Masters and slaves: black artists and the ownership of sound recording copyright

In recent years, black artists have been at the forefront in claiming and proclaiming ownership of sound recording copyright. This ownership has economic value, as it can position artists to gain higher royalty shares and have greater control over the work. It also has symbolic value, as it represents triumph over the corporatised recording industry. This chapter addresses this subject through a historical and etymological lens. Firstly, it looks at how this form of intellectual property became associated with the ‘master’ recording and how legislation has successively been oriented towards different types of master: disc and cylinder masters; tape masters; digital masters. Secondly, the chapter looks at sound recording rights. Although there are differences by territory, all countries are unified in orienting legislation so that record companies can be considered the original owners and therefore have control. Thirdly, the chapter documents how, despite the criteria of sound recording laws, it has become increasingly common for artists to claim ownership. Moreover, as indicated above, artists of colour are at the forefront of this movement. Finally, this chapter addresses the symbolic value of ownership. Black artists have reversed the language of master rights to portray themselves as having been the recording industry’s slaves. This formulation has led companies to revise both the economic and linguistic terms of their recording contracts.