But their bars hit you right in the chest. They don't have the mezmerizing metaphors found on a Jay-Z set, and they don't have the ability to make any two words rhyme like Eminem.

They don't have the lyrical complexity of say, Nas. Strangely enough, some of these beats are leagues above the stuff on Pharrell's own album. Me Too' to the oddly haunting 'Keys Open Doors' to 'Momma I'm Sorry' (is that an accordian?) this album represents Pharrell William and Chad Hugo's best production work in some time.

The Clipse have stated in the past that they get first-pick when it comes to Neptunes beats and it shows on this album. Not only that, they endure all that nonsense and deliver one of the best lyrical experiences of the year.īefore dis cussing the lyrical content, the beats and musical aspect must be addressed. They don't parley the Jive stuff into record sales, which I find respectable. Some will argue that all that label drama is baggage, but at least the Clipse try to distance themselves from it and try to get past it to just deliver the goods. When you listen to a Clipse album, you're listening to pure, unadulterated rap and you never know what the next bar holds. When you listen to a Clipse album you aren't looking for hidden inuendo alluding to beef, or some drama involving getting shot, or shootin' someone else, or time in jail, or any of the other garbage that rappers use to build hype and persona. The most refreshing thing about the Clipse is how little baggage they have. Hell Hath No Fury - Clipse (The) (CD 2004)

Hell hath no fury the clipse zip