‘Hurby Give Those Ladies Those Rights’: Salt-N-Pepa’s Fight with UMG Over Copyright Takes an Unexpected Turn as Label Says Their Ex-Producer Owns the Music

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Salt-N-Pepa’s raps that made millions dance in the 1980s and 1990s and a bunch of little girls screaming, “Ooh baby, baby,” have become the center of a high-stakes legal drama that could reshape how artists reclaim their life’s work.

Cheryl “Salt” James and Sandra “Pepa” Denton are discovering that getting back the rights to classics like “Push It,” “Shake Your Thang,” and “Shoop” may be far more complicated than anyone anticipated, as Universal Music Group claims the legendary duo never owned their music in the first place.

Universal Music Group claims Salt-N-Pepa can’t reclaim their classic recordings because their producer, Hurby “Luv Bug” Azor, not the duo, originally owned the rights. (Photo: @darealpepa/Instagram)

The legal dispute centers on the duo’s attempt to exercise “termination rights,” a provision in copyright law designed to give artists a second chance at controlling their work.

Under this law, creators can reclaim ownership of their masters 35 years after a song’s release, offering artists who signed disadvantageous deals early in their careers an opportunity to benefit from their success.

Salt-N-Pepa served their termination notice to UMG in May, according to The New York Times, believing they had every right under federal copyright law to reclaim ownership of albums including “Hot, Cool & Vicious,” “Very Necessary,” and others.

However, UMG fired back with a motion to dismiss the lawsuit on July 17, presenting what could be a devastating argument for the group’s case, Billboard reports.

The entertainment giant contends that Queens emcees never actually owned the rights to terminate in the first place.

According to UMG’s legal filing, the original 1986 distribution deal with Next Plateau Records was signed not by James and Denton themselves, but by their producer Hurby “Luv Bug” Azor through his production company, Noise In The Attic.

When news of the motion broke, AllHipHop.com readers immediately rallied behind the duo.

One person looked at the case and declared, “Nasty Nasty work!!” and another wrote, “Give them Queens their music and fvk UMG.”

The crux of UMG’s argument lies in a single but crucial line from that 1986 agreement, which states that Azor’s production company “shall be the sole and exclusive owner of any and all rights, title and/or interest in and to the master recordings recorded hereunder, including but not limited to the worldwide sound copyrights therein and the renewal rights thereof.”

UMG argues this wasn’t a transfer of rights from the artists to the producer, but rather a confirmation that the producer owned the copyrights from the beginning under a work-for-hire arrangement.

The label’s lawyers point to other sections of the same contract that explicitly detail transfers of different rights, such as name and likeness rights, using clear transfer language. They argue that the absence of such explicit language regarding the recording rights proves no transfer took place.

Supporters online expressed frustration with the legal maneuvering, with one fan writing, “Herbi give those ladies those rights but still retain 10 percent for yourself please don’t let those pilgrims have it!!!!”

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Music journalist P. Frank Williams offered a more analytical perspective, noting, “Herbie produced the music, if he also wrote the songs, then the ladies have no claim except to their voices on the master recordings.”

Interestingly, some comments connected the current legal troubles to past controversies involving the group.

One person referenced their long-standing dispute with former DJ Spinderella, writing, “Damn, they should have been nicer to Spinderella lol.”

UMG has prepared a secondary defense argument should their primary motion fail. They claim that many of the recordings in question are remixes, which they argue fall under “derivative works” that aren’t subject to termination rights. This could set a concerning precedent for other artists in genres where remixes are common and often become the biggest hits.

A spokesperson for the 2025 Rock & Roll Hall of Famers responded to UMG’s motion with defiance, telling Billboard that the filing represents “Just what we expected — an effort to avoid addressing the core issues facing Salt-N-Pepa and so many other artists in these circumstances. But we remain confident that the facts and the law are on our side.”

The case now rests in the hands of a federal judge who must determine whether the complex contractual arrangements from nearly four decades ago constitute a transfer of rights that can be terminated, or whether Salt-N-Pepa’s producer was always the rightful owner. The outcome could have far-reaching implications for countless artists seeking to reclaim control of their life’s work in an industry where early career contracts often favor labels over creators.

‘Hurby Give Those Ladies Those Rights’: Salt-N-Pepa’s Fight with UMG Over Copyright Takes an Unexpected Turn as Label Says Their Ex-Producer Owns the Music