>>>I have also found it bizarre that the vocalist/lyricist always seems to get a credit.
After reading this statement, I have no choice but to stand firmly by my conclusion that you have a total disregard towards songwriters and the work they contribute. The vocalist doesn't always necessarily get credit because many vocalists in the pop world do not happen to write the songs they sing...many songs are written for them. i.e. Barbara Streisand, Rod Stewart, Tom Jones, etc.
Yet when you question credit going to a lyricist, who obviously has contributed to the song by writing lyrics to a melody....I can only fathom that you just do not understand or wish to understand that this is a part of the song. Take for example, Elton John and Bernie Taupin...Mr John tinkers around on his grand piano and devises some chords that he finds worthy enough to develop. Mr John then composes melody lines to go along with those chords. Mr John then turns his ideas over to Mr Taupin...perhaps with a suggestion of what a lyrical scheme could be, perhaps with no suggestion. Mr Taupin works out lyrics that would do right for the melodies that Mr John came up with. When satisfaction with their efforts is reached, the process is completed, and a song is written...a pop song is composed. They can then take the piece to any musician they choose to work with and flesh out the song they have written but there is no doubt that those two were the catalyst. They could choose not to use other musicians, Mr John can sing it and accompany his melodies and Taupins words alone with the chords that he plays on the piano. This is only achievable because a song was written. The pop song exists---chords, melodies and lyrics.
Also take for example, Donald Fagen and Walter Becker of Steely Dan. Either one will come up with music, either one will come up with lyrics, either way it is a collaboration that both contribute to. Both deserve equal credit for the contributions they have made to a song...Now, the duo will then write an arrangement and bring in many musicians to try their hands at the same song. It is not out of the ordinary when they have brought in world class drummers such as Steve Gadd, Rick Marotta, Jeff Porcaro, Bernard Purdie, etc to see which drummer could cut the best track, lay down the strongest groove, even sometimes contribute the most original solo if the song necessitates such a thing. Bare in mind, the song is written and copyrighted by now. The song was written by Fagen and Becker. Yet various drummers, bassists, keyboardists, different saxophonists, guitarists may have all been brought in just to attempt a stab on one song during the song's recording process. Becker and Fagen decide which takes were the best. What the world class session musicians may happen to come up with for their parts (usually based on their individual experience, groove or chops) have a great amount of weight in regards to the RECORDING, but the SONG was already written by the duo. Steve Gadd contributed a ground breaking drum solo on AJA (I believe it was one amazing take of some awe inspiring draw dropping improvisation) but did not receive credit because the chords, lyrics, melodies, and in that particular case, the rhythmic vibe, were already previously written by Fagen and Becker and even charted out by the two songwriters. Gadd was there for the all important RECORDING process, but not for the even more important SONGWRITING process. If the song was never written then the awe-inspiring studio musicians would have never had the opportunity to record it.
In the case of Fripp. Let's focus on the Gone to Earth disc. Fripp plays on a good number of tracks. Yet he only gets a songwriting credit for the title cut, since he was present during the actual composing process of the song and the song is based on his own chords. Not so with something like Silver Moon, because the chords, melody and lyric were already written by Sylvian and Fripp was acting as a musician aiding in the recording process of that particular tune, which existed as piece of viable music before his involvement. He and the other musicians obviously helped to make the recording of the song so good due to their involvement but they had no hand in the writing process, so should not receive a song writing credit. They received credit for being the strong musicians they are and are appreciated for that....like many solid professional session musicians are.
Yet I fear I am only typing to get a more severe case of carpal tunnel syndrome.
If one doesn't believe that a person who contributes lyrics to a song should get credit for their art, then I should not bother to debate them any longer, should I? Are either of our points of view valid? Anyone? Anyone? I fear I am starting to make enemies around these parts. Would folks prefer it if my opinions and observations were kept to myself?