5 Minuten Lyrics

[Albina Hickel]

Wellfor one, I have often marveled at the level of nonsense that gets on the radio because it comes wrapped in a catchy, hook-filled package. That beat, those harmonies, that bass bottom, they are the spoonful of sugar that makes the absurdity go down.

The bit about finding a new career fits with part of the second verse about reading signs in the unemployment line. But then you have this flu attack, which if it lasts 30 days and keeps you on your back, must be something much more serious than flu.

That is one of the most sublime lyrics I have ever heard. It paints a picture of regret and helplessness, achievement and loss, and you can just see the icing running down and then the cake falling apart altogether.

"Sixty Minute Man" is an R&B record released on Federal Records in 1951 by the Dominoes.[1] 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.[2]

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.[7] 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.[8]

The recording features Ren 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,[3] 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".

"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".[2]

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,"[13] 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."[14] 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.[15] Though they share the same title, the earlier version was written by The Du Droppers' lead tenor, J. C. Ginyard.

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.[2] 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.[3] It was considered the definitive fast "rhythm and gospel record"[7] 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 that he discovered the term (a euphemism for sexual intercourse in the black community) on the record "Sixty Minute Man".[16][17] The lyrics include the line, "I rock 'em, roll 'em all night long".[18] Freed did not acknowledge that source (or the original meaning of the expression) in interviews.[19]

In 1951, "Sixty Minute Man" was recorded as a duet by Hardrock Gunter and Roberta Lee,[20] and also by the York Brothers.[21] 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. The Trammps released a version of the song in 1972. James Booker recorded the song in 1976.[22] 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.

She seemingly references their ages with new lyrics: "And I was never good at telling jokes but the punchline goes / 'I'll get older, but your lovers stay my age.'" (Gyllenhaal is currently dating Jeanne Cadieu, who's 16 years his junior.)

In another moment, she sings: "They say all's well that ends well / But I'm in a new hell every time you double-cross my mind / You said if we had been closer in age maybe it would have been fine / And that made me want to die."

"And I was thinking on the drive down / Any time now, he's gonna say it's love / You never called it what it was / Til we were dead and gone and buried," she sings. "Check the pulse and come back / Swearing it's the same / After three months in the grave."

Swift references an unnamed actress who caught her "weeping in a party bathroom" and asked "what happened." In January 2011, reports surfaced that Jennifer Aniston gave the songwriter relationship advice at the People's Choice Awards.

When Us Weekly confirmed Gyllenhaal's split from the Miss Americana star that same month, a source noted, "Jake just told her it wasn't working out. Taylor is really upset and hurt. She feels really burned by him."

Longtime Swift lovers cite the bridge of "All Too Well" as being some of her best work, but the updated chorus packs a punch. "And there we are again / When nobody had to know/You kept me like a secret / But I kept you like an oath / Sacred prayer and we'd swear to remember it all too well," she sings.

"From when your Brooklyn broke my skin and bones / I'm a soldier who's returning half her weight / And did the twin flame bruise paint you blue? / Just between us, did the love affair maim you too?" she says. "'Cause in this city's barren cold, I still remember the first fall of snow / And how it glistened as it fell, I remember it all too well."

Because nothing gets by Swifties, fans have connected the dots between Swift's "twin flame" lyric and her mention of "twin fire signs" in "State of Grace." (The former couple both celebrate birthdays in December.)

"You who charmed my dad with self-effacing jokes / Sipping coffee like you're on a late-night show / But then he watched me watch the front door all night, willing you to come / And he said, 'It's supposed to be fun turning 21,'" Swift sings.

Instead of simply recreating the tracks, Swift also opted to update some of them, including the fan-favorite "All Too Well," which now has an extended version. There's a ton to unpack from the extended version's lyrics, including the "All Too Well" Jake Gyllenhaal controversy, which appears to be a centerpiece of the song. Swift is known for incorporating elements from her personal life into her narrative songwriting, which is a significant aspect that makes her music so resonant and powerful.

It's worth noting that the pair supposedly only dated for three months. The "All Too Well" Jake Gyllenhaal controversy is furthered by the lyrics, which feature allusions to Gyllenhaal, and its new 10-minute version reveals more about their doomed romance. Among the lyrics, which explore a brief, tumultuous, and passionate relationship, there are several elements that fans believe point to her momentary romance with Gyllenhaal.

Taylor Swift sings the song from a first-person perspective, making "All Too Well" likely her story. The lyrics of the "All Too Well" 10-minute version start with her memory of visiting her boyfriend's sister's place. The description of the weather fits the timeline of her relationship with Gyllenhaal, as the pair started dating in October 2010. Her lover's sister could be Maggie Gyllenhaal, who confirmed then that she did have Swift in her home for dinner.

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