Arthur Baker

Well, guess what? It's happened, ladies and gentlemen.

This is part two of our interview with pioneer Arthur Baker.

I will say that I believe when we last left.

Well, there's so much we left off.

So I got all the electro stuff.

So I can always, if all else fails, I go to like Planet Rock, play at your own risk, you know, Confusion, New Order, I'll play an electro set.

Are they aware that Arthur Baker is spinning or you're just like the cool guy in the club? No, the

old guy in the club.

Love is the message and the message is

L-O-V-E. It's Arthur Baker and the Backbeat Disciples featuring Al Green, 11 on the Capital Countdown.

5, 4, 3, 2, 1.

The Capital Countdown.

Mariah Carey was 12 with Vision of

Love, up 3 from 15.

And Arthur Baker and the Backbeat Disciples featuring Al Green were 11 with The Message is Love, up 3 from 14.

Top 10 kicks off with Go West, next.

Yeah,

Arthur Baker.

We're just getting all these dope records, like, from indie labels.

Some, not any majors are really doing the hip-hop shit, but there's still funky R&B shit you're getting early.

The counter-argument is, well, they vibe the same to me, Jack.

Arthur Baker.

Outgroup homogeneity

bias.

And their 1996 album Rooms was produced by none less than John Cale.

Since then, she has released nine solo albums, as well as collaborating with artists such as Arthur Baker, Dead Can Dance, Electronic and The Stereophonics.

So welcome to Steve's Mixtapes, Astrid Williamson.

Glad to be here.

And I remember it because it was a real swindle, because everybody loved the advert music.

It was a bit of a, I think it was Arthur Baker or someone that had done a little remix of it, sped up with the vocals sped up in that sort of weird, perky kind of...

That was the start of it, wasn't

it? Yeah.

what is after after you like after having like you know the sex pistols and like the clash and all this stuff but all of a sudden there's always electronic stuff and I was like this is like future music this is music is space music it was so no idea what it was and it used to I think it kind of the journey really started from there and mum would pick me up sort of from sports or something on a Saturday and we'd go do record shopping you know down Rundle Street and then because my stepdad was one of the founding members of what was 5 Triple M now called 3D Radio.

My mum dutifully had a radio show on Saturday afternoons and so she'd pick me up from school and we'd go a bit of a record shop and then she'd go in and do her radio show and I'd be left alone in the music library at Triple M and I was, I must have been sort of 10, 11 or something around that stage and then finding 12 inches and like all those you know Arthur Baker and Shep Pettibone and you know Tom Walton all these names started jumping out to me and um it really kind of just kind of started from there and then you know when the first things of like rap and hip-hop started appearing on Countdown you know things like Malcolm McLaren and Rocksteady Crew and all that sort of stuff and I remember mum saying this is really important youth culture you need to pay attention to this stuff and you know she's She was very responsible for me sort of getting into it.

And I think sort of the first time I saw Scratching, like I would have been Herbie Hancock rocker, you know, and I was pretty much like, that's what I'm going to do.

I'm going to work out what to do and I'm going to do that.

Now, who were the seven other energetic people Bowie spoke of? The first one is the album's co-producer and guitarist, Mark Platte.

Platte had learned bass from Duke Ellington's nephew, William, and started in the music business as an engineer and programmer for remixers like Arthur Baker and Junior Vasquez in the late 80s.

He was recruited into Bowie's world in 1996, creating samples to enhance live performances.

He was promoted to co-producer on 1997's Earthling and became Bowie's live musical director beginning in 1999.