Editing Clyde McPhatter (section)

===With Billy Ward and the Dominoes (1950–1953)===
In 1950, after winning the coveted Amateur Night at Harlem's [[Apollo Theater]] contest, McPhatter returned to his job as a store manager. He was discovered singing in the choir in the Holiness Baptist Church of New York City by Billy Ward of [[Billy Ward and his Dominoes]] and was recruited into the group.<ref>[https://books.google.com/books?id=FlsDAAAAMBAJ&dq=clyde+mcphatter&pg=PA53 Jet] - Jun 29, 1972 - Page 53</ref> He was present for the recording of "[[Sixty Minute Man]]" for [[Federal Records]], produced by [[Ralph Bass]].<ref name="nytimes" />

Billy Ward and his Dominoes was one of the top R&B vocal groups in the country, garnering more popularity than [[the Clovers]], [[the Ravens]], and [[the Five Keys]], largely due to McPhatter's fervent, high-pitched tenor. In his book ''The Drifters'', Bill Millar named [[Ben E. King]], [[Smokey Robinson]] of the Miracles, [[Sammy Turner]], and [[Marv Johnson]] among the many vocalists who patterned themselves after McPhatter. "Most important," he concluded, "McPhatter took hold of the Ink Spots' simple major chord harmonies, drenched them in call-and-response patterns, and sang as if he were back in church. In doing so, he created a revolutionary musical style from which—thankfully—popular music will never recover."<ref>Shaw, ''Honkers And Shouters'', 1978, pg. 384.</ref>

After recording several more songs with the Dominoes, including "[[Have Mercy Baby]]", "Do Something for Me", and "[[The Bells (Billy Ward and His Dominoes song)|The Bells]]", McPhatter left the Dominoes on May 7, 1953. He was sometimes passed off as "Clyde Ward, Billy's little brother". Others assumed  Billy Ward was doing the lead singing. As a member of the Dominoes, McPhatter did not earn much money; Ward paid him $100 a week, minus deductions for food, taxes, motel bills, etc. In an interview in 1971, McPhatter told journalist Marcia Vance, "whenever I'd get back on the block where everybody'd heard my records—half the time I couldn't afford a Coca-Cola."<ref name="autogenerated1953">Grendysa, Peter. "The Drifters: Let the Boogie Woogie Roll, 1953–1958". Atlantic Records 81927-1.<!-- ISSN/ISBN, page(s) needed --></ref>

Due to such occurrences, and as he was frequently at odds with Ward, McPhatter decided he would quit the Dominoes, intent on making a name for himself. He announced his intent to quit the group, and Ward agreed to his leaving provided that McPhatter stayed long enough to coach a replacement. Auditions for a replacement were later held at Detroit's Fox Theater, and a young [[Jackie Wilson]] eventually took over as lead tenor for the Dominoes. The position influenced Wilson's singing style and stage presence. "I fell in love with the man's voice. I toured with the group and watched Clyde and listened ..."—and apparently learned.<ref name="Honkers And Shouters 1978, pg. 381" />

Privately, McPhatter and Ward often argued, but publicly McPhatter expressed his appreciation of Ward for giving him his start in entertainment. "I think Billy Ward is a very wonderful musician and entertainer. I appreciate all he did for me in giving me my start in show business."<ref name="autogenerated1953" />