Now that’s a tricky one. It’s not as simple as I’m about to explain but you’ll get the idea. Up until Tin Drum a large part of the material was worked out in the rehearsal studios as a band however no writing credits were proposed because the songs were ‘brought in’ and as players we would create arrangements to them, in essence moulding the sound of the band by way of integration as players. Tin Drum, on the other hand, partially took shape in the studios, particularly the two songs you mentioned as well as ‘Pioneers’. It’s possible the writing credits may have been ‘awarded’ due to the fact that the songs came out of jamming as opposed to being brought in (although Canton was an instrumental) but to be honest I don’t actually recall. Either way, from my personal perspective I don’t feel I gave any less to any other Japan track, so I think by this you can work out there was quite a grey area as to what constituted as writing. Consequently, the sheer graft that went into arranging the songs was fundamentally unpaid work despite the importance it played in the bands success, so one might modestly say it was ‘undervalued’.