Artist development deal
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Usually the first of a recording artist's contracts with a major record label. In lieu of high royalties or other desirable rights, the label will promise to develop the skills and public profile of the artist. These types of deals are sometimes most helpful to the artist, but the label often takes control of the artist's management and publishing rights (dubious practices that have been compared to having a mini-monopoly with respect to the artist). Historically, such deals have been abused by both record labels and managers. Motown records made extensive use of this type of contract, and many argue that is was the sole reason for the massive success of the label in the 1960's. Berry Gordy, Motown founder, likened his approach to digging for oil and discovering a field full of gushers.(1) Later, Motown was accused by some of its artists of practising professional extortion.
To give an idea of just how controlling such arrangements can be: After departing Motown's roster in less-than-favorable circumstances, Florence Ballard was unable to refer to her hard-earned reputation as part of the Supremes in any future professional ventures. Such a condition had been one of the many clauses in her contract and her legal counsel failed to free her from said clause. Some have argued that this very element of her contract is what kept her from re-establishing herself as a professional singer. She was on public assistance when she died in 1976 in Detroit, the home of "Hitsville U.S.A.".
[edit] Artists who had signed notorious development deals
The Motown roster of the 1960's
[edit] Sources
1. "Divided Soul: The Life of Marvin Gaye" - David Ritz 1984
