TikTok, Peloton and other outlets that have no label licensing at the moment will have to cross that bridge. Streaming services could be prohibited from using the original masters. As such, she can veto any use in TV, films, commercials, video games and any and all media. Swift has the contractual rights to control her publishing, which is managed by Universal Music Publishing Group. If new versions become the chosen medium for use, then what they’re holding loses major value. What’s interesting is the value being lost by the rights holders. Does the consumer buy the same music again? More importantly, if you’re a television or film producer that wants to use some Taylor Swift’s music, which version do you use? Now, the interesting ethical dilemmas emerge. She added that the rollout on the song “Love Story” - now called “Love Story (Taylor’s Version)” - her first Billboard Top 10 single, would arrive just in time for Valentine’s Day.įearless (Taylor’s Version) will be released April 9 and feature 26 songs total, including hits like You Belong With Me and Fifteen, along with six unreleased tracks written when Swift was a teenager. “This process has been more fulfilling and emotional than I could’ve imagined and has made me ever more determined to re-record all of my music,” said the singer, 31, in a statement on social media. That’s hefty ammunition in an experiment that can blaze a trail for herself and potentially others. The logistical nightmare of fulfilling direct mail orders for physical copies in the low bandwidth era sunk that project, although Prince claimed financial success from it.īut Swift is arguably the world’s top pop star. And who can forget Prince’s ill-fated Crystal Ball in the late ’90s. Others have tried this trick via re-recording, including Def Leppard and Squeeze, all with middling success. Although olive branches have been extended by the rights holders, Swift is determined to control her material’s destiny.
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