Happy 25th Anniversary to The B.U.M.S’ debut (and only) studio album Lyfe ‘N’ Tyme, originally released June 1, 1995.
When I think about my favorite groups that only got to release one album, Brothas Unda Madness (a.k.a. The B.U.M.S) rank near the top of the list. The Oakland-born duo released Lyfe ’N’ Tyme a quarter of century ago and never put out another album together. In fact, you’d be very hard-pressed to find any material available for consumption that featured the combined rapping talents of Evol “E-Vocalist” Alexander and D’Angelo “D’Wyze” Smith.
Which is a shame, because Lyfe ’N’ Tyme is a legitimately great album. The 25 years that have passed since it hit the shelves haven’t dulled its quality, as the beats and lyrics blend to capture the vibe of early summer life in Oakland.
The B.U.M.S came up through their association with Sway and King Tech, a rapper/DJ duo who went on to capture greater fame as the creators and hosts of The Wake Up Show, the late Friday night hip-hop radio show for KMEL, a San Francisco based “urban” radio station. When not working days as a barber at Jackie’s Cut’s & Styles in Oakland, D’Wyze carried crates for King Tech during his DJ gigs. Meanwhile, E-Vocalist was a dancer for the crew, but honed his skills as a lyricist, and became a mainstay on The Wake Up Show during the early ’90s, freestyling and performing spoken word pieces on the air. Oakland’s Sebastian “Joe Quixx” Rodriguez, who produces the vast majority of Lyfe ’N’ Tyme, was The Wake Up Show’s official DJ for years. Eventually the crew signed a deal with Priority Records, making their debut on the Street Fighter soundtrack (1994) with “It’s a Street Fight.”
During a transitional and diverse time for Bay Area hip-hop, the B.U.M.S definitely skewed less gangsta than many of their peers. But while it’s easy to group them with the likes of the Hieroglyphics crew, the B.U.M.S definitely establish their own identity on Lyfe ’N’ Tyme. They do an excellent job at showcasing their ample rapping talents and chronicling the realities of life in Oakland. Musically, the backdrop is alternately jazzy and airy. It’s very “Bay Area,” without aping the sounds of established artists from the same geographic region.
The B.U.M.S detail the frequent struggle between artists and their labels on “Elevation (Free My Mind),” the album’s first single and best-known song. It features the best usage of Teddy Pendergrass’ “Close the Door” ever released, as the duo chronicles a landscape where once rosy relationships between both parties sour, as record executives expect artistic compromise in the name of appealing to a broader audience. The crew comes across as resigned to set themselves apart from the mainstream, with E-Vocalist rapping, “Since I don't brainwash minds with talking 9mms and how I shoot ya / It seems no multi-million dollar contracts in my future.”
The B.U.M.S are at their best when they create mid-tempo braggadocio-oriented hip-hop, such as the slow-rolling “Non-Stopping the Groove.” “Wreck Your Ears (Can Do)” is another early highlight of the album, and the best hip-hop track reference of Guys and Dolls since the Beastie Boys’ “Paul Revere.” The two trade verses over a smooth loop of Maceo and All the King’s Men’s “I Remember Mr. Banks,” getting “nastier than maggots on a dead cow,” as E-Vocalist boasts how he’s “awakening crews in a rude fashion / On they ass like Mike Tyson at a beauty pageant.”
“West Coast Smack” is one of the album’s best tracks. Producers the Baka Boyz, a pair of Los Angeles-based brothers who hosted their own Friday night radio show, give the song a circus-like feel, complete with swirling horns and vibraphone runs. Both emcees in the group give appropriately hyped performances, fitting the energy of the track. While Evol proclaims himself “the roughed entertainer coming straight from the west / And yes, I will agress in a battle or contest,” D-Wyze raps, “My vocal peaks makes the drums in your ears sleep / But wait a minute, let my man spin it while I speak.”
Quixx slows the tempo to a crawl on “Let The Music Take Your Mind,” where D’Wyze and Evol describe using music as their motivation over a majestic sample of The Blackbyrds’ “Summer Love.” “For My Brothas” keeps things simple, as Quixx hooks up an understated bassline and meandering horn, which both emcees bless with slightly sing-songy deliveries. While D’Wyze raps, ““We’re from Oakland, let it be known, I’m not fronting / You might have heard me in your area when you were getting blunted,” E-Vocalist reminds listeners that “Imma progress in my quest for survival / So I rap in order to stay away from 5-0.”
The B.U.M.S delve into the difficulties of growing up in the East Bay throughout Lyfe ‘N’ Tyme. “Take A Look Around,” the album’s second single, features the pair focusing on their efforts to leave the days of their youth behind and channel their energy and desire to make money into the creative outlet of making music. The song is one of the earliest productions by Fredwreck Nassar, an LA-based beat-maker who would eventually go on to produce for artists like Snoop Dogg, Master P, and Cypress Hill. Here he casts a chill shadow through a sample of Johnny Hammond’s version of “Never Can Say Goodbye.”
“Flex Uv a Finger” goes deeper into the perilous existence of growing up in East Oakland, and how things have gotten even more dangerous as the years have gone by. “I reminisce when heavy artillery was a bat,” E-Vocalist raps. “But now out on the Flats action's regulated by a gat.” Later, the contemplative title track centers on working to achieve your dreams while still staying grounded and remembering your roots. The track also features an exquisite debut verse by fellow Oakland native Mystic, years before she found fame.
The B.U.M.S take things back to basics on “Can You Do Without?” another madcap rap bonanza. King Tech handles the production, creating a bare-bones drum beat and adding stabs of horns, giving it a throwback feel. It’s the most fun track on the album, with both emcees going for broke like they’re in the midst of a Wake Up Show freestyle session. “I put more heads to bed than Sudafed,” E-Vocalist raps. “So make like a crack head and feel the base / I’m raising hell like Pinface!”
Sadly, very little was heard from by The B.U.M.S as a group post Lyfe ‘N’ Tyme. “Rain,” the B-side of the “Take a Look Around” single, featuring Hobo Junction’s Saafir, was the last song released by the group. Since then, they’ve been largely MIA. D’Wyze has stayed on his grind, releasing a few independent projects. Around 2014, there was talk of the group releasing a follow-up album, but from what I can tell, no new music followed.
I do wish that The B.U.M.S had continued on with their career through the 1990s and beyond. The group said a lot on Lyfe ‘N’ Tyme, but the talent displayed suggested that they had more to offer moving forward. It’s sad that hip-hop heads never got more from the group, but at least they left a near perfect artistic statement with their first and only album. They made the most of the relatively short time they had in the spotlight, and hip-hop is better for it.
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