Ultimately, Robey’s successful legacy as a businessman is often overshadowed by a reputation for violence and unfair treatment of his artists. He frequently copyrighted songs he bought from other writers under his own name or the pseudonym Deadric Malone. By the time he sold Duke-Peacock, he had amassed more than 2,500 writing credits for songs that, most people agree, he had no part in creating. While some artists say they were victims of Robey’s greed, others say they got what they wanted at the time—namely, quick cash in hand. Claims that Robey backed up his demands by brandishing a .45 are legendary, as are the rumors that he was well-connected with local mobsters.

The truth about Don Robey and his business practices is likely to remain vague. What is clear, however, is that Robey established a highly successful musical empire, no small achievement for a black man in the South at the height of segregation. For many of the 50s biggest blues and R&B artists, 2809 Erastus Street in Houston’s Fifth Ward was hallowed ground, akin to the Chess brothers’ operation at 2120 South Michigan Avenue in Chicago and New Orleans's J&M Studios at the corner of Rampart and Dumaine.

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