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Omen Producer Sidney Brown Dead: Drake, Beyoncé, Lil Wayne Collaborator

by Emma Walker – News Editor

Drake, Beyoncé, and Lil Wayne producer Omen Dies at 49

Sidney “Omen” Brown, a producer who‌ contributed ⁤too landmark albums by Drake, Beyoncé,⁢ and Lil Wayne,​ was‌ found dead in new York City this week. He was 49 ‍years old. News of Brown’s passing has prompted an outpouring of remembrance from artists and industry figures who credit him with shaping the sound of a generation.

Brown’s death ⁢represents a loss for hip-hop’s production community and the artists who relied on his distinctive ear. His work spanned two decades, from the Roc-A-Fella Records⁢ heyday to collaborations with contemporary stars, leaving an indelible mark on popular music. Details surrounding his death have not been released.

Born in Harlem in 1976, Brown began his career producing for artists within the Roc-A-Fella Records orbit⁤ in the late​ 1990s‍ and early 2000s. His credits include Memphis ⁤Bleek’s Coming of Age,Mýa’s Moodring,and Fabolous’ Street Dreams. He also composed‍ the score for the 2002 rap comedy⁣ Paper Soldiers, which⁢ featured⁤ a breakout performance by Kevin hart.

A⁢ pivotal moment in Brown’s career came in 2006 when he produced “Tell It Like it Is” for Ludacris’ Release Therapy, which went on to win the Grammy Award for Best Rap Album in ‌2007.

Later, through producer Noah “40” Shebib, Brown‍ connected with Drake and co-produced “Shut It Down,” a duet with The-Dream from Drake’s⁣ 2010 debut album, Thank Me Later. He and Shebib continued their collaboration on ‌lil Wayne’s “I’m ⁢Single” and, notably,⁤ on “Mine,” beyoncé’s 2013 duet ⁣with Drake from her self-titled visual album, Beyoncé.

Brown’s last credited production work was on Action Bronson’s 2015 album Mr. Splendid. In recent years, he continued to DJ at local venues.

“I hope people will ⁣remember that he was willing to help the⁣ younger‍ generation,” Brown’s sister told NBC News. “He was always big on helping younger people start their careers⁢ and get themselves into the ⁤game. It was about just the music, no​ matter ⁢who the‍ artist was.”

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