm Good" ("I'm lookin' good, and I'm feelin' good/ Try and stop my shine/ I wish a brotha would.") On "Doorman" Clipse rap "Big charms, hanging from my big chain/ Swinging side to side, feelin' like I'm T-Pain." While on "Champion" they offer, "Overcame the odds/ So we overdo them cars/ We done balled around the world/ Now we reaching for them stars." The lyrical skill that gave them the swagger in the first place is intact and in full effect.
Til the Casket Drops is also defined by a maturation in mindset that moves beyond the girls, cash, cars mantra of some of the singles. The deep-album cuts offer poignant, insightful rhymes that reveal a duo who've had their fill of materialism and are seeking something more meaningful. On "Champion" we hear "I thought life was a bad girl, bad car/ Life is with your kids, watchin' Madagascar." On "Life Change," Malice rhymes "Now I see clearly with a family of four/ Never did I deserve a two-seater Porchse," and later "Wasted so much time stuntin' for folks/ When really the whole time I was stuntin' my growth." On "Footsteps," Clipse give a warning against emulating their lives "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." The sincerity on these tracks shows that the Clipse are cognizant of their new responsibilities as both hip-hop superstars and role models.
On Til the Casket Drops the Brothers Thorton confound critics that relegate them to being a one-trick pony and finally assert their dominance in rap. The album will eventually be seen as a watershed moment for their growth as artists, and hopefully as a turning point for record sales as well. Buy the best rap album of 2009.
The confidence exuded on this album is exemplified by Pusha's parting words on the album's opening cut (Freedom), "I own you all." The journey through the rest of the record includes the catchy conceit of "Kinda Like a Big Deal" ("Lights, camera, action/ The chain itself's a dang distraction/We claim the belt/ The glory I bask in,") and the simple satisfaction of "I'm Good" ("I'm lookin' good, and I'm feelin' good/ Try and stop my shine/ I wish a brotha would.") On "Doorman" Clipse rap "Big charms, hanging from my big chain/ Swinging side to side, feelin' like I'm T-Pain." While on "Champion" they offer, "Overcame the odds/ So we overdo them cars/ We done balled around the world/ Now we reaching for them stars." The lyrical skill that gave them the swagger in the first place is intact and in full effect.
Til the Casket Drops is also defined by a maturation in mindset that moves beyond the girls, cash, cars mantra of some of the singles. The deep-album cuts offer poignant, insightful rhymes that reveal a duo who've had their fill of materialism and are seeking something more meaningful. On "Champion" we hear "I thought life was a bad girl, bad car/ Life is with your kids, watchin' Madagascar." On "Life Change," Malice rhymes "Now I see clearly with a family of four/ Never did I deserve a two-seater Porchse," and later "Wasted so much time stuntin' for folks/ When really the whole time I was stuntin' my growth." On "Footsteps," Clipse give a warning against emulating their lives "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." The sincerity on these tracks shows that the Clipse are cognizant of their new responsibilities as both hip-hop superstars and role models.
On Til the Casket Drops the Brothers Thorton confound critics that relegate them to being a one-trick pony and finally assert their dominance in rap. The album will eventually be seen as a watershed moment for their growth as artists, and hopefully as a turning point for record sales as well. Buy the best rap album of 2009.
20 of 25 people found the following review helpful
Format:Audio CD
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.
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.
2 of 2 people found the following review helpful
By A. Carter
Format:MP3 Music|Amazon Verified Purchase
The Clipse showed their undeniable talent on this album. I respect Malice for revealing what his real life is like and stating although he raps about certain things in his music his life is totally different from that. First artist I've heard admit that.
Most Recent Customer Reviews
5.0 out of 5 stars
Classic and the best from Clipse/Best Southern Rap Group Out
I feel this album is their best to date,and a classic.Now Note everyone that Pharrell did Solo Production on this album without Chad Hugo,even though it says Produced by The... Read more
Published 22 months ago by G. Gupton
2.0 out of 5 stars
2.5 stars What saves them is hot beats from Pharrell
I feel like this: If it weren't for the hot beat that Pharrell Williams give the Neptunes, there would be nothing at all special about them. Read more
Published on January 22, 2011 by Mikeisha Best
4.0 out of 5 stars
Good album, but no "Lord Willin'"
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. Read more
Published on November 14, 2010 by C Mong
5.0 out of 5 stars
Unexpected
I listened to this album, and was surprised. I don't know why I was surprised, I've always loved Clipse. Maybe I was surprised because they don't get enough credit. Read more
Published on June 15, 2010 by Sway
5.0 out of 5 stars
Solid
This was a Solid album from The Clipse love this from beginning till end I am a champion! Boy you backwards as a hat. This is my joint! If you are a true fan go pick this up! Read more
Published on March 1, 2010 by jaystone
5.0 out of 5 stars
Hip-Hop at it's Finest
"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... Read more
"Life Change," Malice rhymes "Now I see clearly with a family of four/ Never did I... Read more
Published on January 13, 2010 by Nicoduc
5.0 out of 5 stars
AWESOME MUSIC
AS LONG AS THE CLIPSE KEEP ON MAKING MUSIC LIKE THIS, THEY'LL HAVE A SALE FROM ME!! SUPPORT!!!
Published on January 10, 2010 by MS.P.
5.0 out of 5 stars
DISGUSTING...FILTHY... Best Album of Clipse & Top of 2009!!!
Clipse FINALLY brought like they did on their first CD but with new flavor and Pharrel ALSO brought some NON-wack ass beats for once... It's been a LONG time. GREAT CD. Read more
Published on January 8, 2010 by MyZeRy3216
4.0 out of 5 stars
Solid Return for the Underated Duo
Clipse do it again, surpassing the quality of their last album and at least matching their debut.
Published on January 5, 2010 by Nathan Hodge
3.0 out of 5 stars
it's alright
I preface this by saying that I love everything Clipse has done up until this point. Like others have noted, it is a sad thing that these dudes flew under the radar for so long and... Read more
Published on December 29, 2009 by Dread
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