All I could think about was the incessant, manipulative bullying I’ve received at his hands for years. Some fun facts about today’s news: I learned about Scooter Braun’s purchase of my masters as it was announced to the world. Music I wrote on my bedroom floor and videos I dreamed up and paid for from the money I earned playing in bars, then clubs, then arenas, then stadiums. I had to make the excruciating choice to leave behind my past. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. But it also includes artists such as Sunny Sweeney, The Mavericks, Reba McEntire, Hank Williams Jr., Ronnie Dunn, Aaron Lewis, Alex Williams, and others who have all done business with Big Machine and Scott Borchetta-the man Saving Country Music first boldly and unflinchingly labeled as the “ Country Music Antichrist” on April 28th, 2011 to the chagrin and horror of many who are now calling him much worse for this deal.Īfter the sale was announced Sunday morning (6-30), Taylor Swift made the following statement.įor years I asked, pleaded for a chance to own my work. This includes big country stars such as Florida Georgia Line and Thomas Rhett who are currently signed to the label. But all of the artists from the present to the past who’ve been signed to Big Machine will be affected by this deal. Since Swift is the superstar in the room, and today’s entertainment media is so obsequiously entranced by celebrity, that is where the focus will dwell. But she is far from the only artist affected, or the only one in a position to cry foul. This sale significantly affects music at large, country music more specifically than anything, and Taylor Swift more specifically than anyone. And so while many were at church or slurping up the Sunday morning political shows, the mammoth news rocking the music world broke. You can bet Scott Borchetta and Scooter Braun knew Taylor Swift would react negatively to this, and perhaps that she was already getting ready to release her own statement as a preemptive strike simply from the rumors of a potential sale. In the case of the Big Machine sale to Scooter Braun, it could likely be both.
Nothing in the music business is announced on Sunday morning, unless it’s done as a preemptive measure to head off negative publicity, or to bury it in the news cycle. The first red flag about this deal is that this announcement was made on a Sunday morning. Is this sale of the Big Machine Label Group by its CEO Scott Borchetta to talent manager and entertainment executive Scooter Braun anything different? The short answer is “Yes.” But it so quickly gets bogged down in minutia and detail, does the sale of one huge music company to another really affect you, or affect the music in some significant way that you should marshal the effort to care? Labels are always going through some version of musical chairs, mergers and acquisitions. And sure, you know a little something about labels and producers and how all this stuff is necessary to get the music to you. The original song was also released as a promotional single by iTunes and Amazon in 2011.You’re a music fan.
BOOK ABOUT BIG MACHINE RECORDS MOVIE
The 33-year-old superstar on Friday also debuted “If This Was a Movie (Taylor’s Version),” whose previous iteration hailed from the Target deluxe edition of her 2010 “Speak Now” album, her third studio album. Both songs were featured on the soundtrack to the 2012 blockbuster “The Hunger Games.” They include the guitar-heavy rock ballad “Eyes Open (Taylor’s Version)” and “Safe & Sound (Taylor’s Version)” featuring the Civil Wars’ Joy Williams and John Paul White. (Braun later sold the label for a reported $300 million to the private-equity group Ithaca Holdings).įollowing the 2021 “Taylor’s Version” remakes of her Grammy-winning “Fearless” and beloved “Red” albums, the country-crossover star on Friday released the handful of recordings branded with her subtle-flex parenthetical.
Swift lost the master recordings to her first six albums but later “devised a plan to rerecord her early work as a way to devalue those masters by essentially supplanting them in the marketplace with product she owns,” Times music critic Mikael Wood explained. The tunes are all “Taylor’s Version” tracks, meaning they are re-recordings of music that got stuck in ownership limbo when her former label, Big Machine Records, was sold to Scooter Braun in 2019.
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