In the 70's, Arthur began producing on his own, and achieved similar successes. He earned a GRAMMY Award for Janis Ian's tour de force At Seventeen (indeed, he produced her acclaimed trilogy of albums from that period, Between the Lines, Stars, and Aftertones), and also was a GRAMMY- nominee for his own Brooks Arthur Ensemble project. In addition to his artist and production projects, Arthur still received acknowledgments and compliments for his engineering of the Richard Perry produced album, Breakaway (which included the top five single "I Only Have Eyes For You") by Art Garfunkel. Over the years he's been nominated for over 20 GRAMMY Awards while producing records by Carole Bayer Sager, Bette Midler, Peter Allen, Debby Boone, comedians Robin Williams and Pauly Shore, Jackie Mason's one-man Broadway show album The World According To Me, the Off- Broadway triumph Oh! Coward, and the Broadway cast album They're Playing Our Song, among many others. Arthur has served as music consultant/supervisor for A Chorus Line: The Movie, directed by Sir Richard Attenborough.

Arthur has stayed close to the film industry as well, engineering and producing soundtracks such as The Heartbreak Kid, Shirley Valentine, Karate Kid, Karate Kid II, Karate Kid III, Lean On Me, and Big Daddy, and co-producing the Ordinary People soundtrack. A highly-esteemed music supervisor, Arthur lists co-music supervising The Waterboy with Adam Sandler and developing the Oscar®-nominated, GRAMMY-winning Peter Cetera hit "Glory of Love" for Karate Kid II among his many accomplishments. In 2002, Arthur collaborated with Adam Sandler, Allen Covert, and Brad Isaacs as a screenwriter on "Adam Sandler's Eight Crazy Nights" (Sony/Columbia Pictures), an original movie musical.

With the Brooks Arthur Company, Arthur figures to remain prominently entrenched in the record industry's creative brain trust. Just as the music and film industries continually evolve, so too does Arthur, continuing to build an impressive list of successes as an engineer, producer, and music supervisor, as he moves fluidly from rock acts to soundtracks to comedians. But he just sees it as all part of what the business is about.

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