Billy Ward (born Robert L. Williams, 19 September 1921, Savannah, Georgia—died 16 February 2002, Inglewood, California) grew up in Philadelphia, the second of three sons of Charles Williams and Cora Bates Williams, and was a child musical prodigy, winning an award for a piano composition at the age of 14. Following military service he studied music in Chicago, and at the Juilliard School of Music in New York. While working as a vocal coach and part-time arranger on Broadway, he met talent agent Rose Marks, who became his business and songwriting partner.
The pair set out to form a vocal group from the ranks of his students. The group was at first called the Ques, and comprised Clyde McPhatter (lead tenor), Charlie White (tenor), Joe Lamont (baritone), and Bill Brown (bass). Ward acted as their pianist and arranger. After the group made successful appearances on talent shows in the Apollo Theater and on the Arthur Godfrey show in 1950, Rene Hall recommended them to Ralph Bass of Federal Records, a subsidiary of King, where they were signed to a recording contract and renamed themselves the Dominoes. Their first single release, "Do Something For Me", with McPhatter’s lead vocal, reached the R&B charts in early 1951, climbing to #6.
After a less successful follow-up, the group released "Sixty Minute Man", on which Brown sang lead, and boasted of being able to satisfy his girls with fifteen minutes each of "kissin'" "teasin'" and "squeezin'", before "blowin'" his "top". It reached #1 on the R&B chart in May 1951 and stayed there for a 14 weeks. 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 #17 on the pop charts. In later years, it became a contender for the title of "the first rock and roll record".
The group toured widely, building up a reputation as one of the top R&B acts of the era, and an audience which crossed racial divides. However, Ward's strict disciplinarian approach, and failure to recompense the singers, caused internal problems. The name "The Dominoes" was owned by Ward and Marks, who had the power to hire and fire, and to pay the singers a salary. Clyde McPhatter was being paid barely enough to live on, and often found himself billed as "Clyde Ward" to fool fans into thinking he was Billy Ward's brother. White and Brown both left in 1951 to form The Checkers, and were replaced by James Van Loan and David McNeil (previously of The Larks).
In March 1952, the Dominoes were chosen to be the only vocal group at Alan Freed's "Moondog Coronation Ball". The hits continued, with "Have Mercy Baby" topping the R&B charts for 10 weeks in 1952. However, in early 1953, McPhatter also decided to leave, and soon formed a new group, The Drifters. His replacement in the Dominoes was Jackie Wilson, who had sung with the group on tour. Lamont and McNeil also left and were replaced by Milton Merle and Cliff Givens. With Wilson singing lead, singles such as "You Can't Keep A Good Man Down" continued to be successful.
In 1954, Ward moved the group to the Jubilee label and then to Decca, where they enjoyed a #27 pop hit with "St. Teresa of the Roses". However, the group were unable to follow that success in the charts, and there were a succession of personnel changes. They increasingly moved away from their R&B roots with appearances in Las Vegas and elsewhere. In late 1956, Wilson left for a solo career and was replaced by Gene Mumford of The Larks. The group then got a new contract with Liberty Records, and had a #13 pop hit with "Stardust". This proved to be their last major success, although various line-ups of the group continued recording and performing into the 1960s.
They were inducted into the Vocal Group Hall of Fame in 2006.
Former members
Billy Ward
Clyde McPhatter
Charlie White
Joe Lamont
Bill Brown
James Van Loan
David McNeil
Jackie Wilson
Milton Merle
Cliff Givens
Sixty-Minute Man
The Dominoes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Look a here girls I'm telling you now
They call me "Lovin' Dan"
I rock 'em, roll 'em all night long
I'm a sixty-minute man
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"
There'll be 15 minutes of kissing
Then you'll holler "Please don't stop" (Don't stop !)
There'll be 15 minutes of teasing
And 15 minutes of squeezing
And 15 minutes of blowing my top........
The Dominoes's song Sixty-Minute Man is a classic example of early rock and roll music. The song is sung from the perspective of "Lovin' Dan," who boasts about his sexual prowess and his ability to satisfy women for a full sixty minutes. He claims that no woman can resist him, and he describes in detail the different stages of his lovemaking, from kissing to teasing to squeezing and finally, to the climax.
The lyrics of the song were considered quite risqué for the time, and it is said that many radio stations refused to play it due to its sexual content. However, despite the controversy, the song was a huge hit, and it helped to establish The Dominoes as one of the most popular vocal groups of the 1950s. The song is also notable for its upbeat tempo, catchy melody, and the group's tight harmonies.
Overall, Sixty-Minute Man is a fun and energetic song that captures the spirit of early rock and roll. Its lyrics may be a bit suggestive, but they are also playful and humorous, and they showcase the group's musical talent and charisma.
Line by Line Meaning
Sixty-minute man, sixty-minute man
I am a man who can satisfy a woman's desires for a full hour
Look a here girls I'm telling you now
Listen up ladies, I have something important to say
They call me "Lovin' Dan"
I have a reputation for being a skilled lover
I rock 'em, roll 'em all night long
I am skilled in different sexual positions and can perform for a long time
I'm a sixty-minute man
I can last for a full hour in bed
If you don't believe I'm all that I say
If you're skeptical about my abilities
Come up and take my hand
Come with me and I'll prove it to you
When I let you go you'll cry "Oh yes"
You will be so satisfied that you'll cry out in pleasure
"He's a sixty-minute man"
You will refer to me as a skilled and long-lasting lover
There'll be 15 minutes of kissing
I will start with 15 minutes of passionate kissing
Then you'll holler "Please don't stop" (Don't stop !)
You will beg me to continue because you're enjoying it so much
There'll be 15 minutes of teasing
I will then tease you for another 15 minutes to build anticipation
And 15 minutes of squeezing
I will then physically pleasure you for 15 minutes
And 15 minutes of blowing my top........
Finally, I will reach orgasm and satisfy both of us
Lyrics © BMG Rights Management
Written by: ROSE MARKS, WILLIAM E WARD
Lyrics Licensed & Provided by LyricFind
@christopherdessources
Sixty-minute man
Sixty-minute man
Lookie here girls I'm telling you now
They call me "Lovin' Dan"
I rock 'em, roll 'em all night long
I'm a sixty-minute man
Yeah, yeah , yeah
If you don't believe I'm all I say
Come up and take my hand
When I let you go you'll cry "Oh yes
He's a sixty-minute man"
There'll be 15 minutes of kissing
Then you'll holler "please don't stop" (don't stop)
There'll be 15 minutes of teasing
And 15 minutes of squeezing
And 15 minutes of blowing my top
If your man ain't treating you right
Come up and see ol' Dan
I rock 'em, roll 'em all night long
I'm a sixty-minute man
Sixty-minute man
They call me Lovin' Dan
I rock 'em, roll 'em all night long
I'm a sixty-minute man
Sixty-minute man
They call me Lovin' Dan
I rock 'em, roll 'em all night long
I'm a sixty-minute man
There'll be 15 minutes of kissing
Then you'll holler "please don't stop" (don't stop)
There'll be 15 minutes of teasing
And 15 minutes of squeezing
And 15 minutes of blowing my top
If your man ain't treating you right
Come up and see ol' Dan
I rock 'em, roll 'em all night long
I'm a sixty-minute man, oh yeah
Sixty-minute man
@thebrazilianatlantis165
"We're Gonna Rock" Wild Bill Moore 1947 (#3 R&B)
"Good Rocking Tonight" Wynonie Harris 1947 (#1 R&B)
"Rock And Roll" Wild Bill Moore 1948
"Man Eater" Jay McNeely 1948
"Hole In The Wall" Albennie Jones with Sam Price and his Rockin' Rhythm 1949
"Rock The Joint" Jimmy Preston 1949 (#6 R&B)
"Rock That Boogie" Jimmy Smith 1949
"Boogie At Midnight" Roy Brown 1949 (#3 R&B)
"Butcher Pete" Roy Brown 1949
"Rockin' All Day" Jimmy McCracklin 1949
"All She Wants To Do Is Rock" Wynonie Harris 1949 (#1 R&B)
"Little Red Hen" Johnny Otis 1949
"Jump And Shout" Erline "Rock And Roll" Harris 1949
@Dervraka
To those they didn't realize old songs were just as dirty as modern music, they were just a little more subtle about it....
@cyanidetaco759
This isn't exactly subtle. I like it alot better, but this ain't it.
@athan5647
@@cyanidetaco759 it's more subtle in comparison to today, now we have songs about licking my pussy my neck my back and my crack
@KS-wb7ym
@@athan5647 take anaconda for example
@anthonyramirez1856
@@athan5647 only listen to oldie but goodies so never heard nothing like that, n wouldn't listen to it anyways..but will take ur word..but I do know they allow all kinds of nonsense...now...dk who's in charge...
@taylornowa8252
Way more clean and takes the ability to actually be able to sing. I love that about older music XD
@Mikeh2077
“60 Minutemen”
Preston Garvey heavy breathing intensifies
@noaamonyakuza5
Another settlement needs your help, here I’ll mark it on your map for you
@ochithepochi8997
60 minute MAN
@Zircon
@@noaamonyakuza5 I heard that in his voice