Taylor Swift did it. She actually went through with it. For nearly two years now — ever since her former record label Big Machine sold its catalog, including the master recordings for her first six albums, to music industry mogul Scooter Braun — she’s been talking about re-recording those albums as a fuck-you and an assertion of control. If she couldn’t own the rights to the recordings that made her one of the most successful musical artists of all time, at least she could undercut their value and present her loyal fan base with a way to enjoy that music without benefitting her nemeses. With last Friday’s release of Fearless (Taylor’s Version), that plan is officially underway.
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