Producer: Brian “Bizzie-Bee” Butler

Brian “Bizzie-Bee” Butler

The first mix Brian sent to DMC was his Five Star mix back in 1985. It was so good that RCA nearly featured it as the B-Side to the group’s next release. Unfortunately due to time constraints and sample permissions, Paul Dakeyne’s mix was used instead. But this only made him more ambitious.

Brian was never a working DJ, but this didn’t stop him creating some of the most amazing mixes with the dancefloor in mind. Most of Brian’s mixes followed the tried and tested style of getting from Track A to Track B as smoothly as possible without the listener knowing. One of his most ground-breaking mixes was The Carpenters Mix back in February 1991. He blew the entire budget on session keyboard players to create brand new links between the tracks.

Working with Emagic’s Logic software, he tirelessly slaved over every link working out how it could be improved before submitting the master to DMC. Keeping all the tracks in key with a smooth back-beat was Brian’s speciality. When Brian was working from the DMC Studios, his dedication to perfecting the mix often resulted in him sleeping under the mixing desk after working all night.

Brian’s talent for mixing meant you could ask him to do anything, and he’d find a way to make it work. So when seemingly impossible tasks such as The Anita Baker mix were needed, the DMC team knew only one person was up for the job. Once again Brian brought in the keyboard players and created another technically stunning mix.

Very few people knew that Brian was also behind the incredible Rave and Breakbeat mixes in the early 90s. Using the pseudonym “The Bezerker”, Brian created some of the most manic edits ever heard on DMC, and to this day still amaze listeners. Brian had some success releasing his own BreakBeat tracks on white label or underground labels. Working from his parent’s loft, he often had to cut the working day short as not to upset the neighbours with his floor shaking sub-bass.

Brian’s work was generally considered the “Rolls Royce” of the Remix Service, and it’s no wonder he was always first on the list for commercial releases. Some of his releases for record labels include Wham, Take That, Eternal, Roxette, and The Gypsy Kings. 

Before hanging up his headphones, he treated DMC members to some of his finest work. Back when S Club 7 were topping the chart with “Don’t Stop Movin’”, he cleverly examined the structure of the song and added elements of Michael Jackson to it. This became one of his most popular mixes for DMC and was a success with the members and also radio stations.

Brian now runs a successful marketing and design agency, but his timeless legendary work will remain part of DMC’s back catalogue forever.

Many thanks for the great words Tom Newton.