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2008, Dan Bennett, The Total Rock Bassist, Alfred Music Publishing, →ISBN, page 62:The l–vi–IV–V chord progression is also referred to as the ’50s progression because it was used a lot by doo-wop groups in the 1950s and 1960s. However, this progression has been seen in rock settings as well, such as in “D’yer Mak’er” by Led Zeppelin, “Baby I’m an Anarchist” by Against Me!, and “Every Breath You Take” by the Police.
2019, Jason W. Solomon, Music Theory Essentials, Routledge, →ISBN, page 281:The doo-wop progression, also known as the ’50s progression, is the short harmonic pattern I–vi–IV–V. Repetitions of the doo-wop progression might lay the harmonic foundation for an entire song or a substantial song section (such as the A section of AABA form).
2020, Nate Sloan, Charlie Harding, Switched On Pop, Oxford University Press, →ISBN, page 43:As “We are Young” signals, the ’50s progression shows no signs of stopping. Its four chords are as straightforward as they are unavoidable, and songwriters will continue to find new lyrics and melodies to draw on its narrative power.
2020, Lydia R. Hamessley, Unlikely Angel: The Songs of Dolly Parton, University of Illinois Press, →ISBN:The song has a powerful hook in the chorus with its double repetition of the title line and the chords of the classic ’50s progression (I, vi, IV, V) found in hundreds of popular songs, most notably “Heart and Soul.”