Jim Jones Reveals He Unknowingly Signed Away His Masters To Koch Records

Harlem rapper Jim Jones is on a mission to reclaim his masters, shedding light on his past deal with Koch Records and the financial lessons he has learned over the years. In a candid discussion with The Breakfast Club, the Dipset member opened up about his realization that he had unknowingly signed away his rights to his music for life.

“I am attempting to get my masters back,” Jim said, acknowledging the ongoing legal efforts to regain control of his catalog.

Jim Jones released three albums on Koch Records including his debut album On My Way to Church (2004) featured the singles “Certified Gangstas” and “Crunk Muzik” The album peaked at #18 on the Billboard 200. His second album, Harlem: Diary of a Summer (2005), was more successful, reaching #5 on the Billboard 200 and topping the R&B/Hip-Hop and Independent Albums charts, selling 350,000 copies. Hits included “Baby Girl” and “Summer Wit’ Miami.”

His third album, Hustler’s P.O.M.E. (2006), featured the massive hit “We Fly High,” which introduced the iconic “Ballin’” dance move, later popularized by NFL players.

Reflecting on his early career, The Perfect Day singer clarified a misconception about his record deal. “We weren’t independent, Koch was an independent label,” he explained. At the time, the concept of independence was enticing, and their success fueled the belief that they had signed an independent deal. “We signed to an independent label and were making so much money, and the word independent was so alluring, it felt like we signed not what we signed,” he admitted. “We might have thought it was that because we was making so much money.”

In the interview Jones also stated that he has spent over 20 million dollars throughout his career. Despite his financial success, Jim acknowledged that he didn’t fully grasp the details of his contracts. “I just wasn’t into reading the contracts or understanding the business of it,” he admitted, a sentiment shared by many artists navigating the music industry in their early careers.

As the value of music catalogs surged, Jim who has eight studio albums and 5 collaborative projects, started to realize the potential of owning his masters. “Later on in life when people started selling their catalog and getting to the bag, I got a real catalog, so when people were buying these masters and things like that, I was like ‘Oh, I could catch a bizzy! I might could make my exit offa this,'” he said. However, when he began looking into his rights, his lawyer delivered unexpected news. “My lawyers was like, ‘You do own your masters for life.'”

That belief was shattered four or five years ago when Jim discovered the reality of his situation. “I found out I signed my masters, my rights over to Koch for a life term,” he revealed. Now, he is taking legal steps to see if there’s a path forward. “Legally, my lawyer is starting to make calls and see what could be (done),” he said.

Jim Jones’ story is a cautionary tale for artists about the importance of understanding contracts and the long-term impact of their business decisions. As he fights to reclaim ownership of his music, his experience serves as a reminder that the fine print in the music industry can shape an artist’s financial future for decades.