This paper will consider the role of creativity in the work of reissue producers. Reissue work may be viewed in a number of ways; it can be consultative, proactive, destructive, and sometimes history-changing. When faced with the task of bringing to life recordings that have languished in the vaults for close to 50 years, how much agency should modern reissue producers have over their output? Is there responsibility involved in this sort of work? Should producers advocate for transparent reissues that reveal the work of the original artist, or to try make the record sound as good as possible? How do we determine if the latter is appropriate or successful? I will reflect on these questions using ideas from aestheticians about the ontology of works, an example of a completed Mozart work, and a discussion of the work of an art “restorer.” The core of my discussion will revolve around a number of Marvin Gaye recordings that I have completed as reissue producer, including an expanded edition of the 1972 Trouble Man project, and a more recent set of standards-oriented recordings spanning nearly two decades. In working with this material, I faced many of the issues described above, and will use them to bring tangibility to the discussion. I will provide audio examples to support my case studies, showing examples of questions that arose during my process. In a music industry constantly employing different listening formats, reissues are endemic to popular music. Their creativity matters more than you might think.
