Distributed by American International Pictures, it is based on a 25-minute television episode of The Jane Wyman Show from 1955 called "The Little Guy."

Lester, a boxer, his wife Syl and manager Marty also enter the bar – as do two hoods, Jigger and Joey, and gangster, Jerry, who is putting pressure on Al to pay protection and who is interested in Julie.

A young man, Pete, arrives with news that a nearby grocery store has been robbed and its two owners killed.

Julie tells Sir Bop she is quitting singing and Shorty invites her to go see King Kong at the movies.

[7] Songwriter and manager Buck Ram offered a slew of his musical talent such as The Platters, accompanied by the Eddie Beal sextet with Eric Dolphy on baritone saxophone, The Blockbusters, and Nora Hayes to AIP in return for having the sole rights to a soundtrack album for the film.

[10] Corman said "To get the film shot within a week, I'd go all day with just the lunch break, then shoot till dinner time.

"[11] Despite the short shooting schedule and minimal locations (only two sets), Corman always regarded the movie as a personal favourite.

[12] In 1982 Corman said "I haven't seen the film in the longest time and have no idea of what it would look like today, but I remember it as a warm, funny story.

"[4] Variety gave it a poor review, calling it "a weirdie—on the order of – "Time of Your Life"—to the rhythm of rock *n’ roll.

Extremely mediocre, and drawing unintended guffaws at its matjnee bow here... Only the performance (very good, especially considering the so-so production and direction) of Dick Miller in the lead keeps the audience's interest in the film from disintegrating.

The musical break-ins are unimpressive, and of the supporting cast, only Robin Morse (as the bartender) and Mel Welles (as smalltime hip-talking agent) manage to make any impression.

Robert Rodriguez got the idea to make Grindhouse after seeing a poster on Tarantino's wall advertising Rock All Night alongside Dragstrip Girl.

[15] Rock All Night influenced Tarantino on Death Proof, with its bar setting, double bill nature, and change in tone.