I believe that George Martin gets a producers royalty for all his work with the Beatles. I also believe that George Harrison and Ringo get a couple points on all Lennon/McCartney Northern Songs for their contributions.
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Quoted from adamzero
I believe that George Martin gets a producers royalty for all his work with the Beatles. I also believe that George Harrison and Ringo get a couple points on all Lennon/McCartney Northern Songs for their contributions.
The same old story ... Lennon/McCartney team is always fair to have the credits (not in my opinion) but when someone else (me sometimes) added that George, Ringo, Neil, Mal, Pete (Shotton), Sir George, Donovan, Yoko and many others collaborated too with bits here and there -at least as much as Paul or John, if not more, in lots of songs but without any credits- ... We discuss if John or Paul wrote/composed this or that but don't pay attention to others' help ... let's open our minds, please.
Sir George was on Yesterday, wasn't he? He should have got more credits for sure ... but he's not the only one.
Quoted from raxo
... So I seized the opportunity to talk about other people's help, during their career, that were hidden by the famous credits ... and Yesterday is a very good example to do it ...
"McCartney wrote Sgt Pepper 'with a little help from his roadie friend'
A ROAD manager for the Beatles who was shot dead by police in Los Angeles left behind diaries in which he claimed to have co-written some of the group 's songs, writes Maurice Chittenden.
Mal Evans, who died 29 years ago after allegedly brandishing a rifle during a domestic row, said he helped Sir Paul McCartney write the title track to Sgt Pepper's Lonely Hearts Club Band.
Evans also claimed he helped to compose Fixing a Hole - or Where the Rain Comes In, as he called it - as McCartney sat at a piano in the Beatle's home. He hoped to get royalties but instead had to make do with £38-a-week pay.
Extracts from the diaries, which span the life of the group's fame, are published for the first time today in The Sunday Times Magazine.
Evans was a phone engineer in Liverpool in the early 1960s when he first saw the Beatles perform at the Cavern Club. His 6ft 3in frame and gentle manner helped him secure a part-time job as a bouncer and when he became friends with the group their manager, Brian Epstein, offered him a job. He went on to play the Hammond organ on You Won't See Me on the Rubber Soul album in 1965, bass harmonium on Being for the Benefit of Mr Kite! on the Sgt Pepper album and a piano on A Day In the Life on the same album.
A diary entry in February 1967 says: "Sergeant Pepper sounds good. Paul tells me that I will get royalties on the song - great news, now perhaps a new home."
Neither McCartney nor the band's Apple label would comment. However, Keith Badman, author of The Beatles Off the Record, said he had obtained a tape of Evans talking months before his death in which he repeated the claims. "Mal said he was asked if he minded if they did not put his name on the song because Lennon-McCartney was a really hot item," said Badman."
[...]
"January 27, 1967: Sgt Pepper
Started writing song with Paul upstairs in his room, he on piano. What can one say about today - ah yes! Four Tops concert at Albert Hall. Beatles get screams they get the clap. Off to Bag after gig. Did a lot more of "where the rain comes in". Hope people like it. Started Sergeant Pepper.
February 1, 1967
"Sergeant Pepper" sounds good. Paul tells me that I will get royalties on the song - great news, now perhaps a new home."
... If I were Paul ... (*taking some time dreaming ... waking up again* ) ... I couldn't sleep too well promising Mal some credits (if Mal's words are true, of course) ...
... but I guess it depends of the person ... need I to say I'm not Paul? ... as I thought!
I don't understand the stinginess in Paul and John with the writing credits. I guess part of its ego, part of its money (even if you do throw away a point or two on old Mal or at least let him keep working for 38 pounds a week), and part of its mystique (wow, those geniuses wrote every single word!). Dylan "borrowed" lines from Bobby Neuwirth (like "when you're lost in the rain in Juarez and it's Eastertime too"); the Stones nicked the Jumping Jack Flash riff from Bill Wyman (not to mention the possibility of lyrics/songs from Gram Parsons) and Marianne Faithfull only got writing credit for Sister Morphine after some wrangling.
Ultimately it must have something to do with insecurity. These guys can't admit a collaborator. Allen Ginsberg said something to that effect (Lennon and Dylan's insecurity) in recounting the much-vaunted Beatles-Dylan meeting. If I remember correctly, Ginsberg said he was amazed at how insecure the two camps were--despite having the world at their feet. Maybe it had something to do with achieving success at such a young age. Who knows . . . .
Unfortunately, such lack of artistic generosity belittles them.
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It's a shame when a musician feels that in a room with another musician he has to keep his idea's to himself. To me, I feel it ruins many a potentially great encounter.....think of all the great records in the world that were not released due to 'intellectual property' issues. Agents, contract stickiness and power tripped d*cks!..... Vultures!!!!!
I think that's the problem with the Beatles solo albums from the 70s. Session guys are only going to give you so much unless you give them writer credit. Bowie was smart to give Carlos Alomar credits on "Fame" etc.
The Beatles was a creative unit--in which everybody, including Ringo, Mal, Neil, etc., would throw in their two cents and get taken seriously. Session players don't do that. Hired gun producers may be able to, but look at what Jack Douglass did to some decent Lennon songs. Soupy, synthy Doublemint Fantasy.
Many fans love the equally-partnered Lennon-McCartney myth. I've suspected for the longest time that Paul was the greater collaborater and composer. I think he helped John more than John helped him in song creation and dynamics.
I think the Beatles had a lot of help and the best at that. They had all the resources and expert advice at their feet. They were such a hot coveted commodity that everyone wanted them to be the Best and to sell the Best.
I think Lennon himself once said that a lot of the Beatles story was BS. I don't remember the exact quote.
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We discuss if John or Paul wrote/composed this or that but don't pay attention to others' help ... let's open our minds, please.
) ... I couldn't sleep too well promising Mal some credits (if Mal's words are true, of course) ... 
DM's Beatles forums › Solo forums › Fifth Beatles and Merseybeat › Yesterday co-written by George Martin?