HipHopRambling: clipping. – CLPPNG (2014 – Sub Pop Records)


I don’t do a lot of alternative/underground/experimental albums, which is a shame, since I really should do more. Most of the time I’m doing well known albums from the gold-standard 1990s, but I should really spread the word on groups such as clipping. In an age where mainstream hip hop focuses on luxury, lust, riches, playing, and the same tired-old standard topics, clipping.’s first album released this year bristles with identity, ambition, originality, strangeness and fun. It may not appeal to those who aren’t into noise or electronic, but for those that do crave such production, it’s a must.

One that that immediately popped out to me was not the “weird” production that was going on in the album, but rather the delivery. The delivery that is showed on the album is incredibly distinct, which is amazing. At times, clipping. go off real fast, to the point of somewhat incomprehension, and then at times they’ll slow down. Overall, it keeps a sense of always constantly changing. The pacing of the album itself can get chaotic, but such is expected with an experimental album, especially of this identity and breed. In addition, the delivery is a “stream of consciousness”, and in some ways analyzes a psyche itself “in the moment”.

But the more enjoyable aspect was the wordplay. I think a lot of rappers forget that rap was made popular in the first place because of fun wordplay. CLPPNG provides plenty of it, especially in an age of half-assed rhymes. The lyrics are unpredictable, which keeps the listener’s mind going, and it’s what keeps the entire album fresh. Usually, many albums constantly fall off because they get repetitive, but the nature of the wordplay on CLPPNG keeps this from happening. It’s more of a mindtrip, if anything.

The production of CLPPNG is not in any way traditional (as would be with an experimental album). Modern common production techniques are not to be found anywhere on this album. Much of the production is inspired from music, specifically the noise, drum and bass, techstep, IDM, and other electronic genres (think FlyLo FM or MSX FM). Of course, this is where the silver lining is to be determined, and if you’re a lover of these genres, this album is perfect for you. If not, you may not enjoy it as much as others wood.

Overall, there’s no true way to describe it, and it’s up to the listener themselves to really make sense of the album. Overall though, I would definitely give the album a 5 stars out of 5. The originality shines through, as well as the very distinct and nontraditional delivery, which I found very fun to listen to. It is an experimental album that may more or less be a specialty as well, but I legitimately think it’s more than novelty. With more interest in electronic over the past few years, clipping. really could be the future of hip hop.


HipHopRambling: Too Short – Get In Where You Fit In (1993 – Jive Records)


For my second HipHopRambling, I’m going to take you all the way back to the year 1993. The early 90s clearly told of a very bright future in hip-hop. Snoop Dogg had dropped his debut album Doggystyle, which marked the maturation of West Coast G-funk. The East was beginning to see a revival with the release of Enter the Wu Tang (36 Chambers) by the Wu-Tang Clan. 2Pac had also shot into super stardom with the release of Strictly 4 My N.I.G.G.A.Z. 

Let’s go to Oakland, California, circa 1993. Too Short was on a hot streak. He had released the ground-breaking Life Is… Too Short in 1989, then released Short Dog’s in the House (best known for “The Ghetto”, though “Short But Funky” is an overlooked yet also notable single from the album), and would release another solid album in Shorty the Pimp. By 1993 Too Short was thoroughly cemented as one of the West Coast’s finest emcees, alongside with the Dr. Dre (who had dropped The Chronic), Ice Cube, Eazy-E, Ice T, and Compton’s Most Wanted, alongside with the growing 2Pac. However, by the end of 1992, Dr. Dre had re-invented the way the West Coast sounded, and had essentially perfected the G-Funk subgenre, deriving from the Oakland-based Mobb music, as well as works from Above the Law and Compton’s Most Wanted. Too Short needed to respond to the changing climate of hip-hop, so he teamed up with fine Oakland-based producer Ant Banks to release Get In Where You Fit In, which also introduced the world to the short-lived rap supergroup The Dangerous Crew (which included Shorty B, Pee-Wee, Ant Banks, Goldy, Spice 1, and the now deceased Rappin’ Ron). What came out was an album that, although not terrible, definitely was not as good as Too Short’s earlier works, and sounded odd in 1993.

Perhaps the most notable part of the album is the production. Get In Where You Fit In was a pretty ambitious experimental project, and was an attempt to mix the more traditional and old-school P-funk and Mobb sounds of Oakland while mixing it with the Dr. Dre-created Chronic G-Funk. What came out was a very odd and awkward sounding album. Although there are a few nice tracks here and there (such as “I’m a Player”), much of the album sounded incredibly awkward, and was clearly a miss in 1993, making the album a big “huh?”. From a regional standpoint, it’s understandable. Too Short wanted to preserve the Oakland identity while nonetheless producing a G-funk album for 1993. However, it was a failed experiment.

One of the major issues with the album is that it’s just too long, and unbelievably long. All songs (not counting the intro) surpass the 4:30 mark, and with 13 tracks, this made the album an endurance test, mixed in with the awkward hybrid Mobb/G-funk instrumentals. Although there are some songs where the length is understandable on some tracks (such as “I’m a Player”, which is the shining gem in an album which leaves a lot to be answered), there are other tracks where the song drags itself on way too long, with no substance. The album could have benefited from being much shorter, but the length and filler really take their toll on this one.

The themes are what you’d expect from the standard Too Short album: pimping, cussing, and dirty rapping. There is some nice ghetto story-telling mixed in as well. Although Too Short was not nearly as notable as say, Ice Cube or 2Pac when it came to more socially conscious and political themes, nonetheless Too Short always had something real to say in each of his previous 3 albums, and it’s toned down in Get In Where You Fit In, with the slight exception of “Money in the Ghetto”. At times, the lyrics can get rather disturbing. Admittedly, Too Short is not recommended for the easily offended, but there are some songs where it does get a bit too graphic (such as “Blowjob Betty”), whereas the earlier 3 albums took a bit more of a satirical approach to the theme of pimping. It’s unsurprising the watered-down version cuts a lot of length and lyrics.

Another thing going on in this album is the lack of any notable kind of guest appearances. The only real standout guest appearance here is Spice 1. The rest really isn’t anything too special. Too Short had already collaborated with Ice Cube on “Ain’t Nothin’ But a Word To Me” on Short Dog’s in the House, and had toured previously with N.W.A., as well as Spice 1 having close ties to MC Eiht. Too Short could have had some more notable guest appearances going on here, but chose to introduce the world to local mostly underground Oakland emcees (with the exception of Spice 1, who had a successful debut album a year before), which is understandable, but it doesn’t achieve much in the end.

Overall, I’d give Get In Where You Fit In2.5 out of 5 stars. It was a pretty ambitious effort by Too Short, but unfortunately it ended up failing, and didn’t have a strong effect on the West Coast as say, The ChronicDoggystyle, or Strictly 4 My N.I.G.G.A.Z. all did (Ice Cube laid his own egg the same year with Lethal Injection). The track that is definitely worth checking out would be “I’m a Player”, which is easily some of Too Short’s finest work. “Just Another Day” is a nice ghetto story telling piece. If you’re a Too Short fan, or interested in the curiosity of the experiment itself, it is worth checking out. Despite the flaws that this album has, it nonetheless was a financial success, peaking at #4 on the Billboard 200, and #1 on the Rap/R&B Albums Chart (which, given the immense competition this particular year, is quite impressive), and eventually went platinum.

HipHopRambling: Nas – Nastradamus (1999 – Columbia/Ill Will)

Nastradamus (1999)

Nastradamus might as well live as perhaps Nas’s most infamous work. In the late 90s, things were changing in the hip hop game. After the deaths of both 2Pac and The Notorious B.I.G., a lot of  attention shifted towards the predominant New York emcees who were roughly at their peak: Jay-Z, Nas, and Mobb Deep traditionally dominated the New York scene, and Eminem had dropped his first album that same year with The Slim Shady LP, as well as Dr. Dre dropping The Chronic 2001. The late 90s marked hip hop entering a transition phase, with both Death Row and Bad Boy collapsing and eventually disappearing from the map for the most part, and the music becoming much more commercialized. The late 90s also marked the rise of the Southern hip hop scenes as well as crunk music, which would dominate the early 2000s.

1998-2000 were quite turbulent times for Nas. Rival emcee Jay-Z was dropping album after album from 1996-1999, and was easily the most commercially successful rap artist during this time. Nas was also under incredible pressure to create songs for radio play that matched the more misogynist themes of Jay-Z. In addition, Nas’s last effort I Am was not incredibly well received (albeit having a number of hits such as Hate Me Now). Nas at this time knew he had to hit a home run with Nastradamus. However, in the end, the album failed to meet expectations.

There are some Nas fans who argue that the album itself was decent, but was derided because of the infamous single You Owe Me that featured Ginuwine. However, there are reasons for why the album was not well received. I’m going to into why it was such a dud.

One of the main problems with Nastradamus is that Nas tries way too hard to be… hard. Nas has never been known to be an extreme hard-ass (although the more mafioso themes in It Was Written were more well received), but it really shows in Nastradamus. The song “Shoot ‘Em Up” is a prime example of this. He goes on about talking about murdering various people in his neighborhood, but it comes off as extremely out-of-character for Nas (it didn’t help that the same song is a prime example of the cheap production that was going on in this album). He even goes as far as to say “kill kill kill, murda murda murda” in the hook, the same words said by 2Pac on “If I Die 2Nite” on his 1995 hit album Me Against the World. Nas simply isn’t a street thug, yet he attempts so in this album. Basically, there’s just way too much thug going on in the album for it to be enjoyable.

It doesn’t help that Nas’s rapping efforts weren’t as good as they usually were, and as the album goes on, it becomes clear there wasn’t a whole lot of quality control going on. If you compare Nas’ efforts on Nastradamus and compare it to say, It Was Written or Stillmatic, you’ll notice that Nas somewhat sounds rather disengaged from this album, practically at his worst. His classic flow that you hear on the original Illmatic or It Was Written is just not there, and is replaced by a more “harder” tone to fit the more thuggish themes that go on in this album.

The production is even worse. The instrumentals sound extremely cheap and that alongside with Nas’s pretty out-of-shape flow indicate this was incredibly rushed. The only memorable instrumental that comes out of here would be the lead title song (Nastradamus). Otherwise, most of the instrumentals sound rather cheap and unmemorable. This was an album that also had Havoc, L.E.S., and DJ Premier handling the production, so there was little excuse for the instrumentals sounding so bland.

The album also lacks cohesiveness as well. There are tracks which go on about Nas’s personal opinions on the state of society (New World and Life We Chose), others which are meant to be shots at Nas’s detractors (Nastradamus, Come Get Me), as well as more misogynist and thuggish tracks that are spread around the album. The album title more or less implies that the album is more leaned towards the philosophical themes that were present in Illmatic, but it sort of comes out as one big “huh?”. There’s so much going on in the album it’s really hard to get at what it’s trying to get across. Illmatic was about the struggles of living in the Queensbridge projects from a more pedestrian perspective with deep philosophical meaning, It Was Written tackled a much more darker side of living in the projects as well as the gangsta/mafioso raps that were popular at the time. But Nastradamus seems confused.

That doesn’t mean there aren’t highlights in the album as well. “Life We Chose” and “Nastradamus” are worth a listen. “Project Windows” featuring Ron Isley is much more closer to the original themes of Illmatic, and again is worth the listen. “Come Get Me” is also a pretty nice track on the album. However, the other tracks in the album are pretty bland and unmemorable, and don’t make up for what else is wrong with the album.

Overall, I’d give this a 2 stars out of 5. The cheap and rushed production, failed marketing, out-of-character rapping, confused themes, and that infamous single really keep down the bright spots that this album had; it was really dark times for Nas around the time. Eventually Nas would re-birth himself with the release of the much better (albeit far from perfect) Stillmatic in 2001 before truly putting himself back on the map and as an important and integral part of the game with 2002’s God’s Son. However, no matter how much you can sugercoat it, Nastradamus was a pretty bad album.