She had the right to buy back her own masters, but did not want to pay Big Machine Records, who launched her career in the first place, what they wanted. Now she's the victim. I am sure the re-recordings are better without the Nashville over-processing.
There's more to the story than just that @Azimuth, including her disdain for the individual that purchased the masters from Big Machine Records.
I loved the Fearless re-recording, and love most of Red. I think the pop songs hit harder on the original, so could be chalked up to different producers. Not sure if Max Martin came back for the Red re-record. The vault tracks are awesome too.
Well...from two people. She just did not like the price or stipulations or both. She already owns the rights to the intellectual property of the songs & owns her own publishing. The label looks at it like loss of revenue. Other bands have done the same thing and either bough their masters or re-recorded their own versions for streaming and never drug individuals or labels through the mud and played the victim card.
She certainly has been more open about the process than other artists, but when it comes down to it she did not agree to the 1 new for 1 old master stipulations, but also took it personally when her label sold the masters to someone who she alleges has bulled her for years. When she tried to strike a deal with Scooter, he would not entertain any discussions unless she signed a broad NDA with offmarket terms.
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