For a Classic Motown Song About Money, Credit Is What He Wants Fabrizio Costantini for The New York Times Barrett Strong, a pianist and singer, was the first to record the song "Money (That's What I Want)." DETROIT - On the lawn outside Motown Records" former headquarters here, a historical marker honors the pivotal role that the song "Money (That's What I Want) " played in building the Motown empire. With its hypnotic piano riff and unabashedly materialistic refrain, "Money," recorded in 1959, was the first national success for the label that came to be known as "Hitsville U.S.A.," giving the fledgling company credibility and a vital infusion of cash. Over the years, "Money" has generated millions of dollars in publishing royalties. It was recorded by both the Beatles and the Rolling Stones, has been widely used in films and advertisements and is now featured in "Motown: The Musical" on Broadway. But the pianist and singer Barrett Strong, who first recorded "Money" and, according to records at the United States Copyright Office in Washington, was originally listed as a writer of the song, says that he has never seen a penny of those profits. Unbeknown to Mr. Strong, who also helped write many other Motown hits, his name was removed from the copyright registration for "Money" three years after the song was written, restored in 1987 when the copyright was renewed, then removed again the next year - his name literally crossed out. Documents at the copyright office show that all of these moves came at the direction of Motown executives, who dispute Mr. Strong's claim of authorship. Berry Gordy Jr., Motown's founder, declined requests for an interview, but his lawyers contend that the original registration resulted from a clerical error, and that Mr. Strong passed up numerous opportunities to assert his claim. Mr. Strong said he learned of the alterations only late in 2010 and has been struggling ever since to have his authorship officially reinstated. At stake: his ability to share in the lucrative royalties from the song's use. But his efforts have been blocked by a provision of copyright law that says he relinquished his rights by failing to act in a timely fashion to contest Motown's action. Mr. Strong's predicament illustrates a little-known oddity in the American copyright system, one that record and music publishing companies have not hesitated to exploit. The United States Copyright Office, a division of the Library of Congress, does not notify authors of changes in registrations, and until recently the only way to check on any alterations was to go to Washington and visit the archives personally. "For 50 years, I had no idea about any of this," Mr. Strong, 72, said in an interview here, in which he acknowledged his lack of business acumen. It was hidden from me. So how do they expect me to have acted to protect myself? It's crazy and unfair. The long and complicated tale of "Money" begins, in Mr. Strong's telling, with a simple but mesmerizing piano riff that came to him more than half a century ago as he was working as a session musician in a recording studio here. He was 18, a Mississippi native who had grown up in Detroit dreaming of a music career and had just been signed to a contract with Mr. Gordy, who was both his label president and his personal manager - an arrangement unthinkable today because of its inherent conflict of interest, but not unheard-of at the time. "We were doing another session, and I just happened to be sitting there playing the piano," he recalled. "I was playing "What'd I Say," by Ray Charles, and the groove spun off of that." As Mr. Strong was polishing the riff, the recording engineer, Robert Bateman, recalls becoming increasingly animated. "And when I get excited, the very first thing I do is call Berry," Mr. Bateman said at an event at the Hard Rock Cafe in 2010. " "Whoa, Berry, you've got to hear this, you've got to hear this, you've got to hear this." " "Anyway," Mr. Bateman added, "it all emanated from Barrett Strong." The guitarist on the "Money" sessions was Eugene Grew, who recalls taking musical direction from Mr. Strong. "We sat there, practicing, and Barrett said, "Do this," and, "Do that," " Mr. Grew said in an interview here. It's a real simple figure, over and over. Barrett showed me what to play and then Berry came by. Once the instrumental track was recorded, Mr. Strong said, Janie Bradford, who had written songs with Mr. Gordy for Jackie Wilson, helped on the lyrics. But Mr. Strong said he also contributed words. On Nov. 12, 1959, Motown's new song-publishing company, Jobete Music, of which Mr. Gordy was the sole owner, registered "Money (That's What I Want) " with the United States Copyright Office. That filing, bearing Ms. Bradford's signature, designated Mr. Strong as an "author of words & music," with Ms. Bradford also getting a credit for words and Mr. Gordy for words and music.