Arthur Baker, a pioneering record producer, DJ, and remixer, has significantly shaped the landscape of electronic and dance music. Beginning his career as a DJ in Boston during the 1970s, Baker moved to New York in the early 1980s, making an indelible mark with the groundbreaking single “Planet Rock” for Afrika Bambaataa and the Soul Sonic Force. This track, which merged electronic music with hip hop, set the stage for future genre innovations.

Baker’s versatility as a producer is evident in his collaborations with a wide array of artists across different genres, including Cyndi Lauper, Bruce Springsteen, and New Order. His ability to bridge musical worlds has made him a sought-after remixer and producer.

In addition to his musical contributions, Baker has been active in social causes, notably with the Artists United Against Apartheid project, raising awareness of apartheid’s injustices. He also ventured into the business side of entertainment, opening successful bars and restaurants in London while continuing to influence the music scene through production and DJing.

Were very happy to be able to spend some time talking to him about some of his achievements and latest single Powder In The Nose.

Your career has spanned the genesis of electro, hip-hop, and dance music. How do you view the evolution of electronic music from your early days to now, and where do you see it heading?

All permutations of the last 50 plus years of dance music (be it techno, hip hop, or house) have just two sources: disco and funk. All lines lead back to James Brown and Philly soul. The beats of Clyde Stubblefield and Earl Young, add lots of technology, and you’ve got it. I don’t see that changing.

You’ve been a pioneer in remixing, transforming songs across genres. Can you describe your creative process when approaching a remix, and how you decide what elements to alter or emphasize?

Remixing is intuition, where to take a specific track. Sometimes they were obvious to me, and sometimes it took deeper digging. Sometimes it would be the actual song, the melody and lyrics, and sometimes it would be a riff in the song. When I started, record labels wanted the song included, more like an extended mix. Then it got to a point you’d be asked to do whatever you wanted to have a dance hit, original song be damned. Both can be fun.

You’ve worked with a diverse range of artists, from Afrika Bambaataa to Bruce Springsteen. What do you look for in a collaboration, and how do you adapt your production style to fit the artist’s vision?

Production is way different from remixing, which is the remixer’s vision pretty much. Production should always be the artist’s vision and helping them get to that. I can’t say I love producing; I only loved it when I became part of the band, with all my early successes, be it Soul Sonic, New Order, or Freeez exemplify.

From your early interest in the Philly Sound to working with icons like Bob Dylan and Mick Jagger, how have your musical influences and tastes evolved over the years, and who are you currently inspired by?

Haha, they haven’t at all. I gravitate towards bands that have similar root influences- be they Yard Act, who I recently remixed, or bands I’ve recently discovered on TV, Idles, or riding in an Uber- Model/Actriz, or from industry friends raving about Sault.

Can you share your experience with remote collaborations in your recent house music projects and how it compares to the hands-on approach of the past?

It’s more fun to get in and work together, obviously, but nowadays, unfortunately, it’s not that common. Also, I’m a great track starter and horrible finisher, so I don’t mind getting a track together and then sending it off. A good example of that that worked was a track I made with Steve Lawler years ago- “Into the Groove.” I had it sitting around for quite a while, and then I met Steve and sent him a bunch of tracks, and he picked that one. He said he was a shit starter and a great finisher, so that collab worked!

How did you hook up with James Hurr on the new single?

I met James through HiFi Sean about 5 years ago. James engineered a bunch of mixes for my Rockers Revenge still-unreleased album, including their Crosstown Rebel “On a Mission”. So we had a working in the studio relationship already. I sent him a bunch of acapellas and parts, and he picked what he liked- Powder!

You’ve had a remarkable journey from DJing to producing. Can you share a memorable studio moment or a particular challenge you faced while producing a track that has stayed with you?

I’d say the Sun City project, where I had over 30 of my favorite singers to choose from when comping their vocals. The technology was almost prehistoric compared to today, and I had to decide, along with Steven Van Zandt, on the arrangement. We got a Grammy nomination that year for Best Vocal Performance by a Duo or Group. Unfortunately, we were beaten by the Eurythmics.

Having experienced the music industry’s evolution from vinyl to digital, what are your thoughts on how technology has changed music production and consumption?

Come on! It’s like I just said, I’ve been there going from prehistoric to full-on affordable technology. My first records were with live musicians in an 8-track studio! It’s so easy now for anyone to make music, which is great, other than there’s more shit out there than ever. Technology like Shazam is great. I’m still using Logic 9, by the way, so I’ve been working similarly for around 20 years. Interestingly, people want to collect records again!

You mentioned a dream project of putting Al Green and Bob Dylan together for a gospel record. Are there any other dream projects or collaborations you wish to pursue or regret not having pursued?

Daryl Hall and Phillipe Wynne of the Spinners (who died way too young). I mean, Sun City covered a lot of my dream vocalists.

With your wealth of experience, what key piece of advice would you give to upcoming producers and DJs looking to carve out a career in today’s music industry?

I’d say treat it as a hobby at first. Keep it as fun as possible. And then if you show real talent, you will surface. And you definitely need a bit of a hustler attitude. Don’t be afraid to play your music in progress; it builds confidence, and you’ll get good feedback in any case.

Arthur Baker and James Hurr – Powder In The Nose is out now on Toolroom