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Will Fearless (Taylor’s Version) change the music industry?

Cookie Tookie

This is nothing new and has been done before. Someone even mentioned Jojo in this thread, another example of re-recording your songs and publishing them again after issues with the previous label.

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Jill
2 minutes ago, voltron92 said:

But I thought your masters own you :laughga:

I mean, they are not your masters per se, but you had a participation in their making, so you should have some kind of access to them. What I meant is that recovering them from the hands of your label or any equivalent is very hard.

Addicted to inserting myself into messy threads.

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LateToCult

Hmmm, probably not. Taylor’s astronomical success has put her in a unique position where she can afford to re-record her older albums and know she will make some money because of her strong fanbase.

Edited by LateToCult

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CCSir

Ownership of masters is tricky, but I think it will definitely inspire younger musicians to fight for as much creative control in their careers as they can. With independent music production and "recording within the comfort of your home" being on the rise, I see more musicians avoiding big record labels to go the independent way. It's actually not that expensive nowadays to record your own music (see Taylor Davis, I watched a webinar from her about how she was doing things and how independent musicians could thrive online, and I was shellshocked to see how she literally does everything herself, while producing top quality recordings).

 

 

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Miss Dolly
1 minute ago, Cookie Tookie said:

This is nothing new and has been done before. Someone even mentioned Jojo in this thread, another example of re-recording your songs and publishing them again after issues with the previous label.

Yeah artists have done it but Taylor Swift the biggest artist that has done this. 

Blue smoke is the heartbreak train

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Agunimon

You know, for years I wanted my favorite artists to re-record old albums with their matured voice. I remember during BTW era, I wanted Gaga to re-record her vocals for The Fame.

Edited by Agunimon
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Aubbie

I’ve thought about this! And honestly, I don’t know if Taylor will start a trend. She might start a trend with a few re-records, but not whole discographies and not for the sake of masters.

What I have worried and wondered about is if the music industry will begin to modify and add new clauses to contracts in order to prevent something like re-records from happening. Since it seems to be a loophole. 

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SFX

Is scooter a bit of a **** then ? I don’t know too much about him , but he seemed cool in the Demi location documentary series recently 

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Cody James

Kesha could benefit from it honestly. But we would need some more than subtle differences to gain the traction needed to make it worthwhile IMO.

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Aphasic Top

For those interested in owning their masters yes. Many artists are comfortable the way they are.

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bionic
45 minutes ago, SFX said:

Is scooter a bit of a **** then ? I don’t know too much about him , but he seemed cool in the Demi location documentary series recently 

This is a good, well-sourced, and informative read

https://www.vox.com/culture/2019/7/1/20677241/taylor-swift-scooter-braun-controversy-explained

buy bionic

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IllusionLover
1 hour ago, Jill said:

I think you're overestimating the power a newcomer has when compared to that of a multinational recoring label such as UMG for example. If the newcomer says they won't cease the rights to their masters, then UMG simply looks for another candidate. The newcomer loses everything and the label nothing.

Olivia Rodrigo exists. She's a newcomer and she owns her masters... Dua Lipa owns her masters since the beginning too. I think if you're smart and get good lawyers and stuff you could get them to let you own your masters.

 

1 hour ago, Bio said:

Taylor was allowed to buy them tho, but she didn't like the terms offered (Releasing one new album for each of her old albums).

Yeah cause that would mean staying with BMR which she didn't want because she knew the label was on sale and she knew that Scooter was a potential buyer and that would've mean she had to work under Scooter Braun and that's why she left.

Also I think she had other reasons why she wanted to leave BMR, I remember back in the 1989 era she said something about her label not wanting her to shift to pop music and in the 72 questions with vogue video they asked her "what advice would you give to a new artist" which she responded "get a good lawyer" so I think when she grew up she realized about things on her contracts that she thought weren't okay, and also they used hold her back because they wouldn't let her get involved in politics and stuff like that and who knows what else happened behind closed doors, so i guess when she was done with reputation and her contract ended she left the label. 

"and in the death of her reputation, she felt truly alive" -T.S.

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