Last year, the Odd Future movement dominated hip hop headlines.
The crew out of L.A. grabbed the attention of everyone starting with it's leader, Tyler the Creator, and their lack of concern for anything that people may have thought offensive. The shock rap movement created a stir among a lot of hip hop heads, which was a polarizing argument in itself. When is shock rap intelligent? Is it even considered smart lyricism? Should we be praising the OF gang for it's injection of new flavor to hip hop or criticizing everyone for giving a bunch of teens attention that should be reserved for artists who stick to the roots?
Odd Future didn't come from nothing. Contrary to how horrible Tyler may claim his life was, he was enrolled in school his entire teen years and had a mother who was there for him. Shit, the dude even had a job with UPS (that he's gone on record saying that it caused him to want to rap because he didn't want to end up like the rest of those he worked with). So while Tyler certainly has things to be upset about and his life is far from perfect, his lyrics reflect a tormented individual, rather than a product of his environment.
Step in Daniel Sewell. Sewell, a.k.a. Danny Brown, grew up in the slums of Detroit and like most African Americans residing in that area, he had nothing. His father, who was 16 when Sewell was born, was there and was a house DJ, but had trouble paying the bills, as DJing wasn't (and still isn't, unless you're really good and can make some connections along the way) the most lucrative career. Sewell grabbed inspiration from his father's DJing, but also from an unlikely source: Dr. Seuss. His mother would read him the Seuss books as a young boy and Sewell began to try and talk in rhyme after hearing the latest story.
Sewell didn't have a mid-life "I should be a rapper" realization like some, as he wanted to be an MC from the day he could understand what one was. He formed a Detroit based rap group called Rese'vor Dog and they released Runispokets-N-Dumpemindariva in 2003. The album never got much attention, but it did give Sewell a look from Roc-A-Fella records. A look was all it ever turned out to be however, as after Sewell went to record in a Roc-A-Fella studio in NYC, the rapper was dismissed as a candidate to sign.
After years of trying to get his name back on the underground artist watch, Sewell became friends with G-Unit's Tony Yayo. Speculation swirled around whether Sewell would sign there, but he dismissed the idea almost as quickly as Roc-A-Fella did with him (and thank God he did).
So in 2011, Sewell finally found a home in Fools Gold Records (also home of Kid CuDi and Lil' B) and prepared for his debut release. Yet, Sewell was unlike many rappers working on a start up record, as he was 30 years old at the time he recorded it. I had never heard of Danny Brown until last year, and I'm guessing I'm in the majority there. In fact, the only reason I did hear about him was that every time I'd enter the "Best Mixtapes 2011" into the Google search bar, Brown's XXX popped up. I wasn't familiar with Brown and had no idea what to expect, but one day I got bored of listening to the Wu and Game's shitty R.E.D. album, so I gave Brown a chance.
Here's what I found..
1. XXX
The first time I heard this, I remember thinking "what the fuck am I listening to?". I hadn't been familiar with Brown's obnoxious tone before, so for me, or really anyone hearing Mr. Brown for the first time, it took some adjusting to. Once I got over the initial shock of this though, I began to actually try and figure out what exactly Brown was talking about, which turned out to be himself. There's some good lines in this one (my particular favorite was "Sorta like Neo with them Matrix codes/I try to escape it hoping drugs a numb a soul) but what's most interesting is Danny himself. Brown addresses the fact that he's "getting old and times running out" and you get some real insight into how fucked up this dude's life is. This isn't Tyler bitching about everyone else or wanting to slap some bitch till she bleeds (which is kind of comical, just not honest), this is real and we are just hitting the surface of who really is Danny Brown. (I didn't even mention how the beat on this was pretty well done, but you don't even give it that much attention because of how interested you are in hearing Brown's story. It may be one song, but that's already a terrific sign).
2. Die Like a Rockstar
The first five seconds of this song had my attention with the drum solo to kick things off. Now, before I get to actually reviewing this one, Brown could've gone two ways with this at this point:
A. He falls into what I call the "Barker" or "Carter" trap, which is where the MC insists that he needs a sort of punk or hard rock instrumental that he can rap over, then subsequently believes that the track is "creative" or "unique" because of it (as seen with Game's "Dope Boys" or Wayne's entire Rebirth album).
B. He does what he ends up doing, which is sticking to his sound and using the drums as something to enhance the meaning of the track, rather than take away from it. The beat for this is crazy as fuck and it's great because of that. Again though, the star of the show is Brown's storytelling, rather than what supplements it. He rattles off 13 different celebrities, including Brittany Murphy, a name I hadn't even heard since she died three years ago. This shit was not only fun to listen to, it was pretty damn creative. It's also consistent with who Brown is, because while the rockstar/celebrity mentions are cool, he isn't just randomly making a song about them. He made it because he thinks it's actually how he will die.
3. Pac Blood
Brown is murdering the tape at this point. What I really liked about this one is that Brown seems to have actually come down from his adderall for this one, and he shreds the two verses given to him, like these lines for instance:
One writing scriptures bringing tears to princess
Every time I indent, you can see the intent
Leave your mind bent, hanging on the every sentence
Have no apprentice, style uninherited
Laughing at you peasants cause my penmanship is excellent
Laughing at you peasants cause my penmanship?? Wow. Not only has Brown proven to me at this point that he has a lot to say, but also: he's really fucking good at saying it. Add to the fact that he has another stellar track of production behind him, and you've got the Daryl "WOW" factor moment for XXX. (Worth also mentioning: the hook for this is straight fire. Yes, I said fire, and yes, I am still white. But there's no other way for me to describe it. When you say "make Sarah Palin deep-throat till she hiccup", you've got some serious swagger)
4. Radio Song
Tyler should be taking notes, because this is how you make a song about the incessant need for labels to have a single (actually, a better example would be GZA's "Labels", but I digress..). I liked how Brown turned the hook into a parody and addressing how god awful most singles' hooks are. His second verse is similar to "Die Like a Rockstar" as he uses numerous examples of low quality singles to back up his point. The beat here isn't quite as good as the first three tracks, but put into the context of Brown's raps, it fits perfectly. All I know is that whatever Brown has been drinking to get his creative juices flowing, I need some of that shit ASAP.
5. Lie4
This song interested me for a few reasons:
- First, Brown proves that he cannot avoid calling out those who have been haters in the past (which, from the sounds of Brown on this, it's amazing he held it in for this long). He demonstrates that small Odd Future element here (you know, the only one OF has, not giving a fuck), but again, he is most certainly not OF reincarnated in Detroit.
- Which brings me to another reason I found this song appealing. Brown uses his hook to show that he doesn't need to lie in order to make money. He's already been signed, while staying honest to himself. So he doesn't have to put out an image that he wants people to see, but isn't really who he is.
- Brown also shows that, while he is an incredibly talented writer and a sort of rebel to the hip hop industry, he is just like any other MC who gets signed and makes money. He spends it and he spends it on everything else that most rappers do.
- Lastly, the production on this tape is oozing with goodness at this point. The diversity from track to track has thoroughly impressed me and this one is no different. I actually put this one at a party I hosted to see how the reaction would be (which turned out to be pretty damn favorable, reassuring me that Brown is certainly marketable).
6. I Will
A swift change from the raw, club induced beat of "Lie4", this one also doesn't disappoint. Brown, this time, uses a track to talk to another girl (one that is obviously DTF) and, while this is a subject that has beat the dead horse so much that the horse doesn't even have a carcass at this point, he finds a way to put a creative spin on it. Some of the shit on here just made me laugh out loud, and this song is actually just about Brown wanting to eat some chick out. Amazingly, he's able to string together two verses about this one act and he does it without sounding repetitive. This is another song that makes me further appreciate Brown's abilities. He takes something that someone who isn't nearly as intelligent makes into a single or something that just sounds fucking stupid, and makes it his own. There's a very select group of rappers who can do this (Q-Tip was one that immediately came into mind) and Brown is quickly convincing me he could be one of them. And oh yeah, the beat is really good here too (and this has also stunned me, that I'm so damn interested in everything Brown has to say, I'm completely ignoring the production, which is arguably, just as good and creative as anything Brown raps).
7. Bruiser Brigade ft. Dopehead
It didn't take long for me to hear the nearly identical sound this has with "Lie4". That was my first indication that this finally marks the first miss on XXX and the subsequent "BRUISER" and verses confirmed it. I understood the point of the track, introducing Brown's crew and making a point that they're just about as nuts as he is. It's just not a good track, period, especially after hearing for six tracks what Brown is capable of. (and Dopehead's appearance has to be one of the most irrelevant ones I've heard from a tape in quite a while, which is saying something considering how bad the majority of tapes are)
8. Detroit 187 ft. Chip $
I'll admit, when you look at Brown's lyrics for this, they're pretty good and Chip $'s verse isn't terrible. I had two problems with this: one being that the beat is just too damn out there for me and it's not one that I want to keep bumping to after. The other is Brown's delivery. His over the top voice has been justified previous to this because he's been able to keep a steady flow going; that's just not the case here. It's a shame too, as Brown with a little more focus could have made this into another gem.
9. Monopoly
OK, so if anyone has heard of Danny Brown in the last year, this is the song you would have heard. It was listed on Pitchfork.com's top 100 songs of 2011, and for good fucking reason. If Brown had directed this at a particular rapper, I'm sure more people would have noticed, because it would have just shit on whoever it was (or maybe actually shit on him, as Brown says "literally" on this). This track isn't weird or attacking a subject: it's purely raw. Brown doesn't use a hook, which may have been his best decision on the entire tape and his two verses had me having to replay this over and over again because of all the shit that I missed the first two times I heard it. He also has a few lines on here that are just hysterical, such as the "drunk like Stallworth" one (which, as an avid sports fan, I've never heard mentioned on any rap song to date and I'd be surprised if it has. Brown is either a really good researcher or he's just got a really good memory, because I think the only one that remembered Dante Stallworth getting a DUI and killing someone at this point, is Dante Stallworth and whoever he hit's family). The beat, again, suits the track exactly as it's supposed to and I had no complaints about it whatsoever. I've haven't forgot the past two missteps, but this definitely helps.
10. Blunt After Blunt
This sounded pretty damn similar to "Bruiser Brigade", and last I checked, that song sucked. So yeah, this one does as well and the hook is just fucking stupid. The video is sort of humorous (and was directed by A$AP Rocky, a friend of Brown), but that's about it.
11. Outer Space
I liked the attempt. The beat is interesting to say the least, but in all honesty, it's just not that good. Similar to "Detroit 187", it's constructed so that it sounds almost awkward with Brown's delivery. As for Brown, he has a few good lines on this, such as "I've got them Penis Psalms for your Vagina Monologues" and "I keep that bitch wet, around you she's a cactus". After I gave this a few listens though, I was bored by the third spin, and that is never a good thing.
12. Aderall Admiral
If there's a nickname that probably suits Brown more than anything, it's this one. The title would suggest Brown would just go fucking crazy on this, but he's actually pretty focused. Brown decides to not include a hook and instead goes with four, albeit short, verses. While I wasn't crazy about the beat, I don't think it needed to be anything glamorous and it allows you to listen solely to Brown's lines, which aren't bad. This isn't a home run like "Pac Blood" or "Monopoly", but I still enjoyed it all the same.
13. DNA
Who the fuck is this? I almost took an hour searching to try and figure out if Brown just decided not to include the mention of a guest on this song, because it's a complete departure from how he's sounded to this point. Yet, this is still Brown, and even off the aderall, he sounds good. The production finally returns to something I can consistently listen to and I liked the hook on this. Brown explains how he's not responsible for who he is, it's his parents fault. I'm a believer of this, to an extent. I'm not doubting Brown didn't have a fucked up childhood and it absolutely had a large influence on who he is. But Brown was also 30 years young when he made this tape. He's had other influences by now, so fully blaming his drug addictive personality on the rents may be a little exaggerated. Regardless, I was a fan of this one.
14. Nosebleeds
If anyone ever tries to argue that Brown is a "gay" or "emo" rapper who just impresses everybody because he's different but isn't actually that talented, present them with this song. Brown clearly has a knack for storytelling, and here is a great example of it. He talks about a young girl who becomes an addict to coke and can't get her life in control. Yes, it's short and the song is straightforward (there's no clever use of metaphors to really tell the story), so some will call Brown out for that. For me though, the wording Brown uses paints the picture very well and it's clear that he knows the effects of the drug ("face rushing, going numb, nipple hard on them breasts"). He also ends the song fittingly.
15. Party All the Time
Maybe Brown is just stoned out of his mind by now or he really is bipolar. His low voice overshadows much of what you heard in the first 12 tracks and you have to really question if it actually is him laying down the lines (and really, it's unlike anything I've ever heard. I've heard rappers change from record to record or have a track or two that isn't quite their traditional sound, but this is a whole new monster). Production wise, things slow down as well. The beat here is by far the most laid back of the tape and it sounds decent. While this song is similar to the one previous, I think it's another good example of how Brown is not a one-dimensional rapper. He can be fucking insane at times, and then you listen here, and he sounds like a pretty rational human being (and if you read a few of his interviews after doing this tape, you'll understand that even better).
16. EWNESW
There's been Motown influences scattered throughout this tape and Brown has said that a lot of his inspirations for his music comes from the dance and techno scene of Detroit, which explains beats for songs like "Lie4" and "I Will". This one though, just bleeds of soul and sounds terrific. While the beat is laid back, the subject matter certainly isn't, as Brown goes in depth on the different areas of Detroit he's lived in (my favorite line in particular had to be "ate a lunchable for dinner nigga, I ain't frontin'"). He details how he'd get caught up in crack houses or drinking 40's in brown paper bags or just driving around to just drive around. Brown clearly has come from fucking nothing, which makes his rise all that more impressive. Then again, we hear this story time and time again in hip hop, so if Brown thinks he's new to this (which I don't think he does actually), he'd be wrong.
17. Fields
The pattern of the "two song parlay" is here again, with Brown going further in depth on his upbringing and how broke he was. This time though, Brown attacks more at how society fails to recognize the problems of a poor black community. Take this set of lines for instance:
10. Blunt After Blunt
This sounded pretty damn similar to "Bruiser Brigade", and last I checked, that song sucked. So yeah, this one does as well and the hook is just fucking stupid. The video is sort of humorous (and was directed by A$AP Rocky, a friend of Brown), but that's about it.
11. Outer Space
I liked the attempt. The beat is interesting to say the least, but in all honesty, it's just not that good. Similar to "Detroit 187", it's constructed so that it sounds almost awkward with Brown's delivery. As for Brown, he has a few good lines on this, such as "I've got them Penis Psalms for your Vagina Monologues" and "I keep that bitch wet, around you she's a cactus". After I gave this a few listens though, I was bored by the third spin, and that is never a good thing.
12. Aderall Admiral
If there's a nickname that probably suits Brown more than anything, it's this one. The title would suggest Brown would just go fucking crazy on this, but he's actually pretty focused. Brown decides to not include a hook and instead goes with four, albeit short, verses. While I wasn't crazy about the beat, I don't think it needed to be anything glamorous and it allows you to listen solely to Brown's lines, which aren't bad. This isn't a home run like "Pac Blood" or "Monopoly", but I still enjoyed it all the same.
13. DNA
Who the fuck is this? I almost took an hour searching to try and figure out if Brown just decided not to include the mention of a guest on this song, because it's a complete departure from how he's sounded to this point. Yet, this is still Brown, and even off the aderall, he sounds good. The production finally returns to something I can consistently listen to and I liked the hook on this. Brown explains how he's not responsible for who he is, it's his parents fault. I'm a believer of this, to an extent. I'm not doubting Brown didn't have a fucked up childhood and it absolutely had a large influence on who he is. But Brown was also 30 years young when he made this tape. He's had other influences by now, so fully blaming his drug addictive personality on the rents may be a little exaggerated. Regardless, I was a fan of this one.
14. Nosebleeds
If anyone ever tries to argue that Brown is a "gay" or "emo" rapper who just impresses everybody because he's different but isn't actually that talented, present them with this song. Brown clearly has a knack for storytelling, and here is a great example of it. He talks about a young girl who becomes an addict to coke and can't get her life in control. Yes, it's short and the song is straightforward (there's no clever use of metaphors to really tell the story), so some will call Brown out for that. For me though, the wording Brown uses paints the picture very well and it's clear that he knows the effects of the drug ("face rushing, going numb, nipple hard on them breasts"). He also ends the song fittingly.
15. Party All the Time
Maybe Brown is just stoned out of his mind by now or he really is bipolar. His low voice overshadows much of what you heard in the first 12 tracks and you have to really question if it actually is him laying down the lines (and really, it's unlike anything I've ever heard. I've heard rappers change from record to record or have a track or two that isn't quite their traditional sound, but this is a whole new monster). Production wise, things slow down as well. The beat here is by far the most laid back of the tape and it sounds decent. While this song is similar to the one previous, I think it's another good example of how Brown is not a one-dimensional rapper. He can be fucking insane at times, and then you listen here, and he sounds like a pretty rational human being (and if you read a few of his interviews after doing this tape, you'll understand that even better).
16. EWNESW
There's been Motown influences scattered throughout this tape and Brown has said that a lot of his inspirations for his music comes from the dance and techno scene of Detroit, which explains beats for songs like "Lie4" and "I Will". This one though, just bleeds of soul and sounds terrific. While the beat is laid back, the subject matter certainly isn't, as Brown goes in depth on the different areas of Detroit he's lived in (my favorite line in particular had to be "ate a lunchable for dinner nigga, I ain't frontin'"). He details how he'd get caught up in crack houses or drinking 40's in brown paper bags or just driving around to just drive around. Brown clearly has come from fucking nothing, which makes his rise all that more impressive. Then again, we hear this story time and time again in hip hop, so if Brown thinks he's new to this (which I don't think he does actually), he'd be wrong.
17. Fields
The pattern of the "two song parlay" is here again, with Brown going further in depth on his upbringing and how broke he was. This time though, Brown attacks more at how society fails to recognize the problems of a poor black community. Take this set of lines for instance:
That why we all ways end up in prison instead of college
Living in the system working kitchen for chump change
Lost in the streets niggas playing that gun game
Where nobody wins just a bunch of mommas losing
Dead bodies in the field and nobody heard the shooting
We living in the streets where the options is limited
Cause its burnt building instead of jobs and businesses
Living in the system working kitchen for chump change
Lost in the streets niggas playing that gun game
Where nobody wins just a bunch of mommas losing
Dead bodies in the field and nobody heard the shooting
We living in the streets where the options is limited
Cause its burnt building instead of jobs and businesses
It's not anything groundbreaking or really that new, but I still appreciated it all the same. The beat was also good for this, resulting in another win for the Bruiser Brigade captain.
18. Scrap or Die
18. Scrap or Die
From the opening of this, I was anticipating aderall Brown to return, but no! It's the calm one and the "Scrap or Die" isn't a metaphor; he's actually fucking serious. Usually you hear some example of how the dude has to sling a rock to make a buck, but here, Brown explains how he finds scraps of metal to make money when he turns it to a junkyard. I've never really thought of this method of earning an extra dollar, but I'm sure Brown is not the first or last that had to use it in order to put food on the table. So Brown, like "I Will", takes a subject we're all familiar with, but then adds a different perspective.
19. 30
Ahh, Aderall Admiral has made a return. "30" provides a good closure to XXX and I'm glad Brown decided to end it the way he did. The beat was all over the place, and while it wasn't horrible, it was hard to keep in rhythm to. Still, that's not what is important here, it's Brown's story and that's what XXX has really been about.
Closing Statement: My first encounter with Brown has, needless to say, been an extremely entertaining one. For starters, it really is a crime that more artists like Brown aren't noticed. I'm willing to bet there's plenty of rappers out there who have about as interesting story to tell as Brown has, but we just haven't heard it, yet (I hope, at least). However, while there may be a lot of MCs like this, I would find it hard to believe that there's another one quite like Mr. Brown. His influences, lyrics, and style is unlike anything I've ever heard before and you should probably have your ears examined if you try and make a comparison of Brown to Odd Future (Brown is much, much more intelligent if you haven't realized this already).
Out of the 19 songs XXX has, I found 14 that I could listen to more than once and there were about 7 that were exceptional. That's more than 1/3 of the tracklist, which is quite a feat. This was also a tape that took some listening to so that I could get used to it. There will be a lot of people that will be inclined to turn this off after one rotation. But if you go through it again, you'll understand why this was consistently picked as one the best offerings hip hop had last year.
Brown compared his sound and A$AP's to "the end of hair metal" in hip hop, which I think is a fair comparison. He believes his music is more related to the transition between "hair metal" and "grunge" of the early 90's, which in terms of hip hop, is going from the "glam" to what it is now. It's too early to tell whether Brown will truly make the impact on hip hop that Nirvana or the early grunge bands of the 90s did on rock (hell, we don't even know if Brown will stay alive long enough to see it happen if it does with his addictions). Regardless, people started listening to Cobain and crew eventually, and if you're late on the Bruiser Brigade train too, jump on; it's one that you won't want to get off anytime soon.
The Verdict: Not for the faint of heart, or the faint of hip hop, if you're into largely mainstream stuff, then avoid this. However, if you've got an open ear for something new, this will be something you absolutely have to have in your collection. I said that ReturnOf4Eva or Cold Day in Hell may have been the best tape of 2011, before I listened to XXX. After, I'd say it's a toss up, with Brown possibly winning solely because of how damn creative this was. And oh yeah, it's free. It's gotta be worth your time more at least than The Three Stooges or American Reunion, right?
19. 30
Ahh, Aderall Admiral has made a return. "30" provides a good closure to XXX and I'm glad Brown decided to end it the way he did. The beat was all over the place, and while it wasn't horrible, it was hard to keep in rhythm to. Still, that's not what is important here, it's Brown's story and that's what XXX has really been about.
Closing Statement: My first encounter with Brown has, needless to say, been an extremely entertaining one. For starters, it really is a crime that more artists like Brown aren't noticed. I'm willing to bet there's plenty of rappers out there who have about as interesting story to tell as Brown has, but we just haven't heard it, yet (I hope, at least). However, while there may be a lot of MCs like this, I would find it hard to believe that there's another one quite like Mr. Brown. His influences, lyrics, and style is unlike anything I've ever heard before and you should probably have your ears examined if you try and make a comparison of Brown to Odd Future (Brown is much, much more intelligent if you haven't realized this already).
Out of the 19 songs XXX has, I found 14 that I could listen to more than once and there were about 7 that were exceptional. That's more than 1/3 of the tracklist, which is quite a feat. This was also a tape that took some listening to so that I could get used to it. There will be a lot of people that will be inclined to turn this off after one rotation. But if you go through it again, you'll understand why this was consistently picked as one the best offerings hip hop had last year.
Brown compared his sound and A$AP's to "the end of hair metal" in hip hop, which I think is a fair comparison. He believes his music is more related to the transition between "hair metal" and "grunge" of the early 90's, which in terms of hip hop, is going from the "glam" to what it is now. It's too early to tell whether Brown will truly make the impact on hip hop that Nirvana or the early grunge bands of the 90s did on rock (hell, we don't even know if Brown will stay alive long enough to see it happen if it does with his addictions). Regardless, people started listening to Cobain and crew eventually, and if you're late on the Bruiser Brigade train too, jump on; it's one that you won't want to get off anytime soon.
The Verdict: Not for the faint of heart, or the faint of hip hop, if you're into largely mainstream stuff, then avoid this. However, if you've got an open ear for something new, this will be something you absolutely have to have in your collection. I said that ReturnOf4Eva or Cold Day in Hell may have been the best tape of 2011, before I listened to XXX. After, I'd say it's a toss up, with Brown possibly winning solely because of how damn creative this was. And oh yeah, it's free. It's gotta be worth your time more at least than The Three Stooges or American Reunion, right?
