May 1973, he won an Ivor Novello award for "British Songwriter of the Year." 1973 saw the release of O'Sullivan's third album, I'm a Writer, Not a Fighter, which reflected a new emphasis on rock music and funk influences. Its lead single, the electric keyboard-based "Get Down", reached number one in the UK, Belgium and Germany, no. 7 in both the US and Canada, and no. 3 in the Netherlands. Following "Alone Again (Naturally)" and "Clair", "Get Down" was O'Sullivan's third million-seller, with the RIAA gold disc award presented on 18 September 1973. O'Sullivan enjoyed nearly five years of success with MAM, a run that included seven UK top 10 singles and four UK top 10 albums; three US top 10 singles and one top 10 album; five Dutch top 10 singles and three top 10 albums; five New Zealand top 10 singles; three Canadian top 10 singles; and seven Japan top 10 singles. By 1974, his sales were decreasing. His fourth album A Stranger In My Own Back Yard, was his first to miss the top five on the UK Albums Chart, charting at no. 9. Its lead single, "A Woman's Place", generated controversy due to its lyric ("I believe / A woman's place is in the home"), seen by some as sexist. It was O'Sullivan's first single since his 1970 breakthrough to miss the top 40 of the UK Singles Chart, reaching a peak of no. 42. His November 1974 single "Christmas Song" reached no. 12 in the UK and no. 5 in Ireland. In June 1975, O'Sullivan had his last top 20 hit, "I Don't Love You But I Think I Like You". Gilbert released a fifth album with MAM in 1977, Southpaw, but it failed to chart. O'Sullivan discovered his recording contract with MAM Records greatly favoured the label's owner, Gordon Mills. A lawsuit followed, with prolonged argument over how much money his songs had earned and how much of that money he had actually received. Eventually, in May 1982, the court found in O'Sullivan's favour, describing him as a "patently honest and decent man", who had not received a just proportion of the vast income his songs had generated. They awarded him £7 million in damages (£ as of ). Although he had won, the court battle put his recording career on hold, and has said he was unable to obtain management or a major