Who Owns Juice WRLD's Masters? Grade A and Interscope Kept the Recordings

Who owns Juice WRLD’s masters today?

Juice WRLD’s masters are best understood as a split between ownership of the recordings and ownership of money flowing from those recordings. Public credits and music-industry reporting point to Grade A Productions and Interscope Records as the parties that control the master recordings for the main released catalogue. For example, Spotify’s listing for Goodbye & Good Riddance says the 2018 album is credited to Grade A Productions and distributed by Interscope Records, while later albums such as Legends Never Die, Fighting Demons and The Party Never Ends list Grade A Productions, LLC under exclusive license to Interscope Records spotify.com spotify.com spotify.com. Separately, Billboard reporting summarized by Revolt says Opus Music Group acquired 90% of Juice WRLD’s interest in master-recording income and 90% of his portion of publishing ownership, while Grade A Productions and Interscope retained ownership of the master recordings revolt.tv.

How Juice WRLD’s catalogue ended up with Grade A, Interscope and Opus

Juice WRLD, born Jarad Higgins, broke through online before signing into the major-label system. Billboard reported in March 2018 that he signed with Interscope in a deal worth more than $3 million, a key moment that moved his music from SoundCloud momentum into a Grade A / Interscope commercial structure billboard.com. Interscope’s own artist page describes his 2018 debut Goodbye & Good Riddance, his 2019 album Death Race for Love, and posthumous releases including Legends Never Die and Fighting Demons interscope.com.

The second shift came after Juice WRLD’s death in December 2019. Posthumous albums continued to be released through the same Grade A / Interscope channel. Legends Never Die was credited to Grade A Productions under exclusive license to Interscope, and Fighting Demons used the same licensing language on Spotify spotify.com spotify.com. In 2023, the economic picture changed when Opus Music Group reportedly acquired a majority stake in Juice WRLD’s rights and income streams. The key distinction is that the deal was reported as 90% of Juice WRLD’s interest in master income and 90% of his publishing ownership, while the master recordings stayed with Grade A and Interscope revolt.tv.

The masters and the money from the masters are not the same asset.

The corporate structure behind Juice WRLD’s music rights

The structure has four practical layers. Grade A Productions is the frontline label name attached to the recordings. Interscope is the major-label partner and licensee/distributor. Interscope sits within Universal Music Group’s recorded-music business, and UMG’s annual report lists Interscope Geffen A&M among its major label brands universalmusic.com. Opus Music Group, meanwhile, sits on the investor side of the royalty stream. Music Business Worldwide reported in September 2024 that Litmus Music acquired Opus Music Group, describing Opus as the owner of rights to catalogues including Juice WRLD, Ozuna, Maluma and Rauw Alejandro musicbusinessworldwide.com.

Publishing is a separate lane. In 2018, Music Business Worldwide reported that Juice WRLD signed a global publishing administration deal with BMG covering his songwriting catalogue, including Goodbye & Good Riddance, WRLD ON DRUGS and future works musicbusinessworldwide.com. A publishing administrator collects and manages songwriter income. It does not automatically own the sound recordings. That is why a song such as “Lucid Dreams” can involve a master owner, a label distributor, songwriters, publishers, producers and royalty investors at the same time.

Money and control in Juice WRLD’s catalogue

The most important financial point is that Opus did not simply “buy the masters” in the way fans often use that phrase. The reported transaction was for most of Juice WRLD’s own income interest and publishing ownership. That may include money from streaming, sync, physical sales, downloads and unreleased songs, but only to the extent those income streams belonged to the artist side of the contractual chain. It does not erase the label’s rights. Revolt’s summary of Billboard’s reporting states the same distinction directly: Opus took 90% of Juice WRLD’s master-recording income interest and 90% of his publishing ownership, while Grade A and Interscope maintained master ownership revolt.tv.

What this means for Juice WRLD’s fans and estate

For fans, the practical result is that new releases, anniversary editions, vinyl editions and digital albums still appear through the Grade A / Interscope channel. Interscope’s store lists Juice WRLD products including The Party Never Ends, Legends Never Die, Fighting Demons, Death Race for Love and Goodbye & Good Riddance interscope.com. That is the day-to-day operating layer most listeners see.

For the estate and other artist-side beneficiaries, the Opus transaction likely converted a long stream of future royalties into a large upfront payment. That is common in catalogue finance: investors buy future income, and sellers receive immediate liquidity. But the public record does not disclose every approval right, veto right or unreleased-song control clause in Juice WRLD’s recording contracts. The careful conclusion is therefore narrow: Grade A and Interscope control the masters; Opus/Litmus controls most of Juice WRLD’s reported economic interest; and the estate remains part of the broader artist-side picture, but not as the simple sole owner of the masters.

Frequently asked questions

Key takeaways

Final word

The answer to who owns Juice WRLD’s masters is layered, not simple. Grade A Productions and Interscope Records sit closest to the actual master recordings. Opus, now reportedly under Litmus, sits closest to most of Juice WRLD’s artist-side economic interest. The estate remains part of the legacy story, but public evidence does not support the idea that it simply owns the masters outright.