The American Spectator

When discussing George Harrison’s solo career, overlooked by most writers, Paul Beston included, is a sweet nugget of an album by Ringo Starr, simply titled, Ringo. This late 1973 release was touted as a virtual Beatles reunion. All four Beatles appeared on the record, though not all four were on any single song, and each Beatle wrote songs.

I’m sure it did not pass unnoticed by Lennon or McCartney that the album’s hits were the cover of “You’re Sixteen” (by Richard and Robert Sherman, perhaps best known for their work in 1960s Walt Disney musicals), and “Photograph” (Starkey/Harrison).

Scratch a little deeper and you’ll get an idea of Harrison’s philanthropy.

The real money in the music business comes from royalties which are paid to the songwriters and the song’s publishers. On Ringo, Harrison gets three songwriting credits (two of those are shared). He only claims his publishing once.

All of “Photograph“‘s publishing went to Richoroony Ltd. (Ringo’s company).

All of the publishing for “Sunshine Life for Me (Sail Away Raymond)” went to “The Material World Charitable Foundation,” a charity of Harrison’s.

The full publishing for “You and Me (Babe)” was kept by Harrisongs, Ltd., but half that songwriting credit went to Mal Evans, former Beatle roadie who worked a lot, as did Harrison and McCartney, with the group Badfinger.

Contrast that to the Lennon and McCartney contributions which kept the full songwriting and publishing money for their respective works (which, incidentally, is their right).

I also can’t forget the scene from Let It Be where Harrison (on piano!) is going through the chord progression in “Octopus’s’ Garden” with Ringo. Ringo got full credit on Abbey Road for that tune, but I wonder…