In 2019, Taylor Swift announced regarding her plans to re-record her first six studio albums — the full-lengths that made her a blockbuster-selling, stadium-packing superstar and enter the door of her music career. And on April 9, Miss Swift already begun rolling out those re-recorded albums as she released Fearless (Taylor’s Version), a new version on her 2008 sophomore LP.
In these re-recordings, the lyrics and production haven't changed that much: it's Swift's business that is moved. Currently 31, The Miss Americana has gone full indie-pop—as demonstrated by her Grammy-winning turn on her recent 2020 album Folklore. But underneath those astounding soundscapes is a craftsman who's been battling throughout recent years to deal with the methods, technique for creation, and conveyance of her work. Art causes us to feel things, a specialty at which Swift is an expert.
Art additionally brings in money, and Swift is similarly proficient at that. Her objective currently: ensure it stays inside her control. It's an unrealistic fantasy for artist of any sort. In any case, Swift has influence that most don't, and her extremely close to home battle to reshape the manner in which abundance is disseminated from inventive work is a possible model for wrestling pay back from industry powers.
Swift signed to the record label called Big Machine Records in 2005, a new-faced Nashville artist with a guitar and long blond hair. The agreement terminated in 2018 yet not before she soared to radio-play heights with hits like "I Knew You Were Trouble" and crossed into the pop stratosphere with sold-out arena tours throughout the span of six collections.
At the point when her deal was up, she changed labels to Universal's Republic Records. Big Machine owns the masters, or original recordings, of her first six albums, as is common to many recording labels. In her new contract, Swift tried to get responsibility for future bosses. Evolving names, cutting out more agency, updating agreement terms—these means are not all bad for a successful artist.
Yet, Swift's in the background moves became headline news when Big Machine sold to private-equity group Ithaca Holdings, an entity owned by stalwart music manager Scooter Braun. He at that point offered her masterpieces to another company, Shamrock Holdings, for a reported $300 million in 2019.
In a post on Twitter, Taylor revealed that her team "attempted to enter into negotiations with Scooter Braun," but he wanted her to "sign an ironclad NDA" that would keep Taylor from ever saying anything bad about Scooter before even entering negotiations. "He would never even quote my team a price," she said. "These master recordings were not for sale to me."
According to Taylor, the terms of the sale to Shamrock allow Scooter to continue to profit off Taylor's music for "many years." While Taylor was hoping for a partnership with Shamrock moving forward, she said "Scooter's participation is a non-starter for me."