Kwamé also gave props to people like Slick Rick, LL Cool J, KRS1 and Big Daddy Kane for not only being some of the top rappers of his time, but also for their production skills. Shop Push It - Words and music by Herbie Azor Salt-n-Pepa / arr. Then he continues “And then on the other end of the spectrum, I don’t want to be forgotten.” “On one end of the spectrum, you have Hurby saying ‘We got to go pop, we got to go pop'” Kwamé reflects. He understood in his heart that the artists who lasted forever focused more on artistry than gimmicks. You got to be ‘this,’ the light hearted high school kid that likes to have fun and chase girl.'”īut Kwamé again struggled to challenge his mentor. There are a million lyrical tough guys out here. The people I was loving and the people I wanted to be on par with, he was just like it is not going to work. “He would say ‘Kane will never go anywhere. The producer had his eyes on the bigger pie in the music industry, and was very much into making a cross-over rap record. Hurby apparently beat into his head that lyrical rappers would never work in Hip-Hop. The biggest gem that he dropped was about two of the dopest rappers of all time. He could not spend money that he did not have. He inter-swapped three pieces that he had, but some how created a movement. He was 16, and had a few choice pieces to rock. He talks about his struggle to be authentic to who he saw himself, and what the crew wanted him to be. Mostly for Kwamé, he never wanted to disrespect his Islamic faith or say/do something that would embarrass people that he cared about. Description One of the most recognizable hooks ever written is the basis for this fresh arrangement of the classic hip-hop tune from Salt-n-Pepa. The second gem is why he did not use vulgar language. He wound up signing with another Sylvia… The Sylvia in the business… Sylvia Rhone. Warner Bros., Atlantic and Epic records were presented by his neighborhood friend. This is exciting and upon returning back to Hurby, he finds out that the reason Hurby did not respond as quickly is because he was shopping it to a gang of labels and they were interested.

At the same time, his dad slipped the demo to Sony and they had an interest. Hurby is not responding fast enough, and so Robinson offers him a recording contract based off the demo.

Kwamé shares the songs with Hurby and Sylvia Robinson (of Sugar Hill Records Fame). Six of the eight songs on that debut album was made in that 8 hour session. The day was Christmas morning… and that’s how hit songs like “The Rhythm” and “The Mic is Mine” on that magical night. He produced a song entitled, “She’s Not Just Another Woman.” No one liked this song. Upon referral from a mutual friend, he went to a spot called The Music Building and cut his first joint. Though he grew up with Hurby Luv Bug, he was taking too long to produce a demo for the then teenaged Kwamé.

Herbie azor