Re-recording (music)
recording produced following a new performance of a work of music
A re-recording is a recording produced following a new performance of a work of music. This is most commonly, but not exclusively, by a popular artist or group. It differs from a reissue, which involves a second or subsequent release of a previously recorded piece of music.
Re-recordings are often produced decades after the original recordings were released, usually under contract terms more favorable to the artists. This is especially common among acts who originally agreed to contracts that would be considered unfair and exploitative today. When re-recordings are issued under newer contracts, artists can collect far higher royalties for use in films, commercials, and movie trailers. Other artists re-record their work for artistic reasons. Jeff Lynne of the Electric Light Orchestra released a solo best-of album with new versions of previous hits like "Mr. Blue Sky", the original of which Lynne described as "[not] quite how I meant it". Some artists, such as Def Leppard and Taylor Swift, re-recorded their music because of disputes with their labels; Swift's re-recordings have become massive successes, both critically and commercially.
Begin with the source’s own compact description: “Re-recording (music)” is recording produced following a new performance of a work of music. The dossier treats that line as a proposition to test through Re-recording, music and recording, not as a finished interpretation.
Why this record matters
The phrase “recording produced following a new performance of a work of music” supplies a clear boundary for inquiry. It also exposes the unanswered questions: who defined that boundary, when it became stable and which sources sit outside it.
Attribution, date and provenance are strongest when supported by the original work, a catalogue record and documented transmission. The source revision retrieved here is dated Aug 11, 2026. The linked authority identifier is Q25203386. None of the 0 selected statements returned an explicit reference.
Later fame can flatten the distinction between original context, subsequent adaptation and institutional collecting history. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.
How to read it
Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.
- Identifying works and editions
- Tracing reception history
- Finding collection records
The original object or edition, catalogue raisonné, performance record, rights file and holding institution.
Three-step research path
- Establish the record: confirm the title “Re-recording (music)”, its source revision and the description used here.
- Expand the search: follow Re-recording (music) primary sources, Re-recording (music) archive and Re-recording research across catalogues and specialist indexes.
- Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.
Questions for further research
- Which source most directly establishes the central claim about “Re-recording (music)”?
- How did later circulation or interpretation alter the work’s reception?
- Which edition, object, performance or recording is being described?
Search terms from this dossier
This entry incorporates text from “Re-recording (music)” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.