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This episode features the second part of an in-depth interview with legendary pioneer Arthur Baker, discussing his extensive career in music production, club culture, and hit-making in New York City. The conversation covers the transition from vinyl to digital DJing, early sampling technology like the Fairlight and the Fairlight CMI or Synclavier, the chaotic success and subsequent downfall of Streetwise Records, and producing major tracks for artists like Hall and Oates, New Order, and Diana Ross. Baker and the host also dive into the creation of the anti-apartheid charity single Sun City, the behind-the-scenes realities of filming Beat Street, and how keeping detailed press clippings and dated cassettes helped him write his memoir.
The episode opens with the iHeart Podcast branding and a brief introduction of the host and the upcoming interview with Arthur Baker.
The host explains that this is the second part of the interview with pioneer producer Arthur Baker, following a cliffhanger from part one.
The conversation shifts to Baker’s experience with early sampling technology, specifically the Sinclair 4, and his work on Hall & Oates’ "Out of Touch."
Baker recounts producing Candy Girl, the rapid success of the album, and the financial and distribution difficulties that led to Streetwise Records’ downfall.
The discussion moves to Baker’s collaboration with New Order, the cultural exchange between New York and Manchester, and the impact on dance music.
Baker talks about his involvement in the film "The Perfect Beat," meeting Harry Belafonte, and the challenges of producing music for a movie.
Arthur Baker discusses how he discovered and signed artists like Dougie Fresh and Brenda K. Starr through open calls at the Roxy.
Baker explains his role in creating the soundtrack, collaborating with producers and musicians, and the challenges of working with artists on set.
Baker reveals the decade-long journey to adapt Beat Street into a Broadway musical, including key collaborators and the creative process.
The story of how Baker and Stephen Stills assembled a star‑studded lineup to record the protest anthem “Sun City,” and the obstacles they faced.
Baker reflects on the pressures of record labels, the use of drugs, and the complexities of releasing multi‑artist tracks like “Sun City” and “Party Time.”
Baker discusses his relationship with emerging music tech, his stance on being a tech head, and how he balances technology with live musicianship.
Baker talks about writing his book for his daughter, the challenges of sobriety, and sharing his life story with a new generation.
Switching From Vinyl To Digitalinsight
The guest explains why he abandoned carrying heavy crates of vinyl to DJ sets in favor of Serato and digital files, citing sonic convenience and avoiding ruined records.
Using the Synclavier on Big Bam Boomstory
Arthur Baker shares how he and Hall and Oates used the expensive Synclavier sampling machine on their album Big Bam Boom, initially using it more as a novelty sound holder.
The Downfall of Streetwise Recordsstory
Baker reflects on how rapid success with New Edition and unpaid distributor debts ultimately destroyed his record label, compounded by his own lack of focus and drug use.
The guest details how a connection through Factory Records in New York led him to collaborate with New Order, blending his electro beats with their unique post-punk sound.
Arthur Baker recalls his bizarre first meeting with Harry Belafonte while working on the film Beat Street, which involved a strange joke about being Jewish.
Miles Davis Arrives for Sun Citystory
Baker describes the intimidating and magical moment when Miles Davis unexpectedly showed up at his recording studio to contribute a legendary trumpet solo and vocal piece to Sun City.
Editing the Sun City Videostory
After Godley and Creme left for a paid gig in London right before the deadline, Baker and filmmaker Hart Perry stayed up doing drugs to finish editing the seven-minute music video.
Writing a Memoir With Dated Cassettesstrategy
Arthur Baker explains how hoarding old press clippings, dated cassettes, and track sheets was the only way he could accurately reconstruct his timeline to write his memoir.
“I don't trust much of anything.”
“The world knows my affinity for collecting wax and whatever.”
“I feel like a fraud, because I don't think I've ever subscribed to the theory that, yes, I do believe that at home, the frequency of music from vinyl is just way better.”
“But now cats are pressing up 45s as if.”
“The M Vada used to have a guy with, he had three people carrying, like, eight crates.”
“We didn't end up using it.”
“He's put his ass on the line for this hip hop culture thing to a major film label, and he was out there promoting it.”
“After seeing Hamilton, she said, you know what, why don't you do a Beat Street musical?”
“We had a whole performance of him. So we ended up getting Herbie, Tony Williams, Ron Carter.”
“I was making hip hop records of rap records that were dance records.”
We said we’d come back for Part 2—and we did. Arthur Baker, the architect behind “Planet Rock,” “Confusion,” and so much of the ’80s dance-floor sound, returns to The Questlove Show to finish what we started nearly a year ago. Arthur takes us from carrying crates of vinyl onto airplanes to the Synclavier sessions for Hall & Oates’ Big Bam Boom, the clubs and DJs who shaped his sound, and the Brooklyn studio sessions that led to what he jokingly calls “New Arthur” records with New Order. He also opens up about Streetwise Records, the making of Beat Street, the story behind “Sun City” and Artists United Against Apartheid, his connections to Miles Davis, Diana Ross, and Little Steven, and why he wrote his memoir, Looking For The Perfect Beat, for his daughter. Arthur Baker is back. See omnystudio.com/listener https://omnystudio.com/listener for privacy information.
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