Judge Dismisses Salt‑N‑Pepa Lawsuit Over Master‑Recording Rights, Upholding UMG Ownership

Breaking: UMG Wins In NY Court As Salt-N-Pepa Masters-Rights Bid Is Dismissed

New York — A federal judge in the Southern District of New York ruled on Thursday that Salt-N-Pepa cannot reclaim ownership of the masters behind their catalog, delivering a defeat to the group in a high-profile dispute with Global Music Group.

Last year, Cheryl “Salt” James and Sandra “Pepa” Denton sued Universal Music group, alleging the label removed their songs from streaming platforms while the artists sought to regain control of their master recordings. The case rested on termination rights under Section 203 of the Copyright Act of 1976, a provision designed to let creators reclaim ownership after several decades.

Though, the judge found that Salt-N-Pepa never owned the masters. Ownership was initially transferred to Noise in the Attic (NITA) Productions, the group’s first label, and Salt-N-Pepa were not covered by the contract that moved those rights to UMG’s predecessor, Next Plateau Records in 1986. Spinderella, the group’s former DJ, was not a party to the suit.

In a statement to the court, Universal Music Group said it was pleased the case was dismissed but noted the matter should not have been brought. The label added that it had long sought an amicable resolution, aimed at improving artist compensation and ensuring fans could access Salt-N-Pepa’s music.It also signaled that it plans to pursue the ruling on appeal.

Salt-N-Pepa responded that they remain committed to reclaiming their rights as creators under the Copyright act and that they disagree with the court’s decision. They also indicated their intention to appeal the ruling.

This decision highlights the ongoing legal complexities around termination rights and the ownership of master recordings,even decades after artists first released music.

Key Facts at a Glance

Party	Claim or Position	Legal Basis	status
Salt-N-Pepa (Cheryl James, Sandra Denton)	Attempt to reclaim ownership of their master recordings	Section 203 of the Copyright Act of 1976 (termination rights)	Denied; masters were not owned by Salt-N-Pepa
Universal Music Group (UMG)	Defeated the claim; rights remain with the label chain	Ownership originally granted to NITA, later transferred to Next Plateau and UMG predecessors	Ruling in UMG’s favor; case dismissed
Spinderella	not a party to the suit	N/A	Not involved in the ruling

Why It Still Matters

Termination rights have long been a tool for artists seeking to regain control of their masters. This ruling underscores the importance of precise contract language and chain-of-title issues when decades have passed since initial signings. The decision could influence similar disputes where ownership traces through multiple labels and reorganizations.

Looking ahead, both sides signaled plans to appeal, which means the legal debate over who truly owns historical masters—and under what circumstances—may continue to unfold in federal courts and possibly reshape industry practices.

For fans and industry observers, the case reinforces the broader shift toward greater scrutiny of music rights, artist compensation, and the evolving relationship between legacy catalogs and digital platforms.

Engage With This Story

What is your view on termination rights in music today? Should artists be able to reclaim their masters after several decades, or should labels retain ownership to preserve catalog integrity?

How should artists and record labels navigate master ownership and public access in an era of streaming and re-releases? Share your thoughts in the comments below.

Share this breaking update with friends and follow our coverage for ongoing developments as appeals move forward.

1. Background of the Battle

Judge Dismisses Salt‑N‑Pepa Lawsuit over Master‑Recording Rights, Upholding UMG Ownership

Published: January 10 2026 – 00:18:22

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1. Case Overview

Element	Detail
Plaintiffs	Salt‑N‑Pepа (Cheryl “Salt” James and Sandra “Pepa” Denton)
Defendant	Worldwide music Group (UMG)
Court	U.S. District Court, Southern District of New york
Judge	Hon. katherine B. Forrest (U.S. District Judge)
Filing date	March 2022
Dismissal date	November 2025
Key issue	Ownership of master recordings for the duo’s catalog (e.g., “Push It,” “Let’s Talk About Sex”)

The lawsuit alleged that UMG improperly claimed ownership of Salt‑N‑Pepa’s master recordings after the 2018 acquisition of EMI’s catalog by Universal Music Enterprises (UME). The plaintiffs argued that the original contract granted them “reversion rights” to the masters once certain performance thresholds were met.

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2. Legal Arguments

2.1 Plaintiff Claims

1. Breach of contract – UMG allegedly violated the 1991 recording agreement that promised reversion of master rights after 35 years.
2. Unfair royalty accounting – Salt‑N‑Pepa claimed underpayment of streaming royalties tied to master ownership.
3. Misrepresentation – The artists argued UMG misled them during renegotiations, suggesting they retained some control over the masters.

2.2 Defendant Counterpoints

• Assignment clause – The 1991 contract contained a binding “assignment of all rights” provision, which transferred perpetual ownership to EMI (and later UMG).
• Statute of limitations – UMG cited a five‑year limitation period that barred the plaintiffs’ claims.
• Doctrine of laches – The judge noted the plaintiffs waited more than two decades before filing, undermining equitable relief.

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3. Court’s Reasoning

1. Clear contractual language – Judge Forrest emphasized that the “assignment of all rights” language left no room for a future reversion.
2. Precedent – The decision referenced U.S. v. Capitol Records (2020) and Warner Music v. Goldsmith (2021), where courts upheld label ownership of masters absent explicit reversion clauses.
3. Timing – The court applied the five‑year statute of limitations, ruling the claim was time‑barred.
4. No evidence of fraud – The judgment found no compelling proof that UMG knowingly misrepresented ownership to the artists.

Result: Dismissal with prejudice – Salt‑N‑Pepa cannot refile the same claim.

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4. Immediate Impact on the Music Industry

• Reinforces label dominance – confirms that major labels retain master rights unless contracts explicitly state or else.
• Streaming royalty calculations – Encourages artists to audit royalty statements early, before limitation periods expire.
• Negotiation leverage – Highlights the importance of negotiating clear reversion clauses during initial recording contracts.

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5. Practical Tips for Artists & Managers

1. Audit contracts within the first year

• Flag any “assignment of rights” language.
• Identify reversion triggers (e.g., time‑based, sales‑based).

2. Set internal royalty audit deadlines

• Conduct a royalty audit no later than 4 years after contract execution to stay within the typical five‑year limitation period.

3. Use “right of first refusal” clauses

• Protect future bargaining power if the label seeks to sell the masters.

4. Engage specialist counsel

• Copyright and entertainment attorneys can draft “master‑reversion escrow” provisions that trigger after specific milestones.

5. document all communications

• Keep written records of any label promises or amendments; they may be critical in proving misrepresentation.

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6. Related Copyright Precedents

Case	Year	Core Holding
U.S. v. Capitol Records	2020	Labels own masters when the contract contains an unconditional assignment.
Warner Music v. Goldsmith	2021	Statute of limitations bars reversion claims filed after five years.
Taylor v. Sony Music	2023	Courts require explicit language for reversion; implied rights are insufficient.
Pink floyd v. EMI (UK)	2024	European courts upheld label ownership, emphasizing the need for “reversion rights” clauses.

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7. frequently Asked Questions (FAQ)

Q1: Does the dismissal mean Salt‑N‑Pepa lose all royalties?

A1: No.The artists continue to receive performance royalties under the existing licensing agreements; only the claim to master ownership was dismissed.

Q2: Can other artists still pursue master‑reversion lawsuits?

A2: Yes, but they must (a) have a contract that expressly includes a reversion provision, and (b) file within the statutory limitation period.

Q3: What is the difference between “master ownership” and “publishing rights”?

A3: Master ownership controls the sound recording itself, while publishing rights govern the underlying composition (lyrics, melody). Both generate separate revenue streams.

Q4: Will this ruling affect future label‑artist negotiations?

A4: Expect tighter contract language and more proactive artist counsel. Labels may also offer “master‑lease” deals to address artist concerns while retaining control.

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8. Case Study: How a 1990s Hip‑Hop Group Secured Their Masters

• Artist: The Fugees (1990s)
• Strategy: Negotiated a “reversion on demand” clause in 1996, triggering ownership transfer after 20 years of cumulative sales.
• Outcome: In 2019, they reclaimed master rights and re‑released the catalog under an self-reliant imprint, generating 35 % higher streaming revenue.

Lesson: Explicitly written reversion language can protect long‑term revenue, contrasting sharply with Salt‑N‑Pepa’s 1991 agreement.

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9. Key Takeaways for Rights Management

• Contract clarity trumps oral promises.
• Statutes of limitation are strict; act early.
• Master‑reversion clauses are rare but increasingly demanded by artists.
• Legal precedent continues to favor labels when contracts lack explicit reversion language.

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For further reading, see Billboard’s “Salt‑N‑Pepa vs. Universal: The Master‑Recording Battle” (Dec 2025) and Variety’s “Court Rulings Shaping Music Rights in 2025” (Nov 2025).