Some artists do retain ownership of their masters. The cost of doing so is a much smaller advance payment on their contract
IN THE HISTORY of the music business, many artists have not had control over their own careers. What has recently made the topic into major news is that Taylor Swift has discussed her torrid experience in the industry. The pop star has a long record of challenging that powers that be, and while her latest battle is unlikely to end in victory, she has shone a light on one of the less understood aspects of how artists and record labels interact.
A label owning an artist’s master recordings is commonplace. Record companies operate in a similar way to pharmaceutical companies. Both spend fortunes on research and development, and in both cases most of the expenditure does not result in revenue. Pharma companies patent their drugs so they can make the money that feeds future research.
But if they have signed away their masters and become successful, they look at the money that is not coming to them—via the label’s share of their record sales, or the revenue from licensing music to films, TV and adverts—and want to have it all. Artists also want to ensure that they control their recordings so that they are only released in a manner they feel befits their vision.
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