The singer will re-record her first hits to regain ownership of the songs.
Taylor Swift fans have good reason to be happy these days.
The pop star will re-record his first albums, giving him back the right to sing his songs.
Despite having written and composed the songs for her first six albums, Taylor Swift, the best-selling artist of this decade, could not interpret them freely.
“(It’s about) the music that I wrote on the floor of my room and the videos that I dreamed of and paid for with the money I earned by playing in bars, then in discos and then in stadiums,” said the star.
It all started when the singer was 15 years old.
It was when he signed a contract with the Big Machine record company.
It is this company that owns the rights to the six albums that the American released between 2006 and 2017, and that made it famous.
The problems for her began when managers Scooter Braun and Scott Borchetta, who also represent Ariana Grande, Justin Bieber and Demi Lovato, bought part of Big Machine in a deal that included the rights to Swift’s songs for $ 300 million.
The singer denounced that both prevented her from interpreting songs from her previous albums and said that she was also in danger of not making a documentary about her life for Netflix because Braun and Borchetta prohibited re-recording the songs or using them for audiovisuals.
However, the contract signed when she was a teenager did not say anything about new versions, so Swift will be able to re-record her songs from November 2020, as announced in the US media.
With this maneuver, the pop star will have the rights to the new versions of the Debut, Fearless, Speak now, Red, and 1989 albums.
Later you can also re-record Lover.
The reaction of her fans was immediate and on Sunday the singer became a trending topic with the hashtag #TaylorIsFree (Taylor is free).
Her followers hope that during 2021, the singer will relaunch her entire discography.
“Many of these songs will be a small goldmine in streaming because they are pop music hits that survive in time, and that will be transmitted on the internet for the next 20, 30 or 40 years,” he explained at the beginning of the controversy Mark Sutherland, editor of the music trade publication Music Week.
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