It’s time to cook up another review in the No Skips lab this week to credit an album as boasting no skippable tracks. In my opinion, the second and final album — with the original lineup — by rap group The Pharcyde fits in this category perfectly, though it wasn’t always perceived this way. “Labcabincalifornia” had a lot to live up to following “Bizarre Ride II the Pharcyde” in 1992. For reference, Ye, formerly known as Kanye West, has claimed it’s his favorite album, and while it may be more innovative, “Labcabincalifornia” is the underappreciated little brother that fans should equally love.
The record gets right into the action with “Bullshit,” which must’ve been a jarring cut for listeners back in 1995 because all types of vulgarity were to be expected from The Pharcyde with songs like “4 Better or 4 Worse” in their catalog. Pure vibes are spread through the chorus through soulful singing and one of many beats crafted by a young J Dilla, who was known as Jay Dee at the time. Imani’s proclamation that the group will “interphase you with the new sound” is soon accompanied by another chorus, a formula followed on the rest of the track — apart from successive verses by Bootie Brown and Suave, the group’s manager.
Essentially functioning as a self-titled song, “Pharcyde” is carried by Bootie Brown on production, which highlights how cohesive the sound of “Labcabincalifornia” is despite having multiple producers. The lyrics are conceited in the best way possible, with Fatlip spitting on how he’s “lyrical, imperial [and] award-winning,” while Slimkid3 throws general shade on the rap scene with how “it’s apparent that many are so transparent.” Considering the chorus largely recites the names of the group’s four members, all of whom I’ve named by now, this proves they’re able to make anything sound good.
Well, at least when they’re all together. To not end the review on a sour note, I’ll say it now: Fatlip departed from The Pharcyde after this album, and Slimkid3 followed suit a few years later. By 2004, Imani and Bootie Brown could barely throw an album cover together, let alone the music itself on “Humboldt Beginnings,” the last official record under the group’s name. Nevertheless, the two albums we have from the four-piece are incredible, so let’s continue with this retrospective.
The replay value of “Groupie Therapy” is stunted by a minute-long skit, though I don’t count those as part of the core album, so the remainder of the cut dazzles with Diamond D production. The single “Runnin’” is one of The Pharcyde’s quintessential songs, with Slimkid3 and Bootie Brown harmonizing on the chorus. The masterclass J Dilla beat features record scratching and saxophone sections, while it downsizes during the many verses with inspiring lines like “I don’t sweat it, I let the bullshit blow in the breeze / In other words, it’s just debris.”
Each member shows off their production prowess on “Labcabincalifornia” except Imani, with “She Said” giving Slimkid3 his time to shine. The laid-back single sees Bob Durham cooking on the piano while Fatlip delivers a verse akin to Ghostface Killah on “Camay,” which would be released the following year. He describes a romantic situation enriched with dialogue between him and his lover before they arrive home. Shoutout to Slum Village because the expected “climax” never occurs, though Fatlip claims he “let her stick around” despite rejecting his advances. Keep this in mind for Valentine’s Day, because sex isn’t always the goal, people!
“Splattitorium” goes by pretty unnotably, yet if you still doubt J Dilla’s skills — who will have soon passed away 19 years ago from debilitating health issues — the beat on “Somethin’ That Means Somethin’” makes up for any shortcomings in his short career. The groovy instrumental is impossible not to head-bob to with its infectious bassline and various embellishments, while Bootie Brown manages to channel Big Boi and André 3000 with his rap cadence and inflection, simultaneously dropping bars like “‘Cause in this capitalistic society, money is all, fuck continuing college, I was too small to play ball.”
The last single to be mentioned here, “Drop,” utilizes a warped and trippy J Dilla beat. When paired with the Spike Jonze-directed music video, the efforts of the group are out of this world. The banger rides out with a pitch-shifted voice emphasizing the sci-fi aesthetic of the track. “Drop” combined with the futuristic cuts from Björk’s “Post” makes 1995 a year for the ages. Furthermore, Slimkid3 carries on “Hey You” with production and the first verse, where he references feeling like an outcast, hence his unusual stage name for 1990s standards, when he proclaims, “Suckas hate it that I made it as a misfit.”
I could understand one’s argument that at this point, “Labcabincalifornia” starts getting stale but the female background vocals on “Y? (Be Like That)” and “Moment in Time” sure break up any monotony one may feel. “The Hustle” worryingly begins with a skit, but the Bootie Brown-produced drops, yielding one of my favorite tracks on the record. The boom-bap-influenced beat is complimented by a bunch of unfamiliar voices, including Big Boy, though not Big Boi from OutKast which I referenced earlier. The vocals on the chorus sound a little patronizing, but I enjoy hearing the guys have fun on this record.
“Devil Music” is the one Fatlip beat on here, and once again, the sonic consistency is astonishing with over half a dozen producers having touched this record. I must be gravitating toward the school bars on here because I cannot personally relate to these lines, yet they cut deep: “My big brother used to say I was an asshole / Didn’t graduate, couldn’t handle the hassle of high school, why fool?” The chorus is also a reflection on the music industry and how there’s no permanence to the present action of recording music with others’ equipment.
And “The E.N.D.,” appropriately titled, is comparatively less lyrically dense, though to come full circle, it’s all about the vibes. While there are some gems including “I got no need for jewels, cars and clothes,” the main focus is the simple chorus that overstates this song’s placement on “Labcabincalifornia.”
It’s easy to theorize about what The Pharcyde could’ve been if not for their slow and painful dissolution, yet the impact of their first two albums cannot be understated. “Bizarre Ride II the Pharcyde” is often touted as the better of the two, and I must admit my inspiration to review “Labcabincalifornia” was brought on by my recent purchase of the former on vinyl, even though I’ve had this one on vinyl for years. Although it’s a shame the lab burnt down The Pharcyde after this record was released, all in all, what’s the point of comparing the two when they’re both fire?