was the biggest song thief in the history of blues. Stories abound of him offering to use his clout to get people a session to record their original material with Chess (or Cobra/Abco, who he also worked for briefly in the '50s), with one of two outcomes: the resulting record was released, but Dixon's name appeared on the record as composer, or else the session was never released, but the songs later turned up on Howlin' Wolf, Muddy, or whoever's record, with Dixon's name listed as composer. This was the standard operating procedure, and seemed to be accepted as the price one had to pay in order to get hooked up with the prestigious Chess label. Composer royalties were not looked at as a big deal then, >