A song can appear in many forms: an album master, radio edit, remix, acoustic session, live performance, demo, duet, clean version or later rerecording.
Those versions do not automatically represent separate recordings. Some contain a genuinely new performance. Others rearrange, shorten or process audio that was already recorded.
EverySongBy separates distinct performances without counting every edit, remaster and reissue as a new song. The aim is a clear recording history—not the largest possible total.
A song and a recording are different things
A song is the underlying composition: the melody, lyrics and musical structure.
A recording is a particular captured performance of that composition.
The same song can therefore produce several separate recordings. An artist might record the original studio version, return years later to make a new master, perform a new acoustic arrangement and record a duet with another singer.
Different release dates or titles are not enough on their own. The central question is whether the version contains a meaningfully different recorded performance.
The main test
A version will usually receive a separate catalogue entry when the artist recorded substantial new vocal or instrumental material for it.
A version will usually remain connected to the original entry when it only edits, remasters, rearranges, isolates or processes existing audio.
Some borderline cases need more explanation, so EverySongBy also considers how much changed, whether the new material is audible and whether a separate entry helps visitors understand the artist’s work.
The same master on several releases
The main studio master counts once, even when it appears on several products.
The same recording may be issued on:
- An album
- A single
- A soundtrack
- A deluxe edition
- A greatest-hits collection
- A regional edition
- A later compilation
Repackaging the same audio does not create another performance. The catalogue keeps one recording entry and uses About this recording to explain the most relevant release history.
Rerecordings
A rerecording normally counts separately because the artist performs the song again and a new master is created.
This remains true when the lyrics, melody and arrangement closely follow the original. The composition may be unchanged, but the captured performance is new.
Rerecordings may be made for ownership or licensing reasons, anniversary projects, soundtracks, compilations or a creative reinterpretation of older work.
The catalogue should identify the relationship clearly, such as rerecorded version, later studio recording or new vocal recorded for the 2024 release.
Alternate vocal takes and newly recorded sections
A version may contain a mixture of old and new material.
Examples include:
- A newly recorded verse added to the original master
- Replacement lyrics in an otherwise familiar version
- A new chorus or bridge
- New ad-libs or harmonies
- A different lead take over reused production
- Original vocals combined with a newly recorded guest section
When the new performance is substantial and clearly identifiable, the version may deserve a separate entry. When the change is very small, it may be clearer to keep it as a related version of the original recording.
Acoustic, piano and stripped-back versions
An acoustic or stripped-back version counts separately when it comes from a genuinely new performance.
A new studio or live-session vocal with different instrumentation is a distinct recording. An “acoustic mix” made by placing the original vocal over different backing may not be.
The label on the release is not enough. The catalogue looks for evidence that the artist actually performed again.
Live recordings and public performances
Every concert performance is technically different, but listing every tour performance would make a catalogue impossible to use.
A live or public performance is normally given its own entry only when it has clear catalogue value, such as:
- An official live release
- A recognised radio, television or studio session
- A soundtrack, single or live-album release
- A public performance of an otherwise unreleased song
- A substantially different arrangement
- A historically important one-off performance
Routine performances of the standard arrangement are generally not counted individually.
A public performance also does not prove that a studio recording exists. The entry should state whether it documents a live performance, studio master or both.
Remixes
Most remixes do not count as separate vocal recordings because they reuse the original master vocal and change the production around it.
A remix may sound dramatically different while still containing no new performance by the main artist.
A separate entry may make sense when the remix includes meaningful newly recorded material, such as:
- A new verse or chorus
- New lead vocals
- Substantial replacement lyrics
- A newly recorded guest performance
- A different vocal arrangement created for that version
The catalogue should say exactly what changed. A new guest verse does not automatically mean the main artist rerecorded their part.
Radio edits, single edits and shortened versions
A radio or single edit usually remains the same recording.
Removing an introduction, shortening an instrumental break, changing the order of sections or fading earlier alters the edit—not the captured performance.
The same normally applies to:
- Video edits
- Extended edits
- Intro and outro edits
- DJ edits
- Promo edits
These can be noted as release versions without increasing the number of distinct recordings.
Explicit and clean versions
Clean versions need individual assessment.
If words are muted, reversed, cut or digitally obscured, the underlying performance remains the same.
If the artist recorded replacement lyrics, the clean version contains some new vocal material. Whether it receives a separate entry depends on how substantial the change is and whether separating it adds useful information.
Remasters
A remaster is not a new recording.
Remastering changes the presentation of an existing master through adjustments such as equalisation, loudness, stereo balance or restoration. The original performance remains intact.
A rerecording captures a new performance. A remaster processes an existing one.
Sped-up, slowed, reverb and other processed versions
Versions created by changing the speed, pitch, ambience or processing of the original master do not normally count separately.
They may receive an official release and become commercially successful, but that does not mean the artist made a new performance.
They remain alternate presentations unless new vocals or instrumentation were recorded specifically for them.
Instrumental and a cappella versions
Official instrumentals and a cappella releases are usually made from the same session stems.
Isolating the vocal, removing it or presenting the backing track alone does not create another performance.
An independently performed instrumental reinterpretation may count separately when the artist records meaningful new material for it.
Duets, features and revised artist credits
A duet or featured version often deserves a separate entry when it adds a newly recorded performance.
The entry should explain:
- The exact credited artist line
- Who the primary artist is
- Whether the original lead vocal was reused
- Which performer recorded new material
- Whether the lyrics or structure changed
- Whether both singers created new performances
This prevents a new guest section from being described as though the entire song was rerecorded.
Different-language versions
A version in another language usually counts separately when the artist records a new vocal.
The instrumental may be reused, but the translated or rewritten vocal is a distinct performance.
A very small translated phrase added to an otherwise unchanged master may be better treated as a variation. The decision depends on the amount of new material.
Demos and reference recordings
A demo can count as a separate recording when it contains a distinct performance.
Demos may preserve earlier lyrics, different melodies, alternate structures, rough arrangements or vocals recorded to pitch the song to another performer.
Where documented, EverySongBy also shows the intended performer. A Sia demo created for Beyoncé, Shakira or another singer should be described as a songwriter demo or pitch—not assumed to be an abandoned Sia single.
The catalogue distinguishes the amount of audio actually established:
- Full demo — a substantially complete demo recording is known
- Partial demo — only part of the demo performance is established
- Excerpt — a short section from a longer recording is available or documented
- Snippet only — only a very brief fragment or preview is known
These labels describe the available recording. They should not be treated as four separate entries when they all come from the same underlying demo.
Unreleased and circulating recordings
An unreleased title does not automatically prove that a complete recording exists.
A title may come from a rights registration, session list, interview, file name, fan list or project document. It could refer to a composition, instrumental, unfinished session or planned recording.
EverySongBy separates:
- A complete or substantially documented unreleased recording
- A leaked or circulating recording
- A partial demo, excerpt or snippet
- A title whose recording remains unconfirmed
- A project or writer credit without confirmed vocals
The archive may document a circulating recording’s history, but it does not link to unauthorised audio.
Recording date, circulation date and release date
One recording can be connected to several different dates:
- The writing date
- The recording date or recording period
- The registration date
- The date a snippet first appeared
- The reported leak or circulation date
- The date of a later authorised release
These dates are not interchangeable.
The catalogue shows them separately where reliable information exists. If the recording year is unknown, a later leak date should not be presented as though it were the session date.
Snippets, excerpts and partial performances
A short clip proves only what can be heard in that clip.
A commercial, livestream, documentary, studio video or auction preview may establish that some audio exists. It does not necessarily prove that a complete song was recorded.
A fragment can still deserve an entry when it is historically useful, but the wording should remain precise: excerpt, snippet only or partial performance.
Reused, sampled and archival vocals
A later release may contain an artist’s voice without a new session taking place.
This can happen through sampling, reused stems, an earlier demo vocal, archival material or vocals transferred from another version.
The resulting release may be a distinct recording in the receiving artist’s catalogue, but the original singer’s contribution should be described as reused, sampled or archival rather than a newly recorded feature.
Posthumous recordings
Posthumous releases often combine older vocals with later production, guest parts or editorial decisions.
A release may use:
- A complete vocal recorded during the artist’s lifetime
- An unfinished demo completed by others
- Verses reused from another session
- Several fragments assembled into one track
- New production or guest vocals added later
The final release may count as a distinct version, but About this recording should explain where the vocal came from and how the track was assembled.
Alternate, working and fan-created titles
Two titles do not necessarily represent two recordings.
An unreleased song may have a working title, registered title, file name, lyric-based fan title and later official title.
Before creating separate entries, the catalogue compares available lyrics, audio, writers, producers, dates and project history.
When the evidence points to the same recording, the titles are consolidated and the alternate names are explained in the entry.
Stem edits, mashups and fan-made versions
A fan edit can sound like a previously unknown version while using only released stems, isolated vocals or unrelated instrumental material.
Likewise, a mashup may combine genuine artist vocals without representing a recording the artist created or approved.
These should not be counted as separate artist recordings unless there is evidence of a genuine, distinct performance connected to the artist.
Artificially generated or manipulated vocals
Voice cloning and modern editing tools can create convincing false versions.
Audio resemblance alone is not enough to establish a separate recording. A claimed version needs supporting evidence such as original credits, session documentation, reliable reporting or confirmation from people involved.
Material that appears generated, assembled or misattributed should be excluded or clearly described as disputed.
How related versions are presented
Separate entries should still be connected when they belong to the same song history.
About this recording may identify:
- The original version
- A later rerecording
- A demo and its intended performer
- A duet or guest version
- A final version released by another artist
- A former or alternate title
- The difference between a leaked version and later official master
This keeps distinct performances separate without making them look unrelated.
How uncertain cases are described
Every borderline decision does not need a numerical rating.
Clear language is more useful. Depending on the evidence, an entry may say:
- Official release
- Rerecorded version
- Alternate vocal version
- Full demo
- Partial demo
- Excerpt
- Snippet only
- Leaked or circulating
- Recording reported
- Title documented, recording unconfirmed
- Alternate title
- Disputed or misattributed
The label explains what kind of item is being documented. The accompanying background explains what is known and what remains unresolved.
A practical separate-recording checklist
When deciding whether a version deserves its own entry, ask:
- Did the artist record meaningful new material?
- Is the new performance substantial enough to identify?
- Does the version use the original master vocal?
- Is it a rerecording, remix, edit, remaster or processing change?
- Did only a guest artist record something new?
- Are replacement lyrics or another-language vocals newly performed?
- Is the known audio full, partial, an excerpt or only a snippet?
- Could the title duplicate another entry?
- Is the recording date supported, or is only a circulation date known?
- Would a separate entry make the recording history clearer?
Why consistent counting matters
A catalogue becomes less useful when every remix, edit, remaster, reissue and processed version is counted as a different song.
It also becomes incomplete when meaningful rerecordings, demos, collaborations, alternate vocals and public performances are ignored.
The aim is balance: preserve distinct performances without multiplying entries simply because the same audio has been repackaged.
EverySongBy reviews these decisions when stronger credits, official releases or new documentation appear. The clearest catalogue is not the one with the biggest number. It is the one that shows which performances are genuinely different and why.