Before Pharrell said, “The world is about to feel something that they’ve never felt before,” before those drums hit, before “From ghetto to ghetto, to backyard to yard” rang out, Clipse were already rap veterans.
Years earlier, Malice and his younger brother Terrar had signed to Arista and crafted their debut album, Exclusive Audio Footage, with the help of The Neptunes, who were becoming legitimate hitmakers, thanks to the success of Noreaga’s “Super Thug” and Mase’s “Lookin’ at Me.” They were ready to drop the album, with a high-concept street single, “The Funeral,” leading the charge.
But the album never came out. It was shelved, and Malice and Terrar—who would eventually grow braids and change his name to Pusha T—faded back into obscurity. It wasn’t until “Grindin’” in 2002, a song with a thumping lunch table-ready beat, that the duo got another shot.
“Grindin’” took over the spring and summer of 2002. But it wouldn’t have meant anything if their eventual debut, Lord Willin’, didn’t land. One of the great rap debuts of the 2000s, Lord Willin’ was backed by some of The Neptunes’ funkiest beats, as Clipse laid the groundwork for telling their life story, largely shaped by being involved with the distribution of drugs. In some ways, the shadow of Exclusive Audio Footage and Lord Willin’ followed them throughout their career. Clipse would become associated with two things: label woes and making excellent albums. Every Clipse project is marked by the adversity it took to get it across the finish line. Hell Hath No Fury was delayed for years due to major label shenanigans. The We Got It 4 Cheap mixtapes were largely a response to those circumstances, which explains the raw chip on their shoulder energy. And Til the Casket Drops was supposed to be an entrepreneurial restart, which explains the up-lifting, diverse palette featured throughout.
Let the Lord Sort ‘Em Out is the duo’s latest album, their first in 16 years. And once again, it’s been partially defined by label issues—Def Jam balked at parts of the material—really the Kendrick Lamar verse on “Chains & Whips”—prompting Clipse to go independent. But like those early albums, it’s also marked by its excellence. Let the Lord Sort ‘Em Out is one of the best albums of the year so far, a glorious return to form for all three parties: Pusha, Malice, and Pharrell.
But where does it fit in the context of their career? Here is every Clipse album, ranked from worst to best.
Label: Elektra
Producers: The Neptunes
Features: Pharrell, Kelis, Kurupt, Noreaga, Markita, Lee Harvey, Nako
We debated including this one, since technically it never got an official release. But a couple of years ago, the album quietly appeared on streaming services—so it felt worthy of a spot.
On Exclusive Audio Footage, you can hear the potential but also see the cracks. Even in their early and mid 20s, Clipse were clearly skilled lyricists, but they hadn’t developed their presence yet. At times, their voices get buried under The Neptunes’ cinematic production. And sonically, the album sounds very of its time—full of late-’90s melodrama and heavy-handed skits that date it more than anything else on this list. Still, there are some great moments. “Hear Me Out,” which uses the same beat as Jadakiss’ “Knock Yourself Out,” is a monster. And “Got Caught Dealin’” feels like an early blueprint for “Cot Damn,” which would drop a few years later. —Dimas Sanfiorenzo
Label: Self-released
Producers: Reefa, Don Cannon, Cool & Dre, Oddz N Endz, Ryan Leslie, Ron Browz, Soundtrakk, Kanye Wes, Swizz Beatz, Dame Grease
Features: Ab-Liva
Back in the day, seemingly every hot rapper and group had a clothing line. Clipse had Play Cloths. While in ’08 that was seemingly more important than new music from the duo, they were at the peak of their powers. We couldn’t be blamed for assuming they’d simply be around forever. With the benefit of hindsight, the best thing about Play Cloths was that brothers Pusha T and Malice dropped a mixtape—partially presented by Complex!—to help promote the brand. It’s now relegated to YouTube compilations and has been scrubbed from streaming services, but definitely has strong moments, including a fire flip of Jim Jones’ “Pop Champagne.” —Will Schube
Label: Self-released
Producers: J.U.S.T.I.C.E. League, Pharrell Williams, Sean C & LV, DJ Drama, Dame Grease, Born Immaculate & Balis Beats, Swizz Beatz, Kanye West, RZA, Chink Santana, Swizz Beatz, Ron Browz, Sicknotes, Just Blaze, Dr. Dre, Cold 187um, Khao
Features: DJ Drama, Pharrell Williams
By the time We Got It 4 Cheap Vol. 3 dropped, the series was already an established entity. Clipse, joined by Philadelphia rappers Ab-Liva and Sandman, released the DJ Drama-hosted mixtape in the afterglow of Hell Hath No Fury’s critical success.
What always made the Re-Up tapes so good was how they balanced contemporary songs with older beats. On Vol. 3, all four MCs float over modern production like Jay-Z’s “Roc Boys” and Obie Trice’s “Cry Now” with the same cold precision they bring to more classic instrumentals, like the Ruff Ryders’ “Scenario 2000” and Raekwon and Ghostface Killah’s “Rainy Dayz.” —Kia Turner
Label: Sony Music Entertainment
Producers: The Neptunes, Sean C & LV, DJ Khalil, Chin Injeti
Features: Pharrell, Cam’ron, Kanye West, Up Gotti, Ab Liva, Keri Hilson, Nicole Hurst
Til the Casket Drops hasn’t aged as well as other Clipse projects, but in fairness, the release came at a transitory period for the band. In a 2022 interview with TIDAL, Pusha T explained the circumstances of the release, saying, “Bro, Malice is telling you the whole time, he’s leaving. You hear it the whole way through the album. … The transition is happening, the album’s out, I’m touring and he comes and brings me a book and says, ‘Man, you probably should go read my book. But I think you should just go solo because I don’t want to do this.’”
It made for a scattershot listen with tons of highlights—including the braggadocious “Popular Demand (Popeyes)” with Cam’ron and the heartfelt closer “Life Change”—but the occasional filler cut, too. (When’s the last time you listened to “Counseling?”) —Will Schube
Label: Self-released
Producers: Neptunes, Clinton Sparks, Stretch Armstrong, Diddy, Kanye West, Trackmasters, R. Kelly, Salaam Remi, Carlos “6 July” Broady, Nashiem Myrick
Features: Pharrell Williams
Let’s bring back the era where commercial mixtapes meant something, where rappers picked their favorite beats and tried to outdo the originals. Weezy made it great, but Clipse were doing it too. On We Got It 4 Cheap Vol. 1, Pusha T and Malice get their bars off while also focused on solidifying their entire collective. Liva and Sandman were capable rappers, even if they never fully lived up to the billing they were given alongside the Thornton brothers. Still, you can’t deny the chemistry they all had. In many ways, the tape plays like an homage to classic East Coast rap. Hearing the four take their crack at ‘90s staples like LL Cool J’s “I Shot Ya” and Lil’ Kim’s “Queen Bitch” is a truly exhilarating experience. —Will Schube
Label: Self-released
Producers: Timbaland, Michael “Punch” Harper, Scott Storch, Neo Da Matrix, Clinton Sparks, Cool & Dre, Havoc,DJ Premier, Kanye West, Swizz Beatz, RZA, OutKast, Rich Harrison, Fabian Hamilton
Features: Pharrell Williams
You could argue that Clipse lost some momentum with the four-year gap between Lord Willin’ and Hell Hath No Fury. Label troubles made us have to wait an undergrad career to hear their proper sophomore album, but the Re-Up Gang’s We Got It For Cheap series was a hearty appetizer. Particularly, We Got It 4 Cheap, Vol. 2.
Free of tidy concepts, the tape allowed Push and Malice to get bars off in every way imaginable, fusing sleek beats that matched their electricity. For “What’s Up,” they turn The Game’s “Put You On the Game” into a quotables fest. “Chain star-studded like it’s Viva La Glam/Nigga a jackass like Viva La Bam,” Push raps in the most early 2000s voice possible. Elsewhere, Push, Malice and Ab-Liva and Sandman traverse beats from Tony Yayo (“So Seductive”), Cassidy (“I’m a Hustla”) and just about every other notable street rapper from the era. Basically, it’s Marvel Studios’ What If, except for hip-hop. The tape is so fun it almost makes you glad them “crackers weren’t playing fair at Jive.” —Peter A. Berry
Label: Clipse/Roc Nation
Producers: Pharrell Williams
Features: Pharrell Williams, Tyler, the Creator, Nas, Ab Liva, Stove God Cooks, The-Dream, John Legend, Voices of Fire
Sixteen years is a long time. And yet, there was never much doubt that Let God Sort ‘Em Out would live up to the hype. Recorded in Paris at the Louis Vuitton showroom, the album has a luxurious, blockbuster scale—which is ironic, because so much of it is actually quite slight. Clipse have always been economical rappers, but that restraint is even more apparent here: 16-bar verses, songs that never hit the five-minute mark, and almost no Travis Scott-style theatrics. Hell, Malice doesn’t rap a single hook.
But this stripped-down, minimalist approach, paired with Pharrell’s lush songcraft and big-budget production, makes for one of the most memorable blends of styles in their catalog. And yes, coke rap” is still the focus—but it no longer feels essential to the project. This is lifestyle rap now, with the sophistication showing up in the subtle flows, rhyme patterns, and structural choices. (SHREK KNOWS RAP will be breaking down “F.I.C.O. ” for years.)
The album isn’t perfect. A few hooks feel overwrought, and there’s arguably too much prestige-rap navel-gazing here. But it’s still very good, and right under the top tier of Clipse albums. —Dimas Sanfiorenzo
Label: Star Trak/Arista
Producers: The Neptunes
Features: Pharrell Williams, Ab-Liva, Roscoe P. Coldchain, Faith Evans, Fam-Lay, Fabolous, Jermaine Dupri, Jadakiss, Styles P, Birdman, Lil Wayne, N.O.R.E., Sean Paul, Bless, Kardinal Offishall
While Kanye would credit himself as being the “gap” like Banana Republic and Old Navy, Clipse had him beat by two years. Released in 2002, Clipse’s debut, Lord Willin’, blended classically flawless lyricism with futuristic Neptunes production that brought hipsters and gangstas to the same concert venues. For the project, Pusha T and Malice collapse the distance between steely menace and fly guy cool. “I could never be a thug, they don’t dress this well,” Malice raps on “Virginia,” moments after threatening to put a hole in an enemy’s neck. Threaded by a quirky synth arrangement and dexterous bars, “When the Last Time” is an alien Virginia Beach house party.
Minimalistic, stylish and irresistible, “Grindin” was lunchroom cypher beat for the ages, even if Push and Malice’s sly wordplay make it hard to imagine anyone else rapping on it. With raps as skillful as the most skillful, and beats as inventive as the most inventive, Lord Willin’ was sweeter than old Sadie. —Peter A. Berry
Label: Re-Up/Star Trak/Jive/Zomba
Producers: The Neptunes
Features: Pharrell Williams, Slim Thug, Ab-Liva, Re-Up Gang, Roscoe P. Coldchain, Bilal
Hell Hath No Fury is Clipse at their most lyrically urgent and most disillusioned with the industry.
Produced entirely by Pharrell—though credited to The Neptunes—the beats are minimal and grittier than their vibrant debut. Clipse were going through very public major label struggles during the making of this album, and you can hear that tension in the music: from the haunted accordion and clicking stove sound on “Momma I’m So Sorry” to the swirling, hypnotic loop of “Ride Around Shining,” a beat that never actually drops. Oh, and then there’s the rapping itself.
Malice acts as the group’s spiritual conscience, opening the album by telling his younger brother, “If I ever had millions, never would you push blow,” on “We Got It for Cheap (Intro).” Meanwhile, Pusha fully embraces the villain arc, rapping on “Keys Open Doors” like he’s under a drug-dealing séance.
Chad Hugo wasn’t heavily involved here—a sign that Star Trak was beginning to splinter. The album is defined largely by Pharrell’s skeletal, menacing production, which has had a lasting influence. Tracks like “Mr. Me Too,” “Wham Wham,” and “Chinese New Year” have especially resonated with millennials and Gen Z—most notably Tyler, the Creator, whose early work channeled a similar stripped-down aggression.
A modern coke-rap magnum opus, Hell Hath No Fury still stands as the purest distillation of Clipse’s ethos. —Kia Turner
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