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"Sixty Minute Man"
Song by The Dominoes
B-side"I Can't Escape From You"
ReleasedMay 1951
RecordedDecember 30, 1950
Genre
Length2:31
LabelFederal Records
SongwritersBilly Ward, Rose Marks

"Sixty Minute Man" is an R&B record released on Federal Records in 1951 by the Dominoes.[2] It was written by Billy Ward and Rose Marks and was one of the first R&B hit records to cross over to become a hit on the pop chart. It is regarded as one of the most important of the recordings that helped generate and shape rock and roll.[3]

Background

[edit]

The Dominoes were a black vocal group consisting of Clyde McPhatter (1932–1972), who later left the group to form the Drifters;[4] Bill Brown (1926-1956);[5] Charlie White (1930-2005);[6][7] and Joe Lamont (1920-1991),[7] led by their pianist, manager and songwriter, Billy Ward (1921–2002). Ward was a black, classically trained vocal coach who had formed a business partnership with a white New York talent agent, Rose Marks.

The pair decided to put together a smooth vocal group to rival The Ink Spots, the Orioles, and similar groups who were beginning to win acceptance with white audiences. In 1950, the Dominoes were signed to Federal Records and held a series of recording sessions at the National Studios in New York in November and December of that year.

Their initial release, "Do Something For Me", was the first record on which McPhatter sang lead. The song was musically a gospel song with gospel-style melismas but was lyrically secular.[8] A success, the song entered the R&B chart at the beginning of February 1951. Less successful was its follow-up, the pop standard "Harbor Lights", recorded on December 30, 1950.

The record company then turned to the other sharply contrasting, straight R&B song which the group had recorded on the same day, "Sixty Minute Man", written by Ward and Marks. It was issued in May 1951 (on Federal 12022), and by the end of the month had reached number one on the R&B chart, a position it held for an almost unprecedented 14 weeks. The single also made it to number 17 on the pop singles chart and was voted "Song of the year" for 1951.[9]

The recording features René Hall on guitar, and used Bill Brown's bass voice, rather than McPhatter's tenor, as the lead. It features the singer's boasts of his sexual prowess,[4] of being able to satisfy his girls with fifteen minutes each of kissing, teasing, and squeezing, before his climactic fifteen minutes of "blowing [his] top".

The chorus was specific:

There'll be fifteen minutes of kissin'
Then you'll holler "Please don't stop" (Don't stop!)
There'll be fifteen minutes of teasin'
Fifteen minutes of squeezin'
And fifteen minutes of blowin' my top[2]

Lyrics of this type already had a long history. The reference to "Dan" (alternatively, "Jim Dandy") dates back at least to minstrel shows in the nineteenth century, and double-entendre had been used in blues lyrics for decades before the song was written. A common reference was to "Dan, the Back Door Man"—the lover of a married woman who would leave her house by the back door—as in a song of that title recorded by Georgia White in 1937.[10] Among the many precedents, but with a different perspective, is "One Hour Mama" by Ida Cox.[11] Consequently, "Sixty Minute Man" is also listed as an example of a dirty blues song.[4][12]

"Sixty Minute Man" was banned by many radio stations and was seen as a novelty record at the time. However, in hindsight it was an important record in several respects: it crossed the boundaries between gospel singing and blues, its lyrics pushed the limits of what was deemed acceptable, and it appealed to many white as well as black listeners, peaking at number 17 on the pop chart. Cover versions were made by several white artists including Hardrock Gunter. Bill Haley & His Comets sang the song in the mid-1950s during their live shows. In later years, the Dominoes' record became a contender for the title of "the first rock and roll record".[3]

One source summarized the song's appeal: it "contains "rebelliousness, unsubtle sexuality, and a steady rhythm. It arguably coined the very name of this new type of music: rock and roll". Its success on the pop chart indicated that R&B crossover was certainly possible. The recording "opened the door for other sexually forthright records, planting the seed for Etta James' "Roll with Me Henry" and other future hits".[13] On the other hand, The Drifters' explicit "Honey Love" and "Such a Night" and The Midnighters' "Sexy Ways" were banned in 1954.[14]

The Dominoes became one of the more popular vocal groups of the 1950s. However, Bill Brown, lead singer of "Sixty Minute Man", left in 1952 to form The Checkers. In 1954, Brown and The Checkers cut a follow-up to "Sixty Minute Man" titled "Don't Stop Dan,"[15] in which the original song's Lovin' Dan seems to meet his match. Clyde McPhatter was replaced by Jackie Wilson in 1953, and went on to form The Drifters, before embarking on a solo career in 1955.

In 1955 with a new lineup, the Dominoes recorded their own answer song "Can't Do Sixty No More" with the same melody (the flip side "If I Never Get to Heaven"), which included the line "Please excuse my blown-out fuse, because I can't do sixty no more."[16] Coincidentally, Prentice Moreland recorded with the group in this lineup as well as with The Du-Droppers who had recorded an earlier version of "Can't Do Sixty No More" in 1952.[17] Though they share the same title, the earlier version was written by The Du Droppers' lead tenor, J. C. Ginyard.

Legacy

[edit]

Ultimately, "Sixty Minute Man" remained a novelty song and did not contribute significantly to the merging of pop music and R&B, more in the tradition of "Open the Door, Richard" in which black performers winked and rolled their eyes, rather than the soulful renditions that would follow.[3] Although McPhatter's tenor singing and falsetto whoops were in the background on this recording, the following year, McPhatter was the lead singer in another song by The Dominoes, "Have Mercy Baby", a hit R&B song which had a stronger gospel influence.[4] It was considered the definitive fast "rhythm and gospel record"[8] and was number one on the R&B Chart for 10 weeks.

The disc jockey Alan Freed was probably the first to use the phrase rock and roll to describe a style of music; he introduced the phrase on mainstream radio in the early 1950s. Several sources suggest that he discovered the term (a euphemism for sexual intercourse in the black community) on the record "Sixty Minute Man".[18][19] The lyrics include the line, "I rock 'em, roll 'em all night long".[20] Freed did not acknowledge that source (or the original meaning of the expression) in interviews.[21]

Other recordings

[edit]

In 1951, "Sixty Minute Man" was recorded as a duet by Hardrock Gunter and Roberta Lee,[22] and also by the York Brothers.[23] The Lee/Gunter recording is cited as an early example of rockabilly. Jerry Lee Lewis recorded the song in 1957 and in 1973. Dick Curless, a country singer from Maine, recorded an arrangement (titled "Lovin' Dan - 60 Minute Man") on 1966's The Soul of Dick Curless, released on Tower Records, and on 1973's Live at the Wheeling Truck Driver's Jamboree. A version was recorded in the early 1970s by the Australian band Daddy Cool. Clarence Carter featured the song on his 1973 LP Sixty Minutes With Clarence Carter. The Trammps released a version of the song in 1972. James Booker recorded the song in 1976.[24] It was recorded in 1977 by the a cappella group the Persuasions on their record Chirpin'. An instrumental version was recorded as the title song to Charles Tyler's solo saxophone album in 1979. Huey Lewis frequently covered the song in concert. The country group, Restless Heart, performed the song on their "Fast Movin' Train" tour in the late 1980s. Rockapella also recorded a cover of the song, featuring Barry Carl as the lead vocalist.

See also

[edit]

References

[edit]

Bibliography

[edit]
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Sixty Minute Man

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"Sixty Minute Man" is a rhythm and blues song written by Billy Ward and Rose Marks, recorded by Billy Ward and His Dominoes with lead vocals by Bill Brown in late 1950 and released as a single by Federal Records in May 1951.[1][2][3] The track's suggestive lyrics, boasting about romantic endurance, combined with its driving rhythm and doo-wop harmonies, made it a groundbreaking crossover hit, peaking at number one on the Billboard R&B chart for 14 non-consecutive weeks and reaching number 17 on the pop chart.[1][2][3] The song emerged from the vibrant New York R&B scene, where pianist and arranger Billy Ward formed the Dominoes in 1950 with vocalist Bill Brown, Clyde McPhatter on tenor, and others to blend gospel influences with secular themes.[2][3] Recorded at Federal's studios under the King Records label, it captured the group's energetic style that drew from blues and jump blues traditions, helping to bridge R&B toward the emerging rock and roll genre.[1][2] Its explicit content led to radio bans in some areas, yet this controversy amplified its popularity, selling over 1.5 million copies and influencing the sexual candor in later rock lyrics.[2][3][4][5] Widely regarded as one of the first rock and roll records, "Sixty Minute Man" helped popularize the term "rock and roll" in its lyrics and inspired later artists including Elvis Presley.[1][2][3] The song's legacy includes notable covers, such as Clarence Carter's 1973 version that reached number 65 on the Hot 100, and its inclusion in the 1988 film Bull Durham soundtrack, renewing interest in doo-wop origins.[1] It also spawned a 1955 sequel by the Dominoes, "Can't Do Sixty No More," and influenced tracks like Etta James' "Roll with Me, Henry."[2] Through its chart success and stylistic innovations, the song solidified the Dominoes' place in music history as pioneers of the post-war R&B-to-rock transition; it was inducted into the Grammy Hall of Fame in 1999.[3][6]

Origins and Recording

The Dominoes Formation

The Dominoes were formed in 1950 in New York City by Billy Ward, a pianist, arranger, and vocal coach who had studied at the Juilliard School of Music following his military service during World War II.[7] Ward, drawing from his background in classical music and vocal training, assembled the group from members of a short-lived gospel quartet he had previously organized called the Ques, incorporating talented singers he mentored to create a polished vocal ensemble.[5] The initial lineup featured Clyde McPhatter as lead tenor, Charlie White on second tenor, Joe Lamont as baritone, Bill Brown on bass, and Billy Ward handling piano accompaniment along with baritone vocals.[7] This configuration emphasized tight harmonies and dynamic leads, reflecting Ward's rigorous training methods influenced by his Juilliard education and experience coaching church choirs.[5] From the outset, the Dominoes focused on gospel-influenced rhythm and blues, adapting the emotive, call-and-response styles of spiritual music to secular arrangements under Ward's direction.[5] Ward envisioned a sound that merged the rich, uplifting harmonies of gospel with the rhythmic drive of R&B, aiming to appeal to urban audiences while maintaining professional precision in performance.[8] In late 1950, the group signed with Federal Records, a subsidiary of King Records based in Cincinnati, which provided a platform for their early recordings and helped establish them in the burgeoning R&B scene.[5] This foundation positioned the Dominoes for a pivotal shift toward more prominent secular material, including their breakthrough hit "Sixty Minute Man."[7]

Songwriting and Studio Session

"Sixty Minute Man" was written by Billy Ward, the pianist and arranger for the Dominoes, in collaboration with Rose Marks, his business partner and co-writer.[1][5] The song was composed in late 1950, drawing from Ward's background in creating energetic R&B material with suggestive themes, reflecting the evolving trends in rhythm and blues during that period.[8] The track was recorded on December 30, 1950, at National Studios in New York City.[4][9] The session featured a straightforward arrangement centered on piano, bass, drums, and layered vocal harmonies, with Ward handling the piano duties.[5] Lead vocals were delivered by the group's bass singer Bill Brown, complemented by Clyde McPhatter's tenor harmonies and the ensemble's call-and-response interplay, which added to the song's dynamic energy.[8][4] The recording, supervised by Federal Records producer Ralph Bass, clocked in at a runtime of 2:31, capturing the group's fresh vocal style shortly after their formation.[10]

Lyrics and Musical Style

Thematic Content and Double Entendre

The lyrics of "Sixty Minute Man," recorded by The Dominoes in 1951, center on a male narrator's boastful claims of sexual endurance, framing the encounter as a full hour-long performance divided into four 15-minute segments dedicated to kissing, squeezing, teasing, and ultimate satisfaction.[11] This structure builds a narrative of prolonged intimacy, with the protagonist, self-styled as "Lovin' Dan," asserting his ability to "rock 'em, roll 'em all night long" in the chorus, where "rock" and "roll" serve as slang for rhythmic sexual thrusting.[12] Key verses elaborate on the progression, such as "There'll be some kissin' and a-squeezin' / Till you get me rarin' to go / Then I go in and out with a whoop-de-whoop," employing playful onomatopoeia and euphemisms to describe foreplay and penetration while maintaining a lighthearted, exaggerated tone.[12] The song's double entendres draw directly from the "dirty blues" tradition of the 1920s and 1930s, where African American blues artists used veiled sexual references to convey explicit themes without overt obscenity, thereby circumventing censorship in recordings and performances aimed at adult audiences. This approach allowed "Sixty Minute Man" to appeal to listeners through innuendo—phrases like "fifteen minutes of kissin' / Then you know you know what follows"—evoking satisfaction without spelling out acts, a tactic common in earlier dirty blues tracks by performers such as Lucille Bogan or Memphis Minnie.[11] The result is a blend of humor and bravado that celebrates male virility while inviting shared understanding among those attuned to the subtext.[13] Delivered from a confident male perspective, the lead vocal by bass singer Bill Brown adds a deep, resonant authority to the boasts, with his responses—such as affirmative "oohs" and echoes—providing humorous punctuation that underscores the song's cheeky camaraderie.[7] Brown's gravelly delivery contrasts with the group's smoother harmonies, amplifying the comedic exaggeration of the narrator's prowess, as in the challenge: "If you don't believe I'm all that I say / Come up and take my hand / When I let you go you'll cry 'Oh yes' / 'He's a sixty-minute man.'"[12] This interactive call-and-response element enhances the playful innuendo, making the track a staple of early R&B's flirtatious edge. The upbeat tempo further heightens this tone, turning the lyrical seduction into an energetic, danceable romp.

R&B and Proto-Rock Elements

"Sixty Minute Man" exemplifies rhythm and blues conventions through its upbeat 4/4 rhythm, delivered at approximately 131 beats per minute, which generates a propulsive momentum driven by energetic piano riffs courtesy of Billy Ward and a steady walking bass line.[5] This structure draws directly from jump blues traditions, evident in the song's lively shuffle feel and rhythmic emphasis, but elevates the intensity to create a more aggressive, dance-oriented pulse that distinguishes it within the genre.[14][15] The arrangement relies on simple instrumentation—primarily piano, guitar handled by Rene Hall, bass, and drums—forgoing the amplified guitar distortion of later rock while emphasizing a tight, bass-heavy groove that underscores the track's infectious energy.[16] This minimalist setup, recorded on December 30, 1950, prioritizes rhythmic interplay over complexity, allowing the beat to dominate and evoke the raw vitality of proto-rock without overt rock instrumentation.[5][17] Vocally, the Dominoes deliver layered doo-wop harmonies, with bass singer Bill Brown on lead and contributions from tenors Clyde McPhatter and Charlie White alongside baritone William Joseph Lamont, blending smooth group backing with McPhatter's gospel-derived falsetto for a soaring, emotive contrast that infuses the performance with proto-rock dynamism.[5][18] McPhatter's high-register flourishes, reaching notes like F♯5, add a passionate intensity rooted in his gospel background, heightening the track's vocal drive.[19] The song's phrasing, including the line "rock 'em, roll 'em," prefigures rock and roll terminology, later popularized by DJ Alan Freed in his broadcasts.[20][21] Overall, the interplay of this driving rhythm, sparse yet potent instrumentation, and harmonized vocals—marked by sexual energy in its exuberant delivery—establishes "Sixty Minute Man" as a crucial transitional work from R&B to rock and roll.[2] The lyrics' innuendo enhances the style's bold, rhythmic vigor without overshadowing the musical foundation.[5]

Release and Reception

Commercial Performance

"Sixty Minute Man" was released in May 1951 by Federal Records as catalog number 12022, with "I Can't Escape From You" serving as the B-side.[22] The single quickly achieved commercial success, topping Billboard's Rhythm & Blues chart for 14 non-consecutive weeks starting June 30, 1951, while also crossing over to peak at number 17 on the pop chart.[23] It was the best-selling R&B single of 1951. The record's sales exceeded one million copies.[24] Billboard readers recognized its dominance by voting it "Song of the Year" for 1951.[25] As a subsidiary of King Records, Federal benefited from the parent label's established distribution network, which amplified the single's reach through targeted promotion by disc jockeys in the Northeast, including strong airplay in areas like Harlem.[26]

Radio Play and Controversy

Upon its release in 1951, "Sixty Minute Man" by the Dominoes encountered significant resistance on mainstream radio due to its explicit double entendres, leading many stations to ban the track outright amid fears of indecency complaints in the conservative post-World War II era. Broadcasters navigated strict Federal Communications Commission regulations on obscenity, which emphasized avoiding content that could offend public morals, resulting in limited exposure on white-oriented pop stations.[27] Despite these restrictions, the song thrived among rhythm and blues disc jockeys and in informal venues like juke joints, where its bold energy resonated with Black audiences seeking escapist entertainment.[28] The ballad-style B-side, "I Can't Escape From You," occasionally served to temper programming when stations risked airing the A-side, providing a more conventional contrast to mitigate potential backlash.[5] Despite radio barriers, the single's popularity propelled it to the top of the R&B charts.[29]

Legacy and Cultural Impact

Influence on Rock and Roll

"Sixty Minute Man," released in 1951 by Billy Ward and the Dominoes, is widely credited as one of the earliest rock and roll records for its groundbreaking crossover from rhythm and blues (R&B) to pop audiences. This crossover highlighted the song's heavy, driving beat and suggestive lyrics, which introduced white radio listeners to raw R&B energy and foreshadowed rock and roll's disruptive appeal.[30][31] The track's explicit use of the phrase "I rock 'em, roll 'em all night long" played a key role in popularizing "rock and roll" terminology within the emerging genre. The phrase, drawn from euphemistic expressions in blues traditions, is often credited with inspiring disc jockey Alan Freed, who helped mainstream the music through his Moondog radio show and concerts, to adopt it as the name for the style.[32][33] This linguistic contribution, combined with the song's energetic rhythm and call-and-response vocal interplay, influenced early rock pioneers by exemplifying the uptempo, sexually charged dynamics that defined the genre.[2] By featuring a compact vocal group backed by a small ensemble rather than the expansive orchestras of big band swing, "Sixty Minute Man" exemplified a pivotal shift toward intimate, rhythm-driven arrangements that paved the way for 1950s rock hits. Its blend of blues phrasing, gospel harmonies, and boogie-woogie piano underscored this evolution, prioritizing propulsion and immediacy over polished sophistication.[30] The song's foundational status is affirmed in authoritative rock histories, including the Rock and Roll Hall of Fame's 2004 list of 500 Songs That Shaped Rock and Roll, where it is recognized for bridging R&B traditions with the rhythmic innovations that birthed the genre. It was inducted into the Grammy Hall of Fame in 2015.[34][35]

Media Appearances and Enduring Popularity

The song "Sixty Minute Man" by The Dominoes has maintained a notable presence in film soundtracks, beginning with its inclusion in the 1988 baseball comedy Bull Durham, where it underscores the film's romantic and flirtatious subplots through its playful, suggestive lyrics.[36][1] In the video game Fallout 4 (2015), the track appears on the in-game radio station Diamond City Radio, introducing the 1950s R&B classic to a younger generation of gamers immersed in the post-apocalyptic setting.[37] Its enduring popularity persists through performances in doo-wop revival events and as a staple novelty hit on 1950s nostalgia playlists, with regular rotation on oldies radio stations that celebrate early R&B and rock precursors.[38] This sustained appeal stems partly from the song's foundational role in bridging R&B to rock and roll, keeping it relevant in cultural retrospectives.

Cover Versions and Adaptations

Early Covers

Following the success of the Dominoes' original 1951 recording, which topped the R&B charts for 14 weeks and crossed over to number 17 on the pop charts, several early covers emerged that adapted the song for different audiences.[39] One of the earliest adaptations was the 1951 duet by country singer Hardrock Gunter and vocalist Roberta Lee, released on Decca Records (catalog number 46363). This version infused the track with a country-tinged style, featuring Gunter's hillbilly drawl and acoustic elements that appealed to rural listeners while retaining the song's rhythmic drive. As one of the first country recordings to cross over to R&B audiences, it highlighted the emerging blurring of genre lines in postwar American music.[40][41] In 1957, rockabilly pioneer Jerry Lee Lewis recorded a high-energy rendition at Sun Studios, emphasizing his signature piano pounding and an accelerated tempo that amplified the song's proto-rock energy. Although the take remained unreleased during Lewis's initial rise to fame, it exemplified how the track influenced the raw, uptempo sound of mid-1950s rockabilly, bridging R&B roots with white Southern music traditions. During the 1960s, doo-wop groups continued to reinterpret the song, often staying faithful to the original's vocal harmonies and call-and-response structure. A notable example is the 1960 cover by the Untouchables, a Philadelphia-based vocal ensemble, released on Madison Records (catalog number 139), which peaked at number 104 on the Billboard Hot 100 and preserved the harmonious, street-corner style amid the era's shifting pop landscape. These adaptations by doo-wop acts helped maintain the song's momentum in R&B circles, fostering crossover appeal just as rock and roll began to dominate mainstream airwaves.[42][1]

Later Interpretations and Samples

In the 1970s, "Sixty Minute Man" saw reinterpretations across genres, with Rufus Thomas delivering a soulful, upbeat cover in 1970 that emphasized funky rhythms and call-and-response vocals, transforming the original's doo-wop energy into a Stax Records-style groove. Similarly, Australian rock band Daddy Cool recorded a high-energy version in 1972, infusing it with garage rock flair and youthful exuberance that aligned with their bubblegum rock aesthetic.[43] Jerry Lee Lewis's 1973 rendition brought a raw, piano-driven rock 'n' roll intensity, amplifying the song's boastful swagger through his signature pounding style on the album The Session. Clarence Carter's soulful take that same year, featured on his LP Sixty Minutes with Clarence Carter, highlighted smooth, emotive delivery with gospel-inflected phrasing, peaking at #65 on the Billboard Hot 100.[1] The Trammps adapted it into a disco track in 1975 for their album The Legendary Zing Album, layering pulsating basslines and orchestral swells to suit the era's dance floors, though it only reached #108 on the charts.[44] By the late 1970s and into the 1980s, covers leaned toward novelty and vocal harmony styles. James Booker's 1976 live medley incorporated New Orleans piano boogie-woogie elements, blending it seamlessly with other R&B standards for an improvisational jazz feel.[43] Ray Stevens included it in a 1977 medley on his novelty album, treating the lyrics with humorous exaggeration typical of his comedic approach.[43] A cappella groups proliferated in the 1980s and 1990s, reinterpreting the song as intricate vocal arrangements; for instance, Rockapella's 1992 live version showcased tight harmonies and beatboxing, evoking modern doo-wop revival.[43] Dana Gillespie's 1984 blues-rock cover added gritty guitar riffs and a feminist twist to the narrative, while Rio Nido's 1985 jug band-style rendition infused it with vaudeville whimsy using washboard and kazoo.[43] The song's hook has been sampled sparingly but impactfully in hip-hop, primarily drawing from Rufus Thomas's 1970 version. Eazy-E featuring MC Ren's 1988 track "Nobody Move" from Eazy-Duz-It directly samples the vocal refrain, repurposing the sexual bravado into a gritty, Dr. Dre-produced gangsta rap narrative about intrusion and dominance.[45] Prince Rakeem (RZA)'s 1991 "Deadly Venoms (Vocals Up)" from Ooh I Love It (Love Break) interpolates the lyrics over a Wu-Tang precursor beat, using the sample to underscore themes of lyrical prowess in early '90s underground rap.[46] Dr. Dre's 1990 production on Eazy-E's "Eazy Street (Dopeman '90)" interpolates the chorus, embedding it in a West Coast funk-rap framework that highlights the original's rhythmic endurance.[47] These uses cement the track's legacy as a foundational boast in hip-hop sampling traditions.

References

  1. Sixty Minute Man by The Dominoes - Songfacts
  2. "Sixty Minute Man" - He'll Rock You and Roll You - CultureSonar
  3. Soul Serenade: Billy Ward And His Dominoes, “Sixty Minute Man ...
  4. Billy Ward & The Dominoes - The Vocal Group Hall of Fame
  5. Marv Goldberg's R&B Notebooks - The Dominoes
  6. The Rocking, Rollicking R&B Of Billy Ward And His Dominoes - NPR
  7. DOMINOES - TIMS
  8. The Dominoes - Sixty Minute Man - YouTube
  9. king records - part eight - Vocal Group Harmony
  10. [PDF] Music 262: Rock Music, History and Social Analysis, R&B Records ...
  11. Lyrics for Sixty Minute Man by The Dominoes - Songfacts
  12. The Rocking, Rollicking R&B Of Billy Ward And His Dominoes ...
  13. Dominoes W/ Billy Ward- Sixty Minute Man - Bluebeat Music
  14. https://history-of-rock.com/early_vocal_groups.htm
  15. Sixty-Minute Man / I Can't Escape From You by The Dominoes
  16. Federal Records - Part One - Vocal Group Harmony
  17. Early Rhythm and Blues Vocal Groups - History Of Rock
  18. Clyde McPhatter - The Range Planet
  19. Alan Freed and the Moondog Coronation Ball - Cleveland Historical
  20. Rock & Roll - SoundBridge
  21. https://www.discogs.com/master/582867-The-Dominoes-Sixty-Minute-Man
  22. Sixty Minute Man (song by The Dominoes) – Music VF, US & UK hit ...
  23. True American Music — King Records DX
  24. Sixty Minute Man - Vocal Group Harmony
  25. King Records - In a Nutshell - Zero to 180 - Three Minute Magic
  26. THE LONG RUSH TO JUDGMENT - The Washington Post
  27. https://www.nytimes.com/books/first/w/ward-soul.html
  28. Episodes - Juke In The Back
  29. Answers and Answers: The Roxanne and Annie Sagas - PopMatters
  30. Consumer Guide Feb. 20, 1996 - Robert Christgau
  31. Full article: RIDICULING THE 'WHITE BREAD ORIGINAL'
  32. Ch. 3 "Rockin' Around The Clock" - Michigan Rock legends
  33. Crossovers and Covers - History Of Rock
  34. In the Spotlight: Billy Ward and His Dominoes - LiveAbout
  35. ROCK & ROLL | Encyclopedia of Cleveland History
  36. Rocklist.net...Steve Parker...Rock and Roll Hall of Fame..
  37. Bull Durham (1988) - Soundtracks - IMDb
  38. Sixty Minute Man | Fallout Wiki - Fandom
  39. Nobody Move by Eazy-E feat. MC Ren - WhoSampled
  40. OLDIES N MORE RADIO - Home
  41. https://www.secondhandsongs.com/performance/225384/all
  42. https://www.discogs.com/release/3333338-Hardrock-Gunter-And-Roberta-Lee-Tennessee-Blues-Sixty-Minute-Man
  43. Hardrock Gunter
  44. https://www.discogs.com/master/1066348-The-Untouchables-60-Minute-Man-Everybodys-Laughing
  45. Performance: 60 Minute Man by Paul Evans | SecondHandSongs
  46. Sixty Minute Man by The Trammps - Samples, Covers and Remixes
  47. Eazy-E feat. MC Ren's 'Nobody Move' sample of Rufus Thomas's ...
  48. Sixty Minute Man by Rufus Thomas - Samples, Covers and Remixes
  49. Rufus Thomas – Sixty Minute Man Samples - Genius
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