Top 10: West Coast hip hop albums / Get Into This

The west coast of America is sun-drenched and smooth, and its musical output is at once fresh, laconic and exciting. Ahead of The Pharcyde's visit to Liverpool,Getintothis' Laurie Cheeseman brings you ten of the best hip-hop albums from one of the most mythologised parts of the world.

After bursting onto the underground rap scene in the early-90s and releasing a handful of first-rate jazz-inflected hip-hop albums (one of which was produced by the titanic J.Dilla), The Pharcyde are doing one of those tours.

You know the kind we're on about; they haven't released anything in donkey's years and then, 'for the fans', take a classic album on an arbitrary anniversary tour.

However, their show at the East Village Arts Club on July 1 is different, and that's down to how much the Pharcyde, and especially the tour's source material in Bizarre Ride II The Pharcyde, stand out as a pristine artefact of the era.

Always more in tune with what the Native Tongue Posse were crafting in NYC than their native LA's gangsta vibes, their classic boom-bap has been resurrected by the Beast Coast collective, Action Bronson, Tree and their ilk.

With impeccable timing, two of the groups founding members, Slimkid3 and Fatlip, are celebrating the West Coast's answer to Native Tongue cuts and one of the greatest hip-hop albums of the 90s golden era.

In fact, Bizarre Ride II the Pharcyde has proven doubly great given it dropped at a time when the West Coast was dominated by hardcore and gangsta groups riddled with beef.

The Pharcyde are and were different, taking deep (and occasionally absurdest) lines and playfully inventive beats.

In preparation for what will no doubt prove to be Liverpool's hip-hop show of the year,Getintothis' casts an eye over the cream of the crop selecting our top 10 West Coast hip-hop albums.

10. Schoolboy Q: Habits and Contradictions (2012)

After a few years in the wilderness, in no small way caused by the twaddle peddled by50 Cent), gangsta rap's come back finally came to fruition on Schoolboy Q'sophomore effort.

Instead of the two dimensional bad asses normally portrayed, Schoolboy explores the contradictions that usually riddle real bad asses; going to church then poppin' caps straight after and the odd drug-fueled rampage to lighten the heavy mood. As you do.

His collaborations are few and far between, and the ones who are there are top dollar. Let's be honest, A$AP Rocky, Kendrick Lamar and Ab-Soul aren't exactly ever going to pop up and ruin a song are they?

9. Ice Cube: AmeriKKKa's Most Wanted (1990)

Given his history as a chap with an attitude from the streets of Compton, it's strange to think Ice Cube now potters about making second rate family movies. AmeriKKKa's Most Wanted was an unexpectedly brilliant east-west mash-up.

Released just after his acrimonious split with N.W.A., his debut solo effort featured production from Public Enemy's groundbreaking Bomb Squad, the perfect accompaniment to Ice Cube's tales from the streets.

8. N.W.A.: Niggaz4life (1991)

Despite being less trumpeted than it's predecessor Straight Outta Compton', this record marked the moment the west coast finally stepped out of the long shadow cast by the east coast and Brooklyn and the Bronx in particular.

What's more, it has to be the most menacing album ever released; blood-curdling than Slayer, more brutal than Mayhem.

Despite some controversy concerning the ultra-violent themes and a sprinkling of misogyny, this album features some of Dr. Dre's (and not forgetting DJ Yella) finest production to date.

7. Death Grips: The Money Store (2012)

This is not exactly an album to listen to while in the grip of a hangover.

What could so easily have been an alienating experience instead turned out to be one of the most immediate and experimental albums released in a long, long time.

Death Grips' visceral rush of samples and warped synths feels far more akin to hardcore punk not hardcore hip-hop, which is probably to be expected given their hometown of Sacramento is more well known for producing groups bands like Trash Talk than rap.

6. Eazy-E: Eazy-Duz-It (1988)

Sillier, and yet somehow more malevolent than his parent band N.W.A.'s Straight Outta Compton, it is Dre's production of several of the album's tracks which is really the star of the show here.

Eazy's unique delivery and skill with rhymes leaves him standing as one of the most iconic, and sadly missed, rappers produced by either coast.

5. Shabazz Palaces: Black Up (2011)

After relocating to Seattle and becoming the first hip-hop group to sign to the legendarySub-Pop Records, Ishmael Butler's (previously of NYC based jazz-rap pioneersDigable Planets) new project dropped an absolute stunner back in 2011 and demolished the wall of mystery surrounding the band.

The round-the-houses song structure, intricate lyricism and amorphous, subtly psychedelic production explored what it is to be black, and exist in general, in 21st century America without ever sounding a bit, well, back-packerish.

4. Beastie Boys - Paul's Boutique (1989)

Another excellent east-west crossover. Although Beastie Boys themselves are born and bred in Brooklyn, the album production team, in the shape of the Dust Brothers, were wholly west coast in their sound and funkcentric approach.

The album predated and ushered in the postmodern sound of 90s alternative music with its utilisation of heavily layered samples.

It's not hard to see why it initially bombed; the albums playful experimentation was miles away from the jockish frat-rap of their debut Licensed to Ill.

3. The Pharcyde: Bizarre Ride II The Pharcyde (1992)

Taking the Native Tongue Posse's sound to the west coast, the soul-inflected rhythms and rhymes that were often far more jazz than rap were taken to the next level by J-Swift's production skills.

Bizarre Ride II the Pharcyde tackles issues ranging from relationships to 'The Man', proving a massive breath of fresh air when compared to the gangsta obsession of their hardcore contemporaries.

It proved originality is just as important for hip-hop as keeping it real.

But hey, let's not forget their goofy side; Ya Mama still has us peeling at the sides after the nth listen, and Passin' Me By is still one of the most heart breaking tales of high-school crushes committed to record.

2. Dr. Dre: The Chronic (1992)

Magnum opus, tour de force, masterpiece...that's all we can really say about this album. Well, that and it's one of the best-produced albums in history and showcases some of Snoop Doggy Dogg's finest raps.

Listen to it yourselves to really feel the album's majesty. Words alone cannot do it justice.

1. Kendrick Lamar: Good Kid mAAd City (2012)

Kendrick's lyrically cogent concept-led major label debut was rightfully declared a modern masterpiece.

'A Short Film by Kendrick Lamar', detailing Kendrick's rise from a young upstart to his triumphant victory lap with kingpin Dr. Dre.

His flipping of the whole gangsta shtick was (and still is) a breath of fresh air; especially in a scene where the choice of producer as much as their own flow really defines a rapper's vibe.

Further reading on Getintothis:

The Pharcyde: Bizarre rides, the making of a classic and J Dilla's legacy

Spectrals Interview / Bido! Lito

Expect the unex-Spectrals

When Yorkshire native Louis Jones – the creative force behind SPECRALS - emerged from the rural furrow of Heckmondwhite (a lesser known town situated on the outer reaches of Leeds) with his full-length debut Bad Penny, his insatiable lust for mining nostalgia was evidently ripe. Vintage, garage-pop stompers and swoony doo-wopers were the cement that held his Phil Spector-esque wall of sound together, creating a contemporary slant on 50s and 60s pop with a modernised indie lilt. Now recording his second LP, Sob Story, with estranged Girls bassist CJ White Bido Lito!'sLaurie Cheeseman talked to Louis Jones about growing up in small Northern towns, old music and Liverpool’s inaugural Summercamp Festival.

Bido Lito!: Having listened to your sophomore effort Sob Story, you’ve taken a different tack and gone for a more classic sound compared to your contemporaries of an indie-ish bent (who largely appear to have gone all shambling C-86 on us). What inspired you to take inspiration from these sounds of yore?

Louis Jones: I think probably it’s kind of something that I... feel comfortable with. Because y’know a lot of that is the stuff I grew up with, know what I mean? It’s like a default for me.

BL!: That sound has a real gravity to it doesn’t it?

LJ: Yeah I think so – I mean y’know I’m really quite serious about song writing and I think that comes across. It’s going to sound like things that’ve come before and I feel like I can’t reinvent anything or bring anything new and I’m not just going to pretend to try to.

BL!: It has been interesting following your sound develop from the sounds of 50s teenage America to something more akin 60s Merseybeat or even early 70s pub-rock and wrapping it all up in a proper indie vibe. Has this progression been the natural route for you to take to push your unique sound forward?

LJ: Yeah in a way, it comes naturally because after I had written the songs for the first album... they’re on the table like...?

BL!: Most people who write ‘proper’ songs these days are either dreary, unimaginative or both – but Spectrals are different. CJ White, who you worked with whilst recording Sob Story, was in Girls who also took a similar approach – and your new songs are as charming and vital as Girls’Album. Do you find writing such evocative songs come easily to you or have you had to work at it?

LJ: Yeah, well it’s not something you can force. If you’re not in the mood for writings it’s not gonna come out right I guess. What you’ve got to do is make sure you work at it... once you have the gem of a song you can work at it over a week, going through all the permutations; how fast, slow, noisy it’s going to be.

BL!: Most of the songs I’ve heard you release all sound rather wistful and forlorn – surely growing up in Yorkshire can’t have been that grim can it?

LJ: Haha it was at times but it’s like any small town really. But not all my songs sound that sad, although to be honest I just feel... I just prefer making sad songs. When I feel sad I listen to music or write a song to help me get through it.

BL!: Having grown up in a small town in the north in between two cities and so has no real identity of its own, i’ve grown up in something of a musical bubble (i.e. my parent’s record collection) so going to uni was, musically at least, a mind blowing experience. Given you’re from a town in a similar situation have you had a similar experience growing up, and if so has it influenced your approach to songcraft.

LJ: Absolutely, I mean I do what I do ‘cause in the town I’m from [Heckmondwike] there wasn’t really much happening [musically]. And I wasn’t really into what my mates were into so I just had to find it out on my own, for myself... on the internet. So yeah, the stuff I ended up listening to was always going to end up influencing what I do with my songs.

BL!: Speaking of local scenes, it seems that I can’t go 5 minutes these days without stumbling across another new band starting out in Liverpool. Some of these bands – By the Sea especially spring to mind – have adopted a slightly shimmerier version of your sound. Have you listened to many bands from Liverpool’s rejuvenated scene?

LJ: I’m gonna be honest, I haven’t really yet but I’ve been aware that there have been lots of like new young bands starting out in Liverpool. And when I play Summercamp this August I’m definitely gonna have to check some of them out live – it sounds really exciting in Liverpool at the minute.

BL!: I always love a bit of spontaneity at gigs; the Last time I saw you live you were supporting Best Coast at Mojo and you’se did that amazing cover of Blink-182’s Dammit with Best Coast. Sadly that personal touch just seems to be lacking from gigs these days. Do you often try and add a little personal touch to a performance to make people remember your shows?

LJ: I think I know what you mean - I mean the songs always come first but I always try to get the audience involved... I talk to ‘em and all that. It doesn’t come natural to me, but yeah it’s normally about the songs but I try and make the audience think ‘Ah yeah, that Spectrals band are great live’. But yeah, I hope that when you see us at Summercamp we’ll be different from the last time you saw us and the time after you see us. It’s something I’m always trying to change and do better at, and I think... well I hope that comes across at our shows.

BL!: Speaking of live shows, are you excited to play Summercamp as part of the Liverpool International festival?

LJ: I most certainly am!

http://www.bidolito.co.uk/content/feature-interview-66

Naam / The Blade Factory // Camp + Furnace /// Get Into This

NAAM and a supporting cast of futuristic groove leviathans serve up a wealth of rhythms and noise at Blade Factory, Getintothis' Laurie Cheeseman is by equal turns transported to the muddy river banks of Seattle and the decadent warehouses of Andy Warhol.

The testosterone is palpable for tonight's Beyond The Wall of Sleep show, in a rather bizarre juxtaposition to proceedings unfolding next door, where scantily clad Latino ladies hip-shake to samba rhythms as Brazilica Festival launches inside Camp & Furnace. 

Back in Blade and the white-wash workmanlike vibes clash with cascading lighting and something of a rather select audience, as Big Naturals' (delayed) set the feeling of one of those super-cool, super-secret shows like Sonic Youth described playing circa 1982 in the hardcore bible Our Band Could Be Your Life.

Tracks merge into another, with intermittent breakdowns serving as a prelude to yet more volcanic drones in a manner of which Amon Düül II would have been proud of.

A near-hour long psych-blues jam consisting of little but drums and bass could have been the most conceited contrivance on the planet yet the band's passion for dynamism and improvisation makes for something special.

Entering a stage soaked in pulsating trippy visuals, Mind Mountains' squalling intense drone ramps up the intensity stakes with every nook and cranny filled with noise, glorious noise.

Continuing the fine work started by Big Naturals beforehand, the Liverpool juggernaut dive headlong into a deep bluesy freakout-festival. The band's interweaving rhythms slowly ratchet up the intensity underlining what a tight band they've become over the last 18 months.

Each member appears in tune with each other's noisy whims giving the appearance (if not necessarily the form) of complete improvisation; something akin to MC5 - minus their radical rhetoric - or a jazz band covering Bad Brains.

Then came the time to kick out the jams as Brooklyn's NAAM entered the fray.

Despite very much looking the part of the era they're aping (early 70s Birmingham, if the flared bearded bassist and the moustachioed aviators-after-dark drummer are anything to go by), they contrastingly sound very much 80s Seattle - frenetic rhythm section struggling to climb out of the muddy banks of Puget Sound, buried beneath a sludgy riffing tide emerging from the Green River.

This proves to be a delectable flipside to the current glut of New York contemporaries parading avant black metal much to the delight of certain quarters of industry press. 

However, the band's earthier ambition also allows their set to be made up of actual songs which sadly allow the band time to make gratuitous small talk between songs rather detracting from the swampy jams on offer earlier in the evening.

Strange for a band so keen on noodling lead guitar, their finest moment arrives near the close of their set when the band strip things back lending a desert like groove thatNick Cave would be proud of.

By the evening's close, and coupled with the pulsating visuals, it feels like this evening was less a gig, and more a nightmarish happening straight out of the Plastic Exploding Inevitable; another genuine event in Liverpool's prevailing musical renaissance.

Wolf Alice / The Shipping Forecast // Get Into This

You would think that on one of the three days of summer Liverpool is treated to, the last place that you wouldd want to be is in a warm dank basement. But come people did, so clearly Wolf Alice (the latest band to roll off of the NME’s hype machine) are clearly doing something right.

Opening band Mohebbi’s bluesy psych comes across initially as something of a misstep on the promoters part, given that they do not really fit in with the evening’s more indie aesthetics. The band span things around entirely on songs like Jack and John, even descending into some Can style freak-outs... if Oasis decided to cover Can. Imagine that, I dare you.

Carrying on the 00s revival Liverpool seems to be undergoing (see the Soho Riots), The Shadow Theatre’s scratchy, snotty indie felt like being 14 again. You know, when that guy in the trilby and winklepickers at the front of the Babyshambles gig was the coolest guy you’d ever seen. Scratchy rhythms and jangly leads abounded throughout their over-short set, especially on Interpol-esque tracks like Follow the Lights or the Rakes-lite of Concepts (22 Grand Job anyone?)

Finally entering the ‘dungeon’ after a slight delay, Wolf Alice’s blissed out twee grunge on tracks like  Nobody Loves You Anymore is perfect for a hazy June evening. Imagine Dinosaur Jr. rawness with Maccabees melodies. Yeah something like that. Pretty sweet stuff, non?

The more slow-burner kind of moments are a bit of a drag sadly, slowing the night down and reducing the band’s momemtum. Which makes it all the more a shame that barely anyone was boogeying along to the upbeat numbers. However it is their recent single Bros which tops the gig with it’s pure epicness – if this was 2004 this would have been every nascent indie kid’s anthem, à la Time for Heroes for the digital age.

It is also so refreshing to see a band not bother with one of those encores where the band are off stage for literally 30 seconds before popping back on for a few un-asked for numbers.