Does Taylor Swift or Big Machine Records Own Her Music?
The question of who owns the rights to Taylor Swift's music has been a topic of debate in the music industry. Recently, the situation has evolved, with Taylor Swift owning the rights to her last two albums, Lover and Folklore, while the earlier albums are still under the control of Big Machine Records. This article provides a comprehensive overview of the current ownership structures and the implications for Swift's future work.
Taylor Swift's Ownership of Recent Albums
As of now, Taylor Swift owns the rights to her latest albums Lover and Folklore.
However, her story is not entirely straightforward. In 2018, Swift's contract with Big Machine Records expired, and she decided to leave the label. This led to a complex legal situation, as the ownership rights to her previous albums, including Taylor Swift, Fearless, Red (Taylor's Version), and Speak Now (Taylor's Version), were transferred to her ex-record label and later acquired by Scooter Braun.
A Pivotal Moment for Swift’s Music Rights
On November 30, 2020, a significant legal change occurred. Swift, under the provisions of the Music Modernization Act (abbreviated MMA), gained the rights to re-record her music from Big Machine Records. This means that she can now record alternative versions of her previous work without permission from the original label.
Ownership in the Music Industry: Beyond Simple Terms
Ownership of music in the music industry is more nuanced than a simple transfer of rights. Taylor Swift, despite owning the rights to her recent albums, still receives certain royalties as a songwriter. Additionally, she earns mechanical royalties for performances and the sale of her work. Big Machine Records, in turn, still has a financial stake in her material, generating revenue from each sale or performance of her songs.
According to industry experts, a song is typically owned by a basket of people and entities. Each has some financial interest in the earnings generated by the song, including the songwriter, music publishers, and performers. However, the specific distribution of royalties and revenue depends on the various contracts and agreements.
Big Machine Records has a piece of the income generated from Swift's material. The extent of their control over the use of her work depends on the terms of their agreements with Swift and mutual collaboration. Without Swift's involvement in a sale or performance, the material may be less valuable to another buyer.
Conclusion
In summary, while Taylor Swift owns the rights to her recent albums, the situation with her earlier work remains under the control of Big Machine Records and Scooter Braun. However, the legal landscape has shifted, and Swift now has the ability to re-record her previous albums. This complex interplay of ownership and rights in the music industry highlights the intricate nature of the music business and the importance of understanding the terms and conditions of music contracts.