Artist: Arthur Baker
Genre(s):
Electronic
Discography:
The Message Is Love (Maxi-CD)
Year: 1989
Tracks: 3
Breakin' CD1
Year:
Tracks: 16
Arthur Baker was among the to the highest degree visible and widely imitated of the early hip-hop producers, masterminding breakthrough experiments with tape edits and synthetical beats earlier intersection over to acquaint the graphics of remixing into the pop mainstream. He began his life history as a club DJ in Boston and landed his first production do work at Emergency Records, debuting with Northend's "Happy Days." After relocating to New York in 1979, Baker speedily immersed himself in the nascent hip-hop scene; thither he was recruited by the Salsoul label to helm a session for Joe Bataan that yielded the rap trinket "Rap-O-Clap-O." His stay in the Big Apple largely stillborn, he then returned to Boston, producing a fistful of singles which went nowhere, among them Glory's "Prat You Guess What Groove This Is?"
A move back to New York followed, at which prison term Baker coupled the stave of Tommy Boy Records, where he teamed with co-producer Shep Pettibone to disk Afrika Bambaataa's groundbreaking ceremony 1982 single "Jazzy Sensation," a remaking of Gwen McCrae's "Low-down Sensation." Assuming fillet of sole production control, Baker next reunited with Bambaataa for the classical "Planet Rock," a watershed in hip-hop's early evolution -- a altogether synthesized record elysian by Kraftwerk's "Trans-Europe Express," its programmed beat generation leftfield an unerasable imprint on the music released in its wake. Baker's success at Tommy Boy lED to the formation of his have label, Streetwise Records; after helming metro nine hits for Rockers Revenge, Nairobi, and Citispeak, he sign a then-unknown New Edition, issue the stripling vocal group's debut single, "Confect Girl," in 1982.
Baker's gradual preoccupancy into the pop mainstream continued in 1983, when the cutting edge British dance mathematical group New Order contacted him to bring forth their single "Mix-up"; the record became an immediate golf-club classic, regular scraping into the American R&B charts. Remixes of the track besides helped pioneer the remix esthetic end-to-end the rock mainstream, and shortly Baker was producing material for Naked Eyes, Face to Face, Diana Ross, Jeff Beck, and others. In 1989, he also assembled artists including Al Green, ABC, and Jimmy Somerville to disk the all-star LP Unify, credited to Arthur Baker & the Backbeat Disciples. After a followup, 1991's Give in to the Rhythm, he returned to production, albeit no thirster exerting the same genial of influence as in the decade prior.
