Getting Mad and Even
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
Pusha T and Malice might be the two luckiest rappers in hip-hop.
Who are these guys, and why are they lucky? The brothers Thornton, originally named Terrance (Pusha T) and Gene (Malice), are also known as Clipse, a duo hailing from Virginia Beach. Their luck in hip-hop began in the early 1990s, when as a struggling rap act Clipse met Pharrell Williams, known primarily for his producing work as one half of the Neptunes. Back then, Mr. Williams searched hard for acts he could help: He’s now famous for his work with Jay-Z, Snoop Dogg, and Ludacris. In 2002, he molded Clipse’s debut, “Lord Willin'” into an underground smash.
Clipse’s luck in working with one of hip-hop’s biggest producers didn’t shield them from other industry problems. The duo’s latest album, “Hell Hath No Fury,” was kept on the backburner for the two years while its former record company, Sony/BMG, reorganized under a merger, and its new record company, Jive, waded through various legal issues concerning the release. During that time, Clipse worked on material with its own record company, the Re-Up Gang, while devoted fans were kept in the dark about the release of the album. Happily for Clipse, the industry’s tight-lipped approach to the duo’s return placed “Hell Hath No Fury,” along with Jay-Z’s “Kingdom Come,” among the most anticipated hiphop releases of the season. Now the wait is over.
Clipse has a strong and keen fan base for a particular reason: The Thornton brothers specialize in a style of hip-hop that is slowly being submerged by bigbeat, big-production rap. Their lyrics are the keys to their songs. The duo doesn’t blatantly rap about sex or money, concentrating instead on its place in the world, notable in the song “Hello New World,” in which the brothers comment on their neighbors’ perceptions of their well-to-do lives (complete with cars and various other bling — Clipse does admit to having a few vices).
“We Got It for Cheap,” the first track on “Hell Hath No Fury,” indicates a sense of economic intelligence. While the song is actually about someone buying drugs for a fair price, it is also about Clipse’s rising presence in the industry and in the world. They can buy drugs from anyone they want, and the listener can’t, unfortunately or not.
The brothers spend the album striking out against anyone who tries to keep them down — especially record executives. “Mr. Me Too,” featuring lengthy raps by Mr. Williams, is an announcement to the hip-hop world that despite the four-year lag between this latest album and “Lord Willin’,” the duo hasn’t lost its touch. The brothers don’t waste any anger on the industry suits who kept “Hell Hath No Fury” on the shelves, apologizing in the song, “And I’m sorry to the fans, but the crackers weren’t playing fair / Jive.”
“Hell Hath No Fury” succeeds not only because of its depth, intelligence, and anger, but because the production doesn’t overwhelm the songs. This past year, Mr. Williams and his Neptunes partner, Chad Hugo, have shown a much lighter touch in their production output, especially in the recent Ludacris single “Money Maker,” which is carried on heavy drum beats and a short and sweet chorus. Mr. Williams, despite many overproduced songs on his resume, seems to have come to an understanding that less is more in hip-hop sampling.
“Wamp Wamp (What It Do),” featuring the Houston rapper Slim Thug, is predicted to be a popular radio single for the duo. The lyrics are about flirting with a girl; Slim Thug’s brutish rapping — heavy and in-your-face — gives the song a sexy sheen, but it’s the understated and driving beats that make the song truly listenable and danceable.
“Hell Hath No Fury” has garnered attention as a temporary salve to the relentless presence of watered-down, mainstream rap. It’s certainly an excellent album, but not because the Thornton brothers are the greatest rappers alive, despite their boasts — the anger and bravado they harbor distracts them from that goal. Instead, they’ve reached an unlikely and welcome musical balance in each track. It doesn’t hurt that Mr. Williams, of all the hip-hop producers out there, had his hand on every song. The lyrics are smart, the production is sharp, and Clipse can now possibly enjoy, despite its past troubles, its latest stroke of luck with today’s release.
