We give you our top 5 Clipse projects to date (Including Pusha T’s projects)!
TOP 5
5. Pusha T – My Name Is My Name (2013)
One of the most impressive things about My Name Is My Name is how effortlessly it showcases Pusha T’s versatility. He delivers cold-blooded rap anthems like “King Push,” motivational street sermons like “Sweet Serenade,” and even dips into hip-hop romance with tracks like “Let Me Love You.”
Production-wise, this album’s soundscape is dark, twisted, and often cinematic. With a myriad of producers behind the boards, the beats blend eerie minimalism with commercial gloss in a way that still hits hard over a decade later. Whether it’s the distorted soul of “Numbers on the Boards” or the lush trap-infused backdrops of “Hold On,” every track feels heavy—sonically and emotionally.
Lyrically, Pusha T hopscotches between braggadocious flair and intricate drug-dealing references with the kind of precision that few rappers can match. He’s in full villain mode throughout, wearing his scars and sins like a badge of honor.
And don’t even get me started on the features. My Name Is My Name brought out the big guns: Rick Ross, Kendrick Lamar, Big Sean, Future, and The-Dream all show up and show out, helping make the project feel massive without ever diluting Push’s vision.
My only gripe? The album does sound a little too 2013 at times. Some of the production flourishes and flows feel locked into that era, but it doesn’t take away from how well the album has aged in terms of theme and execution.
4. Clipse – Lord Willin’ (2002)
Being from Virginia, Lord Willin’ made me proud in a way few albums ever have. This wasn’t just two dudes from VA Beach dropping bars—it was a cultural moment. Clipse, alongside the sonic architects Pharrell and Chad Hugo (a.k.a. The Neptunes), crafted a classic that gave voice to the streets of Virginia while flipping the sound of hip-hop on its head.
Let’s start with the production. With The Neptunes handling every beat, the album has an unshakable cohesion. From the trunk-rattling menace of “Virginia,” to the hyper-percussive, genre-defining minimalism of “Grindin’,” to the experimental flair of “Young Boy”—you can’t find a single weak beat here. It was futuristic, raw, and clean all at once. Everyone tried to emulate that sound in the years that followed, but no one really matched the chemistry Clipse and The Neptunes had.
Lyrically, Lord Willin’ is a masterclass in street poetry. Pusha T and Malice (now No Malice) didn’t just talk about drug dealing—they elevated it to an art form. They painted vivid portraits of hustle, survival, and VA life, all with a cold, calculated tone that made their punchlines hit harder. Their flows were precise, their delivery emotionless but razor-sharp, and their chemistry as a duo was untouchable.
The features? Iconic. Jadakiss, Styles P, Fabolous, Faith Evans, and yes—even Lil Wayne, their now-arch-nemesis—make appearances. But what’s wild is how Clipse still outshined them on their own record. That’s how strong their presence was.
Most importantly, Lord Willin’ gave Virginia a seat at the table. It showed the world that the Commonwealth had a story worth telling—and it was going to be told with style, grit, and undeniable skill.
3. Pusha T – It’s Almost Dry (2022)
Deadass, It’s Almost Dry deserves to be mentioned in the same breath as any modern rap classic. This isn’t just another album in Pusha T’s discography—it’s a masterclass in lyrical precision, elite production, and genre-defining minimalism. Let’s talk about why this is arguably the most underrated project the culture has seen in years.
First off, what other album in hip-hop history features a back-and-forth between two of the greatest producers alive—Kanye West and Pharrell Williams—essentially battling for sonic supremacy? That alone is a gift to fans. Ye brings that raw, soul-sample madness (see: “Dreamin Of The Past”), while Pharrell gives you eerie minimalism and off-kilter drum patterns (“Let the Smokers Shine the Coupes” is pure art).
You get an all-time great Jay-Z verse on “Neck & Wrist,” a surprisingly focused Kanye on “Dreamin Of The Past,” and electric guest spots from Don Toliver and Lil Uzi Vert on “Scrape It Off,” which somehow still sounds like a Pusha record, not theirs. Even deeper cuts like “I Pray” with No Malice bring an emotional, full-circle moment, while “Just So You Remember” and “Hear Me Clearly” sound sinister enough to make you check the locks on your doors.
Lyrically, Pusha is in his bag. He sounds sharper than ever, dropping cold, calculated bars with the confidence of a rap veteran, the hunger of an underdog, and the precision of someone who’s studied the greats like a scholar. There’s no filler. No pandering. No “let me make a radio hit” moments. It’s clean, it’s elite, and it’s darkly beautiful.
2. Clipse – Hell Hath No Fury (2006)
Ask anyone who really knows hip-hop inside and out, and they’ll tell you: Hell Hath No Fury is a classic. Though it may not be my personal favorite Clipse project, I absolutely recognize the excellence it offers on every level.
From a production standpoint, The Neptunes decided to dim the lights. They cooled off the bright, bouncy flair of their previous work and dug into darker, grittier, more experimental territory, creating beats that sound cold, skeletal, and aggressive. There are no big-name features to lean on, and even Pharrell keeps a low profile, letting Pusha T and Malice command the spotlight. The whole album feels like a stripped-down statement.
Lyrically, this is where the shift begins. Pusha and Malice aren’t rapping like hungry up-and-comers anymore—they’re speaking like guys who’ve made it but still feel the pull of the streets. That tension—between survival and success, between evolution and loyalty—is all over this project.
Personally, this is also the album where I felt Pusha T clearly outshined Malice. Not in a disloyal way, but in a “this guy is ready for solo greatness” kind of way. It’s not a knock on Malice, who still delivers with weight and depth, but Pusha’s pen and presence just feel… sharper here. More commanding.
In the end, Hell Hath No Fury wasn’t made for the casual listener. It was created for the Clipse core, for the day-ones, for the fans who were never in it for the gloss. It’s more of a litmus test than a blockbuster—a project that quietly asks, “Are you really down for this s**t?”
1. Pusha T – DAYTONA (2018)
DAYTONA is one of the few albums I play straight through nearly every time—no skips, no shuffling, no distractions. It’s lean, sharp, and unbelievably focused. The production, handled entirely by Kanye West, is pure magic. It delivers Pusha T’s signature cold aesthetic but elevates it with soul samples, layered textures, and a sense of timelessness that makes it feel like it could’ve dropped in 2005, 2018, or 2040.
What’s most impressive is how Pusha commands every beat like he has it on a leash. His delivery is so precise, his lyrics so venomous, that he almost feels like a cult leader. You’re not just listening to him—you’re following him. He tells you who to hate, who to love, what to value, and how to move when crossing the street. The confidence is chilling.
Ask yourself: How many choruses are even on this album? How many features? How many disses? How many songs? Honestly, you don’t know and you don’t care. Why? Because once DAYTONA starts, none of that matters. You’re locked in. The words, the tone, the beats—they’re all working in unison to pull you into Pusha’s icy world, and there’s no reason to leave.
Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.
