Customer Reviews

Til The Casket Drops

5 star:		(12)
4 star:		(5)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

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.

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.

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.

"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!

The Clipse have never failed when it comes to dropping classic cds and this is no exception. These guys rhyme just as good if not better than todays hip hop heavywieghts. The CD has it's ups and downs but the downs only come with some weak hooks that could have been better. As far as rhyming and beats this cd is yet another classic thats 3 in a row for the Clipse!

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.

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 that they had early label issues. Lord Willin and Hell Hath No Fury are classics and their mixtapes are also strong.

But this album is only average, primarily because most of the beats are either mainstream pop-rap, unimaginative, or just plain weak. There are some good tracks on here (a couple of great ones) -- and the lyrical flow is generally on point -- but overall this is nowhere near the quality of previous releases. Maybe it's just because the standard was set so high by their previous work, but I expected better.

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

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 Neptunes.Pharrell really went in and gave them his best solo production to date,sorry chad maybe next time.Each song on here is vintage Clipse,but you can hear them changing,Malice is settling down while still being himself as an artist,and Pusha T is maturing as well lyrically as we all know as of lately with Fear Of God tracks.They are the best Southern Lyricists not including T.I.,and Scarface.

Top songs off the album
1)THE ENTIRE ALBUM

I say this because this entire album wasnt bought by many because many fans became unloyal,and many thought it was lame because no radio play and bad sales.WELL DONT GO OFF THAT,give this CD a listen on a great MP3 Player,or your stereo with great bass,and i promise you will be blown away by the production of Pharrell,DJ Khalil,Sean C & LV,and lyrics of Clipse
This is a great album from top to bottom,and you may find 1 or two songs that you may not like,bu this album is really food for thought and not your typical music talking about Sex with women,money,cars,and possessions,whereas The Clipse this go round give more deep and insightful lyrical content as well as keeping this album in balance with fun tracks like Popular Demand,Eyes on me,Conseling,and Champion all produced by Pharrell himself.

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. In fact, they would be those brothers (yes, the Clipse are brothers) selling their albums out the trunk of their cars. I have never heard a song by them that just blew me away lyrically. Their hottest song to date, and one of my favorite rap songs to come out in recent years, is featured on this album: "I'm Good." I really, really like that song and it's positive nature. The beat and hook are fantastic and their energetic, optimistic vibes make the song even better. Simply put, it's a feel good rap song.

I lost count of how many times they mentioned their chains, how good their chains looked, and how bright their chains are. That's what stands out most after listening to these 13 tracks. I can say this matter-of-factly, though: The best tracks here are "I'm Good" and "Champion." The rest of the album is basically the same as far as quality is concerned. "Never Will It Stop"and"There Was a Murder" are the LP's biggest most glaring missteps. These tracks are just all around bad. "Showing Out" is an energetic track if nothing else. It has an OK beat and a decent offering by Yo Gotti.

I gave this album 2 1/2 stars and I wonder if I was being too generous in doing so. Perhaps.

Mikeisha's Top 5

1. "I'm Good"
2. "Champion"
3. "Freedom"
4. "Popular Demand"
5. "Showing Out"