Arthur Baker was among the most prominent and widely imitated of the early hip-hop producers, masterminding breakthrough experiments with tape edits and synthetic beats before crossing over to introduce the art of remixing into the pop mainstream. He invented what we now call “electro,” wrote the first hip-hop hits for Tommy Boy Records in the early 80s, and produced the Brooklyn Funk Essentials. I sat with the king for an interview where revealed more about his past and present.

The Past

What role did Kraftwerk play in your music?

I really loved “Autobahn.” I heard it as a kid while working at a record store. I liked “Trans Europe Express” and played it as a DJ in Boston. It’s a long track, good for bathroom breaks. ”Numbers’” beat obviously blew me away and led to “Planet Rock.” So obviously they influenced me, but I wasn’t a crazy fan. I liked vocal music. Lyrics were really important to me.

When exactly did you discover the crazy new sound that influenced the 80’s and the next generations?

I was just messing around with limited time in the studio. I loved lots of types of sounds and music, and the people I worked with were open-minded also -- but from different backgrounds, so the marriage created mutated music.

When and how did you meet Tom Silverman, Fred Zarr and Jon Robbie?

I met Tom when he opened Dance Music Report. He wrote record reviews for free records. I was the only guy he knew who had actually produced a record, so he hired me to work with the Jazzy 5 and Bamb. Robbie and I met the day we went in to record what became “Planet Rock.” He’s my oldest friend other then my ex-wife Tina.

Were you aware in the early 80s that your music was something new and that it was going to be revolutionary?

I knew from the night I took home the rough instrumental of “Planet Rock” that we had made musical history, that’s definitely the truth. Every great track I made, I knew immediately. Call it youthful arrogance.

What do you think were your mistakes during that time?

Too much cocaine, too much arrogance, too little business advice.

In your opinion, what has been the impact of your music on contemporary music?

The orchestra hit, multi-edits, hard beats, electro/rock marriage, drastic dance remixes on rock records, the acceptance of beards in dance music.

Is there an “Arthur Baker” of the 2000s? Who do you see as following in your footsteps?

Paul Epworth makes great dance rock stuff, James Murphy, the Neptunes.

You created your own labels in the past. What memories do you have of them?

Bad memories of bad business plans, bad partners, drug abuse. One of my partners was Morris Levy, the prototype for the character of Hesh, the record guy in ‘The Sopranos.’ I was actually hanging with those guys high as a kite around 1985-86.

What are you most proud of from that period?

The ‘Sun City’ project, which brought more worldwide attention to the problem of Apartheid.

What kind of relationship do you have today with the original team of Silverman, M. Jonzun, Bambaataa, and Rick Rubin?

None really. I see Tom every so often at music events. I DJ'ed with Bamb for the ‘20 Year Tommy Boy Anniversary Tour.’ Last saw Rick 8 years ago. Robbie and I are very good friends still.

The Present

What are your current projects?

I produced the Shefield band Pink Grease for Mute Records and mixed a track for The Gossip. I’m still making tracks constantly, trying to get an album out early in 2007. I have a soul food restaurant in the Nottinghill section of London called Harlem, which is almost entirely staffed by French or French speaking staff and is packed out every weekend for brunch by hoards of hungry Parisian expats. I’d love to open a Harlem in Paris. We also have a weekend shop called Shop in the basement of Harlem, which features new women’s wear designers, including my girlfriend’s line, Felder Felder. I also do the ‘Return To New York’ parties all over the world, and DJ pretty frequently.

What is the Elbow Room? Will there be one in Paris?

It’s a pool room with good food and music. I doubt you’ll see one in Paris. My partner who runs it is a bit lazy as far as potential of European expansion, unfortunately.

What is your vision and opinion about the music industry today?

The Internet, downloading, Myspace, and technology in music-making has made things very democratic. Kids can reach other and discover things without the suits at record companies getting involved in the initial development. That’s very healthy. I think it makes it exciting for the kids and less profitable for the labels. I think labels will start demanding cuts of live and marketing monies.

In the early 90s you surprised us with the sound and concept of the Brooklyn Funk Essentials? Do you have new projects of that type?

I’m always developing things in my mind. The live area of music is something I want to get involved with. After managing the Loose Cannons a few years back, I’m now looking into managing a few new young acts. I’ll use my old mistakes to keep new acts from making the same.

‘Beat Street’ is still a cult movie. Are you involved in any new movie projects?

Unfortunately, not recently. I did music for ‘Fried Green Tomatoes,’ was the music supervisor for the Quincy Jones documentary, and was co-producer of ‘Human Traffic.’ I’d love to do more.

You did a remix for the French singer Etienne Daho called, “Tomber Pour La France.” What kind of projects do you have in the pipeline with French, English or artists from foreign countries?

I’ve been talking to a French band called Playground and recently met up with Anna Pigale, who I first met in the late 80’s. My ‘Return To New York’ nights have recently featured Justice and the Pedro Winters managed Uffie. I’ve always thought France hasn’t gotten the credit for the creation of disco music. Le discotheque - French word, right? From Cerrone, Don Ray, Alec Constandinos, Manu Dibango right through to Daft Punk and their buddies, you guys have been rocking dance music for decades!

Arthur Baker's Official Website