Imagine pouring your heart and soul into crafting the perfect verse, sweating over getting the music and lyrics just right, only to have a suit in a boardroom say, “Thanks! We’ll take 100% of the publishing.”
(Record scratch)
Yeah… that’s a hard pass.
If you’ve ever felt like your music is your baby, it’s time to stop letting strangers walk away with the stroller. So let’s talk a bit about split sheets, a crucial tool that helps you keep your creative work safe, firm and all yours.
What is a Split Sheet?
In simple terms, a split sheet is a document that outlines the ownership percentages of a song among its contributors. According to Music Gateway – a comprehensive, all-in-one digital platform and music tech company designed to help independent artists, producers and labels manage their music careers – this means that if you collaborate with other musicians, a split sheet clearly states who owns what part of the song, ensuring everyone gets their fair share and protecting your copyright in the process. They help avoid money disagreements in the future, set clear rules for how publishing shares work and explain the responsibilities of songwriters, producers and artists.
Think of this “musical handshake” as a safety net for your musical baby; it establishes a standard, ethical workflow for every project, regardless of size, that prevents misunderstandings and disputes down the road. Without one, you run the risk of someone claiming more than they deserve or, worse, walking away with your hard-earned royalties.
What is the Best Way to Create a Split Sheet?
When it comes to collaborating on music, having an entertainment lawyer or legal professional help establish a split sheet is generally considered best practice, especially if your song has commercial potential, involves multiple collaborators or includes samples. While a simple, signed split sheet can get the ball rolling, a lawyer adds a layer of protection by ensuring that complex issues – like publishing ownership, warranties and indemnification (a contract where one party agrees to compensate another party for specific losses, damages or legal expenses) – are legally binding. This is important because you want to avoid inadvertently signing away more rights than you intended.
A lawyer can also help protect you against liability; for instance, a basic split sheet often lacks warranties, which means if one of your collaborators uses an uncleared sample, you could find yourself in a legal bind. By incorporating protective clauses, they safeguard you from the repercussions of copyright infringements caused by others. Additionally, in cases where there are multiple producers, sample usage or uneven splits, a lawyer ensures that the document is legally airtight, preventing misunderstandings down the line. Plus, while it’s possible to draft a split sheet on your own, a lawyer can formalize the collaboration agreement to encompass broader terms beyond just percentages – like who has administrative rights and how decisions will be made. Lastly, a lawyer can ensure your split sheet includes all the necessary information, such as PRO data (it collects royalties on behalf of songwriters and publishers) and ISRC codes (permanent identifiers for specific sound recordings or music videos), which are essential for registering with organizations like ASCAP or BMI (they protect the rights of songwriters, composers and music publishers).
So, before you dive headfirst into your next jam session or songwriting adventure, make sure to whip up a split sheet to keep your music and your rights secure. This attention to detail helps prevent potential issues with royalty payments being frozen, thereby keeping your financial interests protected. In short, investing in legal expertise when drafting a split sheet is a smart move that can save you from future disputes and ensure a smoother collaborative process.
After all, you wouldn’t let just anyone push your baby’s stroller, so why let strangers take liberties with your art?
Split Sheets can Right Some Wrongs
According to Section 203 of the Copyright Act of 1976, creators have the permanent right to end copyright assignments after 35 years. This means they can fully reclaim their publishing rights and, in some cases, their master recordings. This also includes drawing up new split sheets!
And as we dive into 2026, it’s wild to think that songs released in 1991 are now hitting that 35-year mark, especially in the realm of R&B, where two iconic tracks in particular are stirring up discussions about ownership and royalties. This pivotal moment is all about these two massive hits that still resonate today, but it’s also a reminder of the importance of clear documentation in the music industry.
The first is Shanice Wilson’s 1991 hit “I Love Your Smile” (often referred to as “I Like Your Smile“), which became an iconic R&B track of the ‘90s that provided a joyful contrast to the rising New Jack Swing movement. Its catchy melody and playful lyrics evoked a nostalgic innocence that was increasingly uncommon in a music scene often leaning toward edgier sounds.
Shanice’s impressive five-octave vocal range and ability to effortlessly transition into the “whistle register” elevated the track, making it an accessible pop gem that still demonstrated elite vocal talent. The hit song, released in October 1991, was written by Shanice Wilson, Narada Michael Walden, Jarvis La Rue Baker and Sylvester Jackson, and produced by Narada Michael Walden as the lead single for Shanice’s second studio album, Inner Child. It showcased unique elements, like a jazzy a cappella refrain, a whimsical saxophone solo by Branford Marsalis and even the laughter of Janet Jackson and her then-husband René Elizondo Jr. featured at the end – a notable detail that added to its charm – all injecting ingredients of casual warmth that contributes to its breezy vibe. The combination of catchy hooks and sophisticated production helped “I Love Your Smile” reach No. 1 on the Billboard R&B chart for four weeks, proving that mid-tempo love songs could thrive alongside the more aggressive sounds of the time.
The cultural impact of the Grammy-nominated tune, however, extended beyond its chart success. It became a quintessential representation of the ’90s sound that crossed over into pop radio, reaching the top ten in 22 countries. The track’s feel-good vibe and celebration of life’s simple joys earned it a reputation as a “guilty pleasure,” appealing to a wide audience eager for positivity amid the tumultuous decade. In fact, “Smile” surfaced as a vital, uplifting creation during the Gulf War, offering a lighthearted escape from the prevailing tension and negativity of the era. Crafted with the intention to cheer up listeners amidst the backdrop of Desert Storm, the song served as a much-needed respite from the barrage of grim news, radiating positivity and hope. Its catchy “duh duh” melody was deliberately designed to be easy to sing along to, transcending language barriers and creating a universal anthem of happiness.
When “Smile” knocked Michael Jackson’s “Remember the Time” off the top spot in some markets, Shanice not only solidified her place in R&B history but also in a world that often leans toward the hard-hitting and serious. The softer, melodic stylings of “I Love Your Smile” remains a beloved classic, reminding us of the beauty of love and how simple pleasures can make life extraordinary, even during the darkest of times.
The ownership of “Smile” is an intriguing blend of rights that highlights the dual and oftentimes unfair nature of music ownership, dividing between the master recording and the written composition. On one hand, the master recording, which is the actual sound captured in the studio, is owned by Universal Music Group (UMG), specifically through its subsidiary, Motown Records. Since it was first released on Motown, the copyright for the master recording is held by Motown Record Company, L.P., firmly under the UMG umbrella. On the other hand, the composition rights, which include the lyrics and melody of the song, are divided among the talented songwriters – Shanice Wilson, Narada Michael Walden, Jarvis La Rue Baker and Sylvester Jackson – each represented by their respective publishing companies. Shanice 4 U Music looks after Shanice’s share, while Narada’s interests are covered by Gratitude Sky Music. Universal Music Publishing Group (UMPG) frequently administers these shares, given its broader control over Motown and Universal interests.
“Ownership of the master recordings for “Smile” is paramount for Wilson, Walden and the co-writers because it gives them the power to control how the song is used in movies, commercials and streaming platforms. When they hold the rights, they can make sure that the majority of the revenue goes to them rather than just earning smaller royalties as writers.
The second song we’re featuring this week is Crystal Waters’ monster banger, “Gypsy Woman (She’s Homeless)“, also released in 1991. It stands out as an unparalleled defining track of the 90s music landscape, marrying the era’s house sound with a poignant social message.
With its infectious “la da dee, la da da” hook and brilliantly minimalistic production, it was a runaway success that effectively introduced underground house music to mainstream audiences. The hypnotic piano organ riff paired with simple yet powerful beats created a sound that was both accessible and captivating, making it a staple on dance floors. It was a refreshing departure from the often superficial themes prevalent in pop music at the time, allowing listeners to connect with a deeper narrative while dancing the night away.
The track’s unique ability to blend catchy melodies with a serious message marked it as a revolutionary piece in the evolution of dance music, as it demonstrated how club tracks could carry significant weight beyond mere entertainment. This is because the lyrics of “Gypsy Woman” provided a rare glimpse into the life of a woman experiencing a housing transition, emphasizing her humanity with the line, “homeless… but she’s just like you and me.” This empathetic portrayal encouraged listeners to reflect on societal issues while enjoying the rhythm of the beat, effectively bridging the gap between fun and social consciousness.
Inspired by a real woman Waters encountered in Washington, D.C., the song profoundly connected with many, making it a timeless classic that is often sampled or covered. Its success was not just limited to dance floors; it peaked at #8 on the radio airplay chart and claimed the top spot on the dance chart, illustrating its widespread appeal. Gypsy Woman represents a decisive moment where house music transcended the club scene, making a lasting impact on popular culture as both a dance anthem and a socially aware artistic statement. In doing so, it cemented its place in music history as a track that not only got people moving but also made them think.
Gypsy Woman (She’s Homeless) was written by Crystal Waters herself and producer Neal Conway. The song was a collaboration with production team The Basement Boys, with Conway composing the music and Waters writing the lyrics. However, the ownership of the copyrights for the legendary hit currently has its publishing rights, which encompass the lyrics and melody, held by Universal Music-MGB Songs, acting on behalf of Basement Boys Music, Inc. This means that any use of the song for covers, sampling or licensing in films and advertisements typically requires permission from them. The master recording, which refers to the actual sound recording of the song that listeners are familiar with, is by Universal Music Group. Initially released under Mercury Records, a subsidiary of PolyGram, the rights to the recording have changed hands through various acquisitions, ultimately landing within the Island Def Jam Music Group under the UMG umbrella.
Waters deserves to own the publishing rights to her popular song because she wrote the lyrics and created the memorable “la da dee, la da da” melody, which helped turn an instrumental track into a song with a meaningful message. Although The Basement Boys and Neal Conway produced the music, Waters was specifically asked to write the lyrics. Actually, when she struggled to find the right words for the beat, she came up with the catchy “La da dee, la da da” tune and sang it over the bassline. The song’s emotional focus, inspired by the woman she saw singing on the streets of Washington, D.C., was entirely her idea. She took a topic that was considered “offbeat” at the time and turned it into a powerful story about the unhoused, rather than just making a dance track.
At first, many people misunderstood the song as a “nursery rhyme.” But to make sure listeners grasped the deeper meaning, Waters pushed for the record company to include “She’s Homeless” in the title, further demonstrating her ownership of the song’s message.
