Originally Posted by
soulster
Funny thing, though, Philadelphia International was the modeled pretty much in the same way as Motown, but didn't seem to have all the parental control issues. It seems to me that the artists at PIR wanted to be there, and wanted the Gamble and Huff signature. Anyone know why the PIR machine worked so much better than Motown? Were they just treated and compensated more equitably?
In the 70s, it seemed that the artists still on the roster were always battling the Motown brass over something, be it creative control or royalties. What was it?
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