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before moving to Nashville to start his own record promotions business. He grew up in the music business his father Mike Borchetta worked in promotions at Mercury and RCA records in L.A. If he sounds confident, Borchetta’s got good reason.
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“The conversation just elevated from there,” Borchetta says. For Swift’s latest release, Red, Borchetta says it was just the two of them in the studio when he recognized a chorus wasn’t getting the proper “lift.” Borchetta recommended the Swedish producer and songwriter Max Martin, who worked with Katy Perry and Britney Spears. Big Machine is based on Music Row in Nashville, Tennessee. That may be as simple as finding someone else for the artist to collaborate with. Big Machine Records is an American independent record label, which is distributed by Universal Music Group and specializes in country and pop artists. “You just say we are heading in the wrong direction and here’s how we are going to fix it.” Rather, he holds a specific session with key executives, the artist, and their manager where he listens and points out what might be right and offer some solutions. “You don’t walk into a studio and stop recording,” says Borchetta. When he sees an artist starts getting to the end of their rope, he says it’s important not to bring everything to a grinding halt. There is momentum, strategy, and opportunity.” “We’ve got to provide the arena but understand the clock is ticking. “We had eight months so there was no reason to freak,” he says, and just told her he trusted her songwriting. “I said, ‘Now, that’s the center,’ and she looked at me and said ‘You are telling me I’m not done.’” Far from it, Borchetta knew, but he wasn’t nervous. That moment came in 2009, when Swift had gone back to her acoustic roots and presented three new songs to Borchetta.
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Instead, he held back and observed until an opportunity presented itself to suggest she wasn’t there yet. “I trusted it because it was very early in the process and she’s always writing,” he says. Right then Borchetta knew it she was missing the boat, but recalls it was not time for him to step in. He points out some of the tracks on Swift’s Speak Now album “that are the furthest from center” were the ones she was working on right after Fearless. On a more serious note, Borchetta believes that it’s easy for an artist to get stuck in their own world while writing and recording albums. “I can’t say who it is but they’ll know when they read it,” he adds with a chuckle. “We had that situation and I had to say stop the madness,” he says. Though he says he “doesn’t like to be that person” to deliver the crushing blow when an artist is high on their own work, Borchetta maintains he would be “a complete hypocrite” if he let his performers run aground.