In the dazzling, often dramatic world of music, we tend to think the singer is the only one who brought a hit song to life. But beneath the surface of iconic tracks lie forgotten creators and missed royalties, making for some truly heartbreaking stories.
Recently, The Pact, a new advocacy group, penned an open letter. They called out “a growing number of artists” demanding publishing royalties without contributing to a song. While performers earn from touring and merchandise, songwriters rely solely on publishing income. “Right now, hit songwriters are driving Ubers,” one lamented.
These tales highlight the perilous and sometimes unjust path from a simple idea to a chart-topping success, revealing how performers sometimes take undeserved credit or bands lose out entirely. Let’s pull back the curtain on these glamorous yet infuriating situations where the real creative minds behind the biggest hits didn’t receive the recognition or financial rewards they deserved.
1. **”Bitter Sweet Symphony” by The Verve**: Few songs capture the melancholic grandeur of the late 90s like The Verve’s “Bitter Sweet Symphony.” Its sweeping orchestral motif and Richard Ashcroft’s vocals became an anthem, propelling the British band to global superstardom, a triumph of artistic vision that unfortunately led to complicated royalty disputes.
However, this sweet symphony turned incredibly bitter for The Verve. The iconic violin sample originated from an orchestral rendition of The Rolling Stones’ “The Last Time.” Though The Verve initially secured permission, a formidable challenge arose from Allen Klein, the Stones’ notoriously litigious former manager.
Klein asserted the band used “too much” of the sample. A devastating lawsuit followed. The court ruled The Verve would not receive a single penny in royalties for their biggest hit. Every cent flowed directly into Klein’s coffers, leaving the band empty-handed.
The injustice continued when the song was nominated for a Grammy, and Richard Ashcroft reportedly felt “burned-out” from the situation. It stands as a stark, cautionary tale: a masterpiece tragically unrewarded due to complex legal and financial entanglements.
2. **”Beat It” (Guitar Solo) by Eddie Van Halen**Michael Jackson’s “Beat It” is a pop-rock masterpiece, fusing the King of Pop’s rhythm with a raw, blistering guitar solo. That iconic moment wasn’t planned; it was the spontaneous genius of Eddie Van Halen, conjured in a mere 20 minutes.
The story behind this unlikely collaboration is intriguing. Quincy Jones, Jackson’s producer, reached out to Van Halen. He hesitated but, with bandmates away, figured, “who’s gonna know if I play on this black kid’s record?” He stepped in, not just to play, but to creatively rearrange parts, transforming the track.
Astonishingly, Van Halen did this favor completely unpaid. His only “compensation” was a casual “Here, you can it” and a six-pack promised by Jones – a promise never fulfilled. The insult compounded as he “never got credit for it on the album cover: there’s just a very big question mark behind the word guitar.”
This isn’t just generosity; it’s how monumental creative contributions to global hits can go unrecognized. Van Halen’s solo is a cornerstone of “Beat It,” yet he received no official credit and not a single penny for his genius.
3. **”All Shook Up” (Original writer: Otis Blackwell)**”All Shook Up” evokes Elvis Presley’s iconic voice, capturing the dizzying sensation of falling in love. It hit No. 1 for eight weeks, an enduring Elvis anthem. However, the true authorship lies with the immensely talented, yet overlooked, songwriter Otis Blackwell.
The song’s creation narrative is murky, a testament to the era’s convoluted practices. Conflicting stories credit a Pepsi bottle, Elvis’s dream, or actor David Hess. Hess, however, states Blackwell wrote it, and “Presley took a writing credit in order to get him to record it.”
This highlights the core issue for songwriters. Elvis’s label, Hill and Range Publishing, notoriously “demanded that if he recorded a song, he would also get writing credit on it.” This meant Blackwell, the creative genius, had to cede a portion of his publishing royalties.
It’s a classic example of “artists taking publishing” for “nothing.” Blackwell created the song, yet had to share financial rewards, losing income to the star whose fame he helped build.
4. **”Don’t Be Cruel” (Original writer: Otis Blackwell)**Another indelible Elvis hit, “Don’t Be Cruel” is a rock and roll standard, celebrated for its rhythm and lyrics. Once again, the genius behind this beloved track was the prolific Otis Blackwell.
The story behind Elvis’s credit highlights an exploitative industry practice. Freddy Bienstock, Elvis’s music publisher, revealed the truth: “If Presley liked the song, the writers would be offered a guarantee of a million records and they would surrender a third of their royalties to Elvis.”
Otis Blackwell, the sole creative architect, had to give up a staggering one-third of his publishing revenue, his only true means of income, just for The King to record his track. It was a Faustian bargain.
This practice became so normalized it spawned “Change a word, get a third.” It epitomized the “bully tactics” songwriters faced. Blackwell’s talent fueled Elvis’s career, but a significant chunk of his earnings for “Don’t Be Cruel” was siphoned away.
5. **”Heartbreak Hotel” (Original writers: Mae Boren Axton, Tommy Durden)**”Heartbreak Hotel” was Elvis Presley’s debut single, launching him into superstardom and becoming a signature track. Its somber, bluesy narrative, inspired by a suicidal man, resonated deeply, capturing groundbreaking emotional honesty.
Yet, the poignant lyrics and haunting melody didn’t spring from Elvis’s pen. Credit belongs to Mae Boren Axton and Tommy Durden. Axton, a teacher and songwriter, discovered the clipping and, with Durden, crafted the lyrics and music.
Axton and Durden presented the song to Presley, who was instantly captivated, reportedly listening “10 times in a row, memorizing it.” His performance certainly lent the song its iconic status. However, keeping with industry customs, Elvis also received writing credit.
This meant Axton and Durden, the true authors, had to share publishing royalties with a performer who didn’t contribute to composition. It’s another example of creative labor being undervalued, and how a star’s power could dictate income.
6. **”Paralyzed” (Original writer: Otis Blackwell)**1956 was a whirlwind for Elvis Presley; his debut album, “Elvis,” was key to his fame. Among its tracks was “Paralyzed,” a dynamic, blues-infused number. The brilliant mind behind “Paralyzed” was once again the incomparable Otis Blackwell.
Blackwell’s ability to churn out hits was prodigious, yet his recognition often remained in the background. For “Paralyzed,” the scenario was familiar: Blackwell penned the tune, delivering another gem perfectly suited for Elvis. Elvis, the performer, brought it to life, but the creative spark originated elsewhere.
As with many collaborations, publishing credits told a different story. Despite Blackwell being the sole writer, Elvis’s name was appended to the writing credits. This was a concession Blackwell “obliged” to, ensuring his songs reached airwaves and a superstar, generating *some* income, even if redirected.
This repeated pattern highlights the power imbalance. The actual writer had to dilute his creative ownership and financial stake, a sobering reminder that talented composers often made significant sacrifices.
7. **”Poor Boy” (Original writer: Ken Darby)**Elvis Presley’s 1956 album “Love Me Tender” featured “Poor Boy,” a track steeped in traditional folk. The actual architect of “Poor Boy” was Ken Darby, a prolific composer who had worked with artists like Bing Crosby.
Darby was a seasoned professional, skilled in crafting resonant tunes. His contribution to “Poor Boy” was pure songwriting, developing melody and lyrics. However, when the album liner notes were printed, Darby’s original authorship was diluted.
The song was credited to Elvis Presley and Darby’s wife, Vera Matson. This meant Elvis, once again, received a share of publishing royalties for a song he had little to no hand in writing. Darby’s wife’s name was often used as a pseudonym.
“Poor Boy” illustrates the pervasive practice where Elvis “got royalties from despite not doing much of the front-end work.” It highlights a system designed to funnel additional income to the star performer, often at the direct expense of the true creative minds.
8. **Unnamed Track on Kylie Minogue’s “Disco” Album (Co-writer: Fiona Bevan)**Shifting to the modern era, songwriters’ struggles persist. Even in today’s digital age, the fight for fair compensation remains a brutal reality. A stark example comes from Fiona Bevan, a talented songwriter with credits for One Direction and Lewis Capaldi.
Bevan’s candid testimony to the DCMS Select Committee, investigating music streaming economics, painted a grim picture. For co-writing a track on Kylie Minogue’s #1 album, “Disco,” she earned a paltry sum of just £100. A contribution to a chart-topping album, and the writer receives barely enough for a utility bill.
This wasn’t isolated; it was symptomatic of a systemic issue. Bevan’s powerful statement, “The most successful songwriters in the world can’t pay their rent,” resonated deeply. “Right now, hit songwriters are driving Ubers. It’s quite shameful,” she added.
While £100 isn’t literally “never a penny,” for a #1 album track, it’s an egregious underpayment that effectively feels like a monumental loss. It illustrates how the value of a songwriter’s contribution has been drastically diminished, forcing them into second jobs.
The stories of injustice and the fight for proper recognition in the music industry are far from exhausted. While some instances involve outright loss of royalties, others highlight the subtle, systemic ways songwriters are undervalued—from creative contributions going uncredited to prolonged payment delays, and even the sheer struggle to retain publishing rights against powerful figures. These additional narratives peel back the glamorous facade, revealing more compelling struggles of the often-invisible architects of our favorite anthems.
9. **”You’ll Be Gone” (Original writers: Red West, Charlie Hodge)**Among the many tracks that swelled Elvis Presley’s catalog, “You’ll Be Gone” stands out, featured on the 1965 “Girl Happy” soundtrack. This song, co-credited to Elvis, Red West, and Charlie Hodge, is yet another fascinating peek into how songwriting credits, and the accompanying royalties, were distributed in the King’s orbit.
The genesis of “You’ll Be Gone” reportedly began with Elvis’s desire to craft an updated take on Cole Porter’s classic, “Begin the Beguine.” When that particular avenue proved a dead end, West, Presley, and Hodge set about creating a new piece. However, the exact extent of Elvis’s hands-on contribution to the actual writing remains a topic of considerable debate among those familiar with his process.
Despite the ambiguity surrounding his creative input, Elvis’s name prominently appeared in the writing credits. This practice meant that Red West and Charlie Hodge, the individuals who arguably performed the lion’s share of the compositional heavy lifting, had their rightful stake in the song’s publishing income diluted. It’s a stark reminder of the power dynamics at play during that era, where a star’s name could be affixed to a song, altering the financial landscape for the true creative minds.
This particular instance, much like others we’ve explored, underscores a recurring theme: the vital contributions of talented songwriters were often eclipsed, both in public recognition and financial reward, by the immense star power of the performers. It’s a testament to the quiet sacrifices made to get a song recorded and heard by millions.
10. **”That’s Someone You Never Forget” (Original writer: Red West)**Continuing the pattern of shared credits where the star’s contribution to actual composition was minimal, we find “That’s Someone You Never Forget.” This poignant track, released on Elvis Presley’s 1962 album, “Pot Luck,” lists Elvis Presley and Red West as its writers, but the true creative heavy lifting once again belonged elsewhere.
The song’s inspiration was deeply personal for Elvis, reportedly conceived as a tribute to his late mother, Gladys Love Presley, who passed away in 1958. While the title itself may have sprung from Elvis’s reflections, the task of crafting the lyrics and melody, of shaping those raw emotions into a coherent song, largely fell to his bodyguard and occasional collaborator, Red West.
Consequently, West bore the primary creative responsibility for the song, transforming a heartfelt concept into a tangible musical piece. Yet, as was common practice, Elvis received co-writing credit. This arrangement directly impacted West’s share of publishing royalties and, by extension, his recognition as the song’s principal architect. It highlights a system that often prioritized star power over creative authorship.
These kinds of situations reveal the larger challenges songwriters face, where the prestige of having a superstar record their work can sadly overshadow their right to full creative ownership and fair payment. While West’s talent undoubtedly helped shape a song many people cherish, his individual financial contribution was significantly diminished.
11. **”I Will Always Love You” (Dolly Parton’s Stance)**While Whitney Houston’s soaring rendition of “I Will Always Love You” became an international phenomenon, a staggering testament to her vocal prowess, the song’s profound emotional core was originally penned by the incomparable Dolly Parton. Her 1974 country hit, written as a farewell to her mentor Porter Wagoner, carries a story of an artist fiercely protecting her creative legacy.
The narrative takes a fascinating turn when none other than the King of Rock and Roll, Elvis Presley, expressed interest in covering the song. For many songwriters, this would have been a dream come true, an undeniable stamp of approval from one of music’s biggest icons. However, for Dolly Parton, it presented a formidable dilemma with significant financial implications.
Parton famously declined Elvis’s offer. Why? Because accepting would have meant surrendering half of her publishing rights to him, a standard demand made by his manager, Colonel Tom Parker. In a shrewd and courageous move, Parton chose to forgo the immediate prestige of an Elvis cover to retain full control and ownership of her work, a decision that eventually paid dividends beyond measure with Houston’s cover.
Dolly Parton’s steadfastness powerfully underscores the “battles to protect publishing rights” we’ve discussed. It’s a compelling example of a songwriter, facing immense pressure, successfully safeguarding her creative and financial independence. Her story is a rare but inspiring moment of a writer prioritizing long-term ownership over immediate gains, ensuring her rightful compensation.
12. **”Pretty Hurts” by Beyonce, written by Sia**Beyoncé’s 2013 anthem “Pretty Hurts” resonated deeply with fans for its powerful message on body image and societal pressures. The song’s raw honesty and emotional depth make it a standout, but its journey to Beyoncé’s album is a whirlwind tale, revealing the often-arduous path a songwriter’s creation must travel before finding its voice.
The ballad was penned by the incredibly talented Australian singer-songwriter Sia, who initially had pop sensation Katy Perry in mind during its composition. However, as often happens in the fast-paced world of music, the song embarked on an unexpected odyssey. After Katy Perry missed Sia’s email offering her first dibs, “Pretty Hurts” found itself caught in a competitive custody battle between two other global titans: Rihanna and Beyoncé.
The story highlights a critical struggle for songwriters: securing a home for their creations and ensuring timely compensation. According to reports, Rihanna’s team “dragged their feet for eight months without paying to secure the track.” This prolonged delay underscores the financial uncertainty and frustration many songwriters face, waiting for their hard work to translate into tangible income. For eight months, a potential hit remained in limbo, unpaid for.
Eventually, Beyoncé’s team recognized the song’s massive potential and stepped in. Although “Pretty Hurts” became a huge hit for Beyoncé, Sia’s initial experience with delayed payment offers a powerful glimpse into the real-world effects of “delayed payments” and the precarious nature of a songwriter’s income, even for a song destined for global success.
13. **”Red Red Wine” by UB40, written by Neil Diamond**UB40’s reggae-infused cover of “Red Red Wine” became a global phenomenon, arguably eclipsing the recognition of its original creator. The infectious rhythm and iconic lyrics are instantly recognizable, but what might surprise many is that this seemingly laid-back reggae classic was actually penned by none other than the legendary Neil Diamond, a fact that even UB40 initially missed.
The British group famously miscredited the song’s origins upon its 1983 release. Astonishingly, because of their reggae sensibilities, they assumed “Red Red Wine” was a traditional Jamaican folk tune or a track by a lesser-known reggae artist. Terence Wilson, famously known as Astro of UB40, candidly admitted, “You could’ve knocked us out with a feather when we found out it was actually Neil Diamond.” They had only ever known a cover by Jamaican singer Tony Tribe, and even seeing the “N. Diamond” writing credit didn’t trigger recognition; they speculated it referred to a “Neville or Negus Diamond.”
This peculiar blunder, while humorous in hindsight, vividly highlights the ongoing struggle for “proper recognition” that many songwriters face. Even when royalties are correctly distributed, as they eventually were for Diamond, the public (and in this case, even the artists covering the song) can remain blissfully unaware of the true creative source. The song’s identity became detached from its author.
The episode with “Red Red Wine” serves as a compelling narrative illustrating how the fight for recognition isn’t always about financial compensation, but about the fundamental acknowledgment of one’s creative ownership. It’s a reminder that even for iconic tracks, the genius behind the pen can easily fade into the background, underscoring the broader challenges of giving credit where it’s truly due.
14. **The Pact’s Open Letter: A United Voice for Fair Pay**: Moving from individual song narratives to a broader, contemporary struggle, the formation of The Pact and their impactful open letter present a crucial, overarching theme in the ongoing fight for songwriters’ rights. This dedicated advocacy group, featuring some of pop music’s most successful hitmakers like Justin Tranter and Emily Warren, whose credits include hits for Lady Gaga and Ariana Grande, bravely emerged to address systemic injustices.
Their open letter directly called out “a growing number of artists” who were demanding publishing royalties without actually contributing to a song’s creation. The signatories argued that this unfair practice fundamentally jeopardizes the very livelihood of songwriters. Unlike performers who benefit from diverse income streams like touring, merchandise, and brand deals, songwriters rely almost exclusively on their publishing revenue, making any reduction in these earnings potentially devastating.
The Pact’s message resonated deeply, painting a stark picture of the current landscape. Quotes like “Right now, hit songwriters are driving Ubers” are not hyperbole; they are a tragic reflection of an industry where even successful composers struggle to make ends meet. The letter also shed light on the “bully tactics and threats” songwriters face from artists and executives, forcing them to concede a share of their hard-earned income.
This collective action is a direct response to a practice that has “become normalised” over time. It represents a unified stand against exploitation, a powerful illustration of the “broader struggles of songwriters” and their urgent “fight for proper recognition and fair compensation.” The Pact’s audacious demand for respect and fairness underscores the vital, yet often overlooked, role songwriters play in the entire music ecosystem.
15. **”I’m a Believer” by The Monkees, written by Neil Diamond**”I’m a Believer” is an undeniably joyful and catchy track, forever associated with The Monkees and, for a younger generation, the “Shrek” soundtrack. Its chart-topping success in 1966 cemented its place in pop culture history, but few realize that the lyrical genius behind this enduring hit was, once again, the prolific Neil Diamond.
The song’s journey illustrates the unique pressures and paths a songwriter’s creation can take. Diamond initially conceived of “I’m a Believer” with country singer Eddy Arnold in mind, envisioning a different artistic direction for his composition. However, as is often the case in the commercial music landscape, a song can be “put up for grabs,” its destiny ultimately determined by market forces and the needs of various artists.
In the hands of The Monkees, a manufactured band designed for pop success, “I’m a Believer” soared to #1 on the charts for seven weeks, becoming one of Rolling Stone’s 500 Greatest Songs of All Time. While Neil Diamond certainly benefited from the royalties, the narrative highlights a songwriter’s lack of ultimate control over who performs their work and how it’s presented to the world.
This situation, where a song travels from a writer’s initial vision to a different artist’s interpretation and massive commercial success, is a common facet of the music industry. It reflects the “broader struggles” of maintaining artistic control and ensuring a song lands with the desired performer, even when the outcome is undeniably triumphant for all involved.
16. **”I Wanna Be Your Man” by The Rolling Stones, written by The Beatles**Concluding our exploration of songwriting’s unsung battles, we turn to an intriguing chapter from the early days of two rock titans. “I Wanna Be Your Man,” an early hit for The Rolling Stones, might surprise some to learn was actually penned by the legendary songwriting duo, John Lennon and Paul McCartney of The Beatles.
The creation of this track speaks volumes about the commercial pressures and collaborative spirit that could drive the music industry in its burgeoning years. According to accounts, The Rolling Stones were in need of a song to record, and their manager turned to the already-established Lennon and McCartney for assistance. The two Beatles reportedly finished the song for the Stones “in a few minutes,” a testament to their incredible creative prolificacy.
From the perspective of a songwriter, this scenario underscores the on-demand nature of their craft at times. Lennon and McCartney, despite their own band’s burgeoning success, were essentially commissioned to quickly churn out a hit for another group. While this boosted the Stones’ early career and cemented a legendary cross-band collaboration, it also highlights how a writer’s creative output could be instantly repurposed to serve broader industry needs.
This anecdote, rather than focusing on lost royalties, illuminates the sheer expectation on talented songwriters to constantly generate material, often under tight deadlines and for various artists. It offers a glimpse into the constant grind of providing content for the musical machine, revealing a different kind of “broader struggle” where creative genius is perpetually on call, influencing the trajectory of numerous careers beyond their own.
These narratives are much more than mere footnotes in music’s rich history; they are potent reminders that every beloved melody and every impactful lyric has a source, a creator whose journey is often paved with unexpected obstacles, fights for proper credit, and the continuous battle for fair financial compensation. As we listen to our favorite tracks, let’s remember to appreciate not only the performance but also the profound, often untold, stories of the brilliant architects behind the sound.
