In 1971 when I brought my first major recording contract home to my attorney father, in my book “Sex, No Drugs & Rock’N’Roll: Memoirs Of A Music Junkie,” I recounted, “As my father read the recording contract, he just kept shaking his head. To him it bordered on legalized slavery. We needed a consulting opinion.” So, we visited a major entertainment lawyer at the time who, “made the distinction between legal and practical in the high-stakes music business, with one-sided contracts that reflected the risk. On the other hand, once successful, everything was renegotiable.”