Unless you’ve been completely closed off from the world, you’ve probably heard about Taylor Swift rerecording her old albums. This is the culmination of a several–year back and forth between Swift and her old record label, Big Machine, who sold the masters to six of her albums without consulting her — meaning she no longer owns any of her work prior to the album Lover. Now, Swift plans to reclaim her records by rerecording her debut albums, Fearless, Speak Now, Red, 1989, and Reputation. But why rerecord old music, especially when her newest releases, Folklore and Evermore are doing so well?
When Swift announced the release of Fearless (Taylor’s Version), the internet was mostly excited, as fans celebrated the new version of a song many grew up on — I know my roommate and I listened to “Love Story (Taylor’s Version)” at least ten times. But Swift has also received some criticism for her decision to remake everything.
Some have called the move nothing but a grab for money, as her wanting to continue profiting from her previous discography. To that, I say, well, shouldn’t she profit off of her own music? The music that she wrote, worked on, and sang? It seems odd to critique someone for making money from their efforts, whether you like the artist or not. At this point, I also don’t think Swift is concerned with making money from these albums. I’m sure she profits enough from the widely popular music she continues to produce year after year.
Others have also claimed that the rerecordings are a form of greed — not because of money, but because of their potential to garner Grammy nominations. There seems to be some contention about whether Swift’s new albums will be eligible, but it seems as though she could be a contender in some categories. Some have argued that this is unfair because these albums have already had their chance and shouldn’t be considered again. Although these albums are, at their heart, rerecordings, Swift has promised some surprises that will make them new and unique. Fearless (Taylor’s Version) will feature six never–before released tracks from Swift’s vault of songs. This proves that these albums will offer something new and can’t just be regarded as carbon copies of the originals.
As far as criticism goes, this one should be reserved for the Grammy committee, not Swift. She has no control over the rules of the awards committee, so why wouldn’t she enter her work if she can? Artists in the past have submitted live albums or special anniversary releases to great success, so why can’t Taylor Swift do the same? And again, unlike those previous examples, Swift’s albums will offer something different and exciting.
Swift’s rerecordings appear to be an important step in the industry letting artists own their work rather than treating them as a commodity. Rerecording is an act of reclamation, making the albums that built Swift’s career a part of her repertoire again. Although this has been an emotional journey for Swift, I think these new albums will mark an important point in her career.
These rerecordings also allow Swift to revisit works that she wrote as a teen. Her songwriting prowess and voice have matured with time, and the new recordings will allow Swift to look back at her career from the perspective of an adult. “Love Story (Taylor’s Version)” has demonstrated that these songs will show us an artist that has grown with us, but is still proud of how she started. The albums are a celebration of Swift’s work, her journey, and the fans that have been with her since her debut. I’m excited to see a whole new generation of kids grow up singing “Love Story,” and I know I’ll be singing along with them.