The Club Beat with DJ B-Eazy

the Club Beat with DJ B-Eazy
By Al Shipley

Brandon Harris had been spinning records as DJ B-Eazy for nearly 10 years before he broke into the Baltimore club scene as a producer. And that breakthrough came partly as a result of advice from his cousin, the already established DJ Manny. "'Baltimore has a thousand DJs, you gotta set yourself apart,' that's what he said," Harris recalls. "So I started makin' music. No one wants to give me a chance, [so] I went and bought ASR equipment, started takin' my old records from Music Liberated and Rod [Lee]'s store and Dimension [in Music] and sat down and made a club track."

Harris, a personable 25-year-old who works at UPS during the week (and replies "all the time," when asked if he ever gets wisecracks about Notorious B.I.G.'s infamous "UPS is hiring" punch line), says that his DJ bookings have increased exponentially in the past year, as his productions have been featured on mixes by K-Swift, Say Wut, and DJ Pierre. "Once you get in there and they get familiar with your name, it's a household name like Pepsi, and they say, 'Yeah, I know him, good quality music,'" he smiles. "And there's something about music, when you're composing and arranging, people just wanna come to your parties."

It took some time, however, for DJ B-Eazy to establish that kind of brand recognition. In fact, his first track to gain significant spins, a remix of Omarion's "Icebox" that he collaborated on with DJ Tigga, ended up getting credited solely to Tigga on most mixes, as did one of B-Eazy's solo tracks, a remix of Akon's "I Wanna Fuck You." Moreover, he's run into numerous cases of mistaken identify with another local DJ who goes by the handle B-Eazy but doesn't produce. But Harris soon began getting his props, for a hugely popular remix of the Shop Boyz' "Party Like a Rock Star," which ended up being the definitive Baltimore club version of the national hip-hop hit thanks to the producer's distinctive approach to chopping up the song's guitar line.

Baltimore club vet K.W. Griff, who spins Friday nights on 92Q Jams, was the first DJ to play a B-Eazy track on the radio. "That's the one thing I like about him, he's not scared to give a person a chance," Harris says of Griff. "A lot of people like, 'Awww, well, we not gonna play [it].' They'll wait until somebody else plays it first."

And soon, Harris was getting requests straight from one of the station's higher-ups, regarding a club remix of the 50 Cent/Justin Timberlake hit "Ayo Technology." "Griff was playing it on the radio one Friday when it premiered," Harris says. "And [then-92Q program director] Victor Starr heard it on the radio, called over to the station to ask Griff for my number, and contacted me, and wanted me to make it into a song version."

Harris' first version of "Ayo Technology," like most club remixes of popular songs, kept just the hook and select lyrics from the song, cut up as loops for a loosely structured dance track. But Starr had the idea of making it into a remix of the entire song, including 50 Cent's rap verses, and putting it on the air during drive time instead of the original, a nearly unprecedented move for the station. Harris says that Starr had big plans for the remix that were squashed by bad timing. "He sent it to G-Unit and Interscope," Harris says. "But then after that, before I heard anything back, he got fired."

Since then, 92Q has continued a trend toward playing Baltimore club versions of full songs in lieu of the official version, including a mix of Rihanna's "Don't Stop the Music" by another producer currently in rotation.

With his dance card filling up fast and more tracks--such as the Stevie Wonder-sampling "Clap Your Hands 2008," which is getting spins from other DJs--Harris doesn't have to work for recognition anymore, aligning himself with powerful local allies such as Rod Lee's Harm Squad Entertainment. In fact, he's planning on dropping his signature, where he inserts a sound bite of his own name into a song, out of future tracks, because he no longer needs to fight to get credit for them. "I don't have to put my name in my songs anymore," Harris says. "That's the way to get promotion for your own self. You put your stamp on there, you can't deny that." But local vet DJ Kenny B paid him a compliment that convinced him it was no longer necessary. "He said, 'You made it to the point where you don't have to put your name on songs anymore, and it'll last longer.'"
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