MUSIC PREMIERES
Roy Thomas Baker, whose intricate work on multiple albums by Queen — including “Bohemian Rhapsody” — the Cars, Foreigner and others made him one of the most successful and influential producers of the 1970s and ‘80s, has died. No cause of death was announced; he was 78.
“Bohemian Rhapsody,” from Queen’s 1975 album “A Night at the Opera,” is currently the most streamed song to have been recorded in the 20th century and was named by the Guinness Book of Records as the top British single of all time.
Queen’s Roger Taylor noted of Baker, “I think he brought a certain amount of discipline and a lot of cynicism and a passion for fattening desserts. He liked his food, Roy. He was very disciplined and very strict in the beginning . . . he would always get it right. The take had to be right.”
Born in Hampstead, London, Baker began his career in music at Decca Studios in London where he served as second engineer to such major producers as Gus Dudgeon (Elton John) and Tony Visconti (David Bowie, T. Rex). He worked on recordings by those artists (under the name Roy Baker) as well as the Rolling Stones, the Who, Dusty Springfield, Ten Years After, Dr. John, Ginger Baker’s Air Force, Savoy Brown, Moody Blues, Nazareth, Yes, Be Bop Deluxe, and many more. By 1971, he had become chief engineer and worked on such hits as Free’s 1970 smash “All Right Now” and T. Rex’s “Bang A Gong (Get It On).” He later moved over to Trident Studios in London’s Soho district, where he began working closely with Queen.
While his role on the band’s 1973 debut was less prominent, beginning with the following year’s “Queen II” the band’s sound became increasingly elaborate and ambitious, involving dozens of layered vocals and multitracks instruments, particularly Brian May’s guitars. Their work grew increasingly complex through 1974’s “Sheer Heart Attack” and arguably peaking creatively with “A Night at the Opera,” which broke the band internationally (and was also said to be the most expensive album ever recorded at the time). He continued with the band’s equally elaborate but less successful 1976 album “A Day at the Races,” after which Queen began producing their own records.
By that point, however, Baker had been enlisted to work with the Boston-based band the Cars, who, like Queen, were signed with Elektra Records in the U.S. He brought his disciplined and vocal-heavy approach to that group’s self-titled debut, which became an instant hit, via singles like “Just What I Needed” and “Best Friend’s Girl,” and launched the Cars as a major band. He continued working with them on their next three albums, all of which were gold or platinum successes, although his trademark stacked vocals were less prominent.
“Roy taught me a lot about handling band personalities,” the Cars’ late singer-songwriter Ric Ocasek told writer A.D. Amorosi in 2016. “He was an electronics whiz, a sound guy with a classical background for mic-ing the room’s sound. He got harmony. And he took things in stride — a very upbeat, elegant man. Spontaneous, too.”
Around this time Baker relocated to the U.S. and in the following years produced albums by Journey, Ian Hunter, Ronnie Wood and Reggie Knighton (for his own RTB Audio Visual Productions). He was also a staff producer and A&R for Elektra, working with Lindsey Buckingham, Dokken, Mötley Crüe and Joe Lynn Turner. He also oversaw the signing of Metallica, Simply Red, Yello, Peter Schilling and 10,000 Maniacs.
Over the course of his career, he also produced Foreigner, Alice Cooper, Cheap Trick, Devo, Ozzy Osbourne, Sammy Hager, The Stranglers, Guns N’ Roses and Smashing Pumpkins.
Baker is survived by his wife, Tere Livrano Baker, and brother Alan Baker.
MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
