Could you "retire" off of royalties from one hit song?

https://forums.stevehoffman.tv/thre...-his-career-heres-how-hes-invested-it.824706/

 

I only know this via secondhand gossip, but I attended a 4th of july party in LA once at the home of a friend-of-friend, nice hill neighborhood, and was told that friend of friend wrote the Imbruglia hit "Torn" w/her earlier band Ednaswap and that that song bought the house, which is the equivalent if so of "set for life" even if she later sells the house I should think.

 

It was common practice for producers and others to add their name to songs for the extra royalties. Johnny Carson added his name to the Tonight Show
theme which was written by Paul Anka. A lot of Doo-Wop & R&B artists got ripped off by this tactic as well.

 

Was Rick Danko’s co-write on This Wheel’s On Fire gold-dust for him?

 

Not retire but apparently Mark Kelly said (Marillion) if it wasn't for Kayleigh, he would of had to got a real job 25 years ago or something like that.

 

Yes, they shared everything but Krieger was the ‘pop’ talent.

 

Frank Loesser's widow claimed that his estate makes more from the Beatles covering "Til There Was You" than all preductions of The Music Man combined.

 

Are you possibly referring to Otis Blackwell and his songwriting partner, one Elvis Presley?

I believe Alan Freed's name got on later pressings of "Maybelline"

And let us all salute the master, Norman Petty

 

Royalties come in so many shapes and forms.
One of the best one's for a writer, is having a TV theme song that gets played regularly.
In Australia, the royalty rate is a lot more than having a song played on radio.
Having your song in a movie is also the way to go.....
In saying that,
I'd love to be the writer of something like Oasis' 'Wonderwall' or 'Time Of Your Life',
they still get 'hammered' here everywhere you go.

 

Elvis and several others, though I'm willing to bet that was Col. Parkers idea not so much Elvis.

 

As I've gotten older and learned more, I've come to think of Spector as not actually being all that brilliant. Those B sides are horrid and he didn't seem to do anything too great (beyond the Beatles association) once Jack Nitzsche left him. If I see his name as a credit, I disregard him actually having anything to do with the song itself.

 

Can't stand either version, but dislike the original less.

 

oops my bad

Although...

There is a great Broadway rumor that Loesser actually wrote much of "The Music Man". He is known to have been involved with the property as early as 1951, and IIRC he ended up controlling part of the rights.

 

The Million Dollar Quartet tape reveals Elvis was very much in on it, as he mentions Faron Young's reluctance to sign over song rights.

 

Songwriting credit/royalties can be split in different amounts. I have a song that my partner and I had a third collaborator on (who made a minimal contribution) and we are split 45%/45%/10%, and that's how the writing royalties are split. The publishing royalties go 50%/50% because my partner and I own the publishing.

 

I wonder how much members of LZ were paid for the theme tune to TOTP or FM for the BBC's Formula One coverage. Might explain why they eventually dropped "Whole Lotta Love" from TOTP.

 

Jeff Barry was asked about this, and replied that Spector was very much an active collaborator and a valuable contributor in the songwriting process.

Spector was not Petty (no pun intended)

 

Guys like Paul Anka, made a lot off of writing the Johnny Carson 'tonight show' theme.
Something that gets played every night.
Paul has said somewhere 'it was good to him'.

 

Alex Chilton said he did well with his half share of In the Street getting into the opening credits of That 70s Show (courtesy of music supervisor Ben Vaughn)

 

I read an interview awhile back with a songwriter (can't remember who), that wrote a hit for Elvis but was told that Elvis would be listed as co-composer.
He wasn't keen on the idea, but knew that he could still make money, so he listed his wife as c0writer instead. This way he kept a little integrity and still
made a few bucks. He bought a boat with the money and named it after her.

 

I once read somewhere that Martin Quittenton never had to work again after co-writing Maggie May and You Wear It Well with Rod Stewart.

 

the B-sides were intentionally horrid. Made it clear which was the plug side of a 45 instead of the plays getting split and the record not charting as well. Wasn't due to your theory of a lack of writing ability.

 

Martin Quittenton helped make those Rod Stewart albums great.

 

He also made bank from "Right Down The Line" and co-writing "Stuck In The Middle With You".