By GREG JOYCE -- Canadian Press

VANCOUVER -- The man suing singer Sarah McLachlan for credit on her first album played a far more minor role than he maintains, the co-owner of her record company said Monday.

"I knew he wrote music sometimes, but I didn't think of him as a songwriter," said Mark Jowett, of Nettwerk Productions.

"I thought that by bringing Darryl (Neudorf) out (from Toronto) he could work with Sarah and facilitate the recording of her songs."

Jowett made the comments while he was questioned by Jennifer Conkie, the lawyer for McLachlan and Nettwerk.

The civil trial in B.C. Supreme Court resumed after being adjourned in early December. It's expected to take more than a week before closing arguments.

Neudorf, 34, a Vancouver producer and former drummer with the band 54-40, is suing McLachlan and Nettwerk for credit and financial compensation for his work on McLachlan's 1988 debut album Touch, which has sold more than 625,000 copies.

He claims writing credits on four songs -- Steaming, Vox, Sad Clown and Strange World -- and credit as co-producer on the CD that launched the singer to her current status as one of the world's top female vocalists.

Neudorf was credited with "re-production co-ordination and production assistance" on the liner notes for Touch, but someone else was named producer.

McLachlan has testified Neudorf offered many ideas, but she used almost none of them.

Besides Jowett, the defence has three witnesses left to call, including the other Nettwerk co-owner, Terry McBride.

Jowett was vague on what, specifically, Neudorf's role was with McLachlan.

His testimony made it clear, however, that Neudorf was involved in pre-production aspects of Touch.

Jowett said he had known Neudorf since 1984, enjoyed his company and often played music with him.

"Darryl was my best friend until about 1992," said Jowett.

He said their work agreement for Touch paid for Neudorf's flight to Vancouver and accommodation. Neudorf also earned $100 a week.

Jowett himself only made a total of $3,000 from Nettwerk that year, he testified.

The budget for the album began at $20,000 and grew to about $25,000, said Jowett, whose testimony seemed to portray Neudorf as little more than a glorified babysitter.

"I thought he'd be a good presence for Sarah," said Jowett, 38. "I thought he'd be encouraging and inspirational."

"Did you hire Darryl Neudorf as a songwriter?" asked Conkie.

"No, if he had written songs that would be fine, but I didn't expect that from Darryl," said Jowett.

Neudorf never discussed his compensation, nor did he say he was entitled.