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However, in June 2019, Swift made public, through social networks, a dispute that he was living with Scott Borchetta, founder of Big Machine Label Group (BMLG), a company that owned the copyright of the masters of his first six studio albums. These shares so far were worth around $ 850 million. The singer established as a condition of her contract that if UMG sells its shares in Spotify, the company will distribute part of the money from that sale to all the artists it represents, under a non-recoverable scheme. (Here it is important to note that many of our favorite singers or groups do not have their masters ). This means that the artist has more control over where her music is used and makes the most of the profits. Taylor Swift would be the owner of all his master recordings or masters made under the contract with Republic Records. The important thing here is that Swift stipulated some clauses in her contract that caught the attention of the media: In 2018 the singer partnered with Republic Records of Universal Music Group (UMG) leaving behind her partner from the Big Machine Records label. Why is Taylor Swift re-recording her old albums? In reality, the artist only wants to regain commercial exploitation rights to her first six albums ( Taylor Swift, Fearless, Speak Now, RED, 1989, and Reputation ).Īnd what does this have to do with us? Much, the history of this pop legend, reminds us that we must pay special attention to different aspects related to our business partners, the importance of registering our creations and even ideas on our behalf, marketing management, and even showing resilience in the battles. Now stop reading this and give your lover some attention: if you don’t keep them happy, somebody else will.Contrary to what many think and perhaps few know, NO, it is not that Swift has not forgotten her exes and wants to return with songs "from the vault" (from the trunk) or to sing them again how much that breakup hurt. Soulful, amusing, sassy, and at times deeply moving, the album drew up a blueprint for the next decade of Taylor’s work. The gossipy element of the songs – “Hey, have you heard about this…?” – made them irresistible.Ĭo-produced by former Motown employee Don Davis, who’d work on the vast majority of Taylor’s successes, and Al Jackson of Booker T & The MGs, Who’s Making Love subtly updated Stax’s sound, not losing its best elements but making it one notch funkier. Taylor sells each song perfectly, telling these tales like a man who’s learned hard lessons. “I’m Not The Same Person” has a more assertive bent, but is based in a regretful truth.
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In a similar style, but with a more melancholy reality at heart, “My Nobody Is Somebody” shows Taylor’s facility with a ballad. Released in October 1968, Who’s Making Love, the album, is mostly in the same tone: the bluesy “Can’t Trust Your Neighbor,” the admonishing “Take Care Of Your Homework,” the chunky warning of “Payback Hurts” here is a man who believes nobody and doesn’t want you to make the same mistakes “a close friend” has. The record also helped save Stax, which was in financial difficulties at the time, and made Taylor a star. 5 in the US charts, was covered by everyone from the great soul-jazz saxman Lou Donaldson to funky bar bands, and helped usher in a new, slightly less moral tone into American pop and soul. Got a girl on the side? What’s sauce for the goose is sauce for the gander, Taylor was saying. Taylor’s earlier releases for Stax, “I’ve Got To Love Somebody’s Baby” and “Somebody’s Sleepin’ In My Bed,” cast him as someone who realized love was a cheatin’ thing, but the “Who’s Making Love” single practically defined the “can’t trust a lover” strain of soul. All the same, he was a fine singer, capable of a creamy smoothness you might expect from someone championed by Sam Cooke, and also possessed a sneaky funkiness, adjusting his approach according to the topic he was singing about. Stax had dubbed Taylor The Philosopher Of Soul, but his kind of philosophy was strictly down-home, barroom, over the back fence, and sometimes downright no good.