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It is a measure of Smith's creative range that he could work simultaneously with the decidedly dissimilar Run-D.M.C. and Whodini. The former was rock-oriented, the latter leaned toward R&B—or as the critic Tom Terrell suggested, "Smith envisioned Whodini as the luxe Cadillac Seville to Run-D.M.C.'s Electra 225 hooptie."

Although Smith was a trained musician, he chose not to employ live studio musicians to provide the music for Run-D.M.C. Aiming to reproduce on record the super-spare sound of hip hop music as it was then being made in the city's parks and clubs, he relied instead on drum machines. The revolutionary result—embodied in Run-DMC's first single, "It's Like That" b/w "Sucker MCs"—was little more than beats and rhymes. "With its lack of bass and emphasis on drum claps, 'Sucker MCs' provided the template for most [hip hop] records from '83 until '86-'87," according to critic Jesse Serwer.

"Niggas play rock 'n' roll, too," Smith replied. He then recruited his old Hollis, Queens, friend Eddie Martinez—known to his friends as the Manic Hispanic—to lay in the guitar part for "Rock Box."

In a 2009 interview with Jesse Serwer, Whodini's Jalil Hutchins recalled being introduced to Smith at Disco Fever in the Bronx: "Me and Larry became friends, and when we was going to record, we said, 'Lar, what you got?' He laid out his ideas real fast, and the first was 'Five Minutes of Funk.' When we caught that beat, we were like, 'Messing with you is gonna be fun.' We made that record in, like, a half hour."

In November 2007 Smith suffered a stroke. It left him unable to speak.

Named by The Source magazine in 1998 as one of the 100 Best Rap Albums Ever and by Rolling Stone as one of the 100 Greatest Albums of the 1980s, Run-D.M.C. is "the LP that forever tore rap away from disco and made it its own thing," according to critic Tom Breihan in 2005.

In 1987 Whodini's John "Ecstacy" Fletcher described Smith as "the Quincy Jones of rap." In 2010 Run-DMC's Darryl "D.M.C." McDaniels claimed, "Larry Smith's musical arsenal equals Dr. Dre's." In 2009, the producer DJ Premier placed Smith first on his list of Top-5 Dead or Alive Producers, ahead of Marley Marl, Kurtis Mantronik, James Brown, and Rick Rubin.

Smith and Simmons's second album for Run-D.M.C. was King of Rock. The title track, which again featured Eddie Martinez on guitar, let the group "crunch and pop like some sort of hip-hop Black Sabbath," in the words of Rolling Stone's J.D. Considine. In recent years, it was featured on the soundtrack of the video games "Guitar Hero: Aerosmith" and "Thrasher: Skate and Destroy." The album was certified for Platinum-level sales in 1987.

Escape's other notable single was "Freaks Come out at Night," about which the critic Greg Tate wrote: "[The track's] sybaritic verses would be just so much more overbaked hip hop toasting without Smith's sizzling contrapuntal eruptions arcing and looping in and out of the vocals. Smith and Whodini have laid the groundwork for a genus of hip hop as capable of personal revelation as the blues of Robert Johnson and as worldly wise as the melodic muse of Wayne Shorter." Certified platinum in 1987, Escape was named one of the 100 Best Rap Albums in The Source in 1998.

The critic Vince Aletti, writing for Andy Warhol's Interview magazine in April 1986, summed up the impact of Smith's work for Whodini: "A funky but melodic mix that gives the material the appeal of songs rather than bare-boned rap attacks, these songs have gone on to become hits that helped open ears and airwaves to [hip hop]."

Smith's work has engendered not just critical esteem, but popular success. In the month ending February 23, 1985, both Run-D.M.C. and Escape were certified gold by the RIAA, as was the Fat Boys' eponymous debut album, on which Smith played bass and helped to compose the hit single "Jail House Rap." These were among the very first hip hop albums to be certified for Gold-level sales by the Recording Industry Association of America.

When Run-D.M.C.'s eponymous first album was released in the spring of 1984, it was hailed by Robert Christgau ("the dean of American rock critics") as "easily the canniest and most formally sustained [hip hop] album ever." One of the album's standout tracks was "Rock Box," a pioneering hybrid of hip hop and rock. According to Bill Adler in Tougher Than Leather: The Rise of Run-D.M.C., the record came together when the group overheard a rock band named Riot recording in New York's Greene Street Studios. "They saw these loud guitars," remembers Russell Simmons, "and they started screaming, 'We can do that! What the fuck—we're going to make loud shit, too!'"

It was while working with Blow that Smith met Blow's manager, Russell Simmons. By 1982, the pair was producing records together, starting with a couple of singles for the rapper Jimmy Spicer: "The Bubble Bunch" (1982) and "Money (Dollar Bill, Y'all)" (1983).

In the wake of the success of Run-D.M.C.'s first singles, Smith was engaged to produce a new album by Whodini, a Brooklyn hip hop trio that had been recording for then-London-based Jive Records since 1982. Just as "It's Like That" b/w "Sucker MCs" anchored Run-D.M.C., so Smith's production of the single "Friends" b/w "Five Minutes of Funk" would anchor Whodini's Escape. Ultimately, it reached number four on Billboard's Hot R&B Singles chart.

In 1979, Smith was recruited by his old friend Robert "Rocky" Ford, then an aspiring record producer, to play bass on Kurtis Blow's "Christmas Rappin'." Smith went on to co-write and to play bass on other Blow recordings such as "The Breaks" (one of the first hip hop records to crack into Billboard's Hot 100 singles chart and achieve Gold sales status), "Hard Times," "Tough," "Day Dreamin'," and "The Deuce."

Lawrence Smith (June 11, 1952 – December 19, 2014) was a pioneering American musician and hip hop record producer. He is best known for his co-productions (with Russell Simmons) of Run-DMC's Run-D.M.C. (1984) and King of Rock (1985) and his solo production of Whodini's Escape (1984) and Back in Black (1986).