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To Be a Lover
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"To Be a Lover" is a song written by William Bell and Booker T. Jones, and originally performed by Bell as a soul ballad titled "I Forgot to Be Your Lover". It was released in late 1968, hitting No. 45 on the Billboard Hot 100 and No. 10 on the Hot Rhythm & Blues Singles chart in early 1969. Best known as a cover by Billy Idol, it was released in 1986 as the lead single from his third studio album Whiplash Smile, becoming his second top ten hit in the US, peaking at No. 6 on the Billboard Hot 100[1] and No. 22 on the UK Singles Chart.[2]

William Bell version

[edit]
"I Forgot to Be Your Lover"
Single by William Bell
B-side"Bring the Curtain Down"
ReleasedNovember 1968
Recorded1968
GenreSouthern soul
Length2:19
LabelStax
Songwriters
ProducerBooker T. Jones
William Bell singles chronology
"Private Number"
(1968) 		"I Forgot to Be Your Lover"
(1968) 		"My Baby Specializes"
(1968)

"I Forgot to Be Your Lover" is a slow, southern soul ballad,[3] also described as deep soul[4] and R&B,[5] written by William Bell and his high school friend Booker T. Jones. Lyrically, it starts by him asking an unnamed partner, "have I told you lately that I love you?" This isn't the case, as he spends the rest of the song pleading for forgiveness and pledging devotion.

Release

[edit]

The single, released by Stax in November 1968, was backed by "Bring the Curtain Down", another song he wrote with Jones. The single was also Bell's first top ten hit on the Hot Rhythm & Blues Singles chart in early 1969, and reached No. 45 on the Billboard Hot 100. Both songs were rereleased on his second studio album, Bound to Happen (1969), in the wake of the single's success.[6]

Track listing

[edit]

All tracks are written by William Bell and Booker. T Jones.

No.TitleLength
1."I Forgot to Be Your Lover"2:19
2."Bring the Curtain Down"2:27
Total length:4:46

Personnel

[edit]

Credits adapted from AllMusic review.[7]

  • William Bell – vocals
  • Steve Cropper – guitars
  • Al Jackson – drumming
  • Booker. T Jones - production

Charts

[edit]
Chart (1968-1969) Peak position
US Billboard Hot 100[8] 45
US Hot Rhythm & Blues Singles (Billboard)[9] 10

Other soul versions

[edit]

An orchestral cover by vocal group the Mad Lads was included on their third studio album A New Beginning (1973), also released by Stax/Volt. Organist and producer Al Kooper covered the song in slow speak-singing form on his tenth studio album Act Like Nothing's Wrong (1976). Veteran soul singer Tommy Tate released a cover on his third studio album Love Me Now (1990), one of the closest to Bell's original. Blues versions of "I Forgot To Be Your Lover" were released by guitarist and singer Robert Cray on his 16th studio album Twenty (2005), and rock duo the Black Keys on their 12th studio album Ohio Players (2024). Singer-songwriter Bruce Springsteen recorded the song for his 21st studio album Only the Strong Survive (2022), and followed Bell’s tempo and string arrangement. R&B singer Jaheim sampled the song on "Put That Woman First", a hit single from his second studio album Still Ghetto (2002).[10]

Reggae versions

[edit]

In 1971, Lee "Scratch" Perry produced an early reggae version of the song, performed in an uptempo style by Shenley Duffus with Perry's studio band, the Upsetters, with the title shortened to "To Be a Lover". It was Duffus' final recording and a comeback single after the underperformance of his previous three, "At the End," "Goodnight My Love," and "Sincerely". The song became his most popular 45 RPM vinyl record and Perry's biggest hit of the year.[11]

In 1977, Perry again produced the song, this time for Earl George Turner.[12] This version, also called simply "To Be a Lover",[a] was heavily shaped by Perry's Black Ark sound and effects and featured backing vocals from the Meditations and Mighty Diamonds.[13] His first recording saw little success, but after renaming to George Faith, he released a new version of the song on his debut studio album, Super Eight (1977), which was released as To Be a Lover in the UK.[13] More popular than any of the previous Jamaican versions of the track, it became a hit there and in the UK.[14]

Billy Idol version

[edit]
"To Be a Lover"
Single by Billy Idol
from the album Whiplash Smile
B-side"All Summer Single"
Released22 September 1986 (1986-09-22)
Recorded1986
Genre
Length3:52
LabelChrysalis
Songwriters
ProducerKeith Forsey
Billy Idol singles chronology
"Catch My Fall"
(1984) 		"To Be a Lover"
(1986) 		"Don't Need a Gun"
(1986)
Music video
"To Be a Lover" on YouTube

In 1986, the track was reworked by the English rock singer Billy Idol, becoming the second high-profile cover version he released as a single, after 1981's "Mony Mony". Idol was introduced to the song by the George Faith reggae version—he initially was unaware of the original William Bell release,[15] and so retained the truncated title "To Be a Lover".

Composition

[edit]

Billy Idol more radically transformed the song into an upbeat "dance-rock anthem" with elements of pop, rock and R&B.[16] He adds a soulful rockabilly feel,[15] honky-tonk piano and "Motown-style hot girl chorus,"[17] while Keith Forsey's production adds a funky bassline with punchy rhythm, prominent synths, and rock guitars. uDiscover Music declared his cover an "electro-tinged rockabilly lament supported by gospel backing vocals and N’Awlins-style boogie piano."[18] Vocal Media compared the track to Elvis Presley, stating it's the closet Idol has gotten to R&B.[19]

Release

[edit]

The single was backed by Whiplash Smile album track "All Summer Single". Two different 12-inch singles were released worldwide (one in the UK and one in Australia), featuring the aforementioned track and two extended remixes of "To Be a Lover, the "Mother of Mercy Mix", which is six minutes and 45 seconds, and the "Rock 'n' Roll Mix" in Australia and New Zealand only.

The "Mother of Mercy Mix" is a harder song than the single version, with a prominent heavy guitar riff by Steve Stevens dominating most of the track and an interlude with distorted female groans. This version that is featured on the 1987 US and 1988 Japan editions of the remix compilation album Vital Idol (1985). The UK 12-inch was also released as a limited-edition picture disc.[20] A music video was also released, which was popular on MTV.[21]

Critical reception

[edit]

Paul Elliott of Sounds called it "pompous alright, but positively smoking with heat and urgency". He said that, despite it being a cover of a 1960s song, it "nevertheless sounds very '80s and very Idol".[22] Billboard writes that Idol "tackles R&B material and ends up with foot-twitching disco/rockabilly fusion," while retaining his snarly image.[5] Cash Box proclaims it's a "sassy modern reworking" of Bell's original, and a solid rock radio and dance club record that's "full of...bad boy sexiness."[23] Gold Radio ranked the song #7 on their "Billy Idol's top 10 songs" list, calling it a "masterpiece" that removes the reggae elements from George Faith's cover, transforming it into a "seductive, finger-snapping song that would provide the perfect soundtrack for a night-time drive on Los Angeles' highways."[24]

Formats and track listings

[edit]

7": Chrysalis – IDOL 8 (UK)

[edit]
No.TitleWriter(s)Length
1."To Be a Lover"William Bell, Booker T. Jones3:50
2."All Summer Single"Billy Idol4:33

12": Chrysalis – IDOLX 8 (UK)

[edit]
No.TitleWriter(s)Length
1."To Be a Lover" (Mother of Mercy Mix)Bell, Jones6:45
2."To Be a Lover"Bell, Jones3:50
3."All Summer Single"Idol4:33
  • Also available as a picture disc (IDOLP 8)

12": Festival Records – X 14449 (Australia and New Zealand)

[edit]
No.TitleWriter(s)Length
1."To Be a Lover" (Rock 'n' Roll Mix)Bell, Jones7:11
2."To Be a Lover" (Mother of Mercy Mix)Bell, Jones6:45
3."All Summer Single"Idol4:33

Personnel

[edit]

Credits adapted from Whiplash Smile liner notes.[25]

Charts

[edit]

Weekly charts

[edit]
Weekly chart performance for "To Be a Lover"
Chart (1986-1987) Peak
position
Australia (Kent Music Report)[26] 3
Canadian RPM Top Singles[27] 7
Italy (Musica e Dischi)[28] 18
New Zealand (Recorded Music NZ)[29] 2
US Billboard Hot 100[1] 6

Year-end charts

[edit]
1986 year-end chart performance for "To Be a Lover"
Chart (1986) Position
Australia (Kent Music Report)[30] 79
1987 year-end chart performance for "To Be a Lover"
Chart (1987) Position
Australia (Kent Music Report)[31] 34
US Top Pop Singles (Billboard)[32] 64

Certifications

[edit]
Certifications for "To Be a Lover"
Region Certification Certified units/sales
Canada (Music Canada)[33] Gold 50,000^

^ Shipments figures based on certification alone.

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

To Be a Lover

View on Grokipedia
from Grokipedia
"To Be a Lover" is a soul song written by William Bell and Booker T. Jones, originally released by Bell in 1968 under the title "I Forgot to Be Your Lover" on Stax Records as a poignant ballad about romantic neglect. The track later achieved widespread recognition through its adaptation as a reggae version by George Faith in 1977, produced by Lee "Scratch" Perry, which shortened the title to "To Be a Lover" and infused it with dub influences. Billy Idol's energetic rock cover, released in 1986 on his album Whiplash Smile, propelled the song to commercial success, peaking at number six on the Billboard Hot 100 and number two on the Mainstream Rock chart. The original Bell recording exemplifies Stax's signature soul sound, featuring Jones's arrangement with horns and strings that underscore the song's themes of regret and redemption in love. Idol's version, co-produced by Keith Forsey and featuring guitarist Steve Stevens, transformed it into a high-energy anthem with punk-rock edges, complete with a distinctive music video directed by David Mallet that showcased Idol's signature style. Over the years, the song has been sampled in hip-hop, notably by Ludacris in his 2001 track "Growing Pains," highlighting its enduring rhythmic appeal and lyrical universality across genres.

Origins

Songwriting

"To Be a Lover" was co-written by William Bell and in 1968 for . The song originated as a soul ballad titled "I Forgot to Be Your Lover," reflecting a theme of deep regret in a romantic relationship, where the narrator laments having overlooked the essential acts of affection and intimacy that sustain love. Booker T. Jones, known for his work as the leader of the Stax house band , contributed significantly as both co-writer and producer, infusing the composition with the emotive, horn-driven style characteristic of . The lyrics emphasize personal accountability for relational neglect, capturing a moment of and plea for forgiveness that resonated within the soul genre's tradition of heartfelt storytelling. The title evolved from "I Forgot to Be Your Lover" to the shortened "To Be a Lover" beginning with adaptations in the , shifting focus toward an aspirational longing for romantic fulfillment rather than solely . This change highlighted the song's versatile emotional core, allowing reinterpretations that accentuated desire over confession.

William Bell's original recording

William Bell recorded "I Forgot to Be Your Lover" in 1968 at Stax Studios in . The track was produced by , who co-wrote the song with Bell, and features the signature Stax sound with prominent horns, lush strings, and piano accents that underscore its soul ballad style. The recording was backed by the Stax house band, including members of Booker T. & the M.G.'s and . Originally titled "I Forgot to Be Your Lover," the single runs approximately 2:19 in length and was released with "Bring the Curtain Down" as the B-side under catalog number STA-0015.

Soul versions

William Bell release

"I Forgot to Be Your Lover" was released as a single by William Bell in November 1968 through , the influential Memphis-based soul label known for its raw, emotive sound. The 7-inch vinyl featured the track as the A-side, backed by "Bring the Curtain Down" on the B-side, under catalog number Stax 0015. The single achieved moderate commercial success, peaking at No. 45 on the chart and reaching No. 10 on the Billboard Hot R&B Singles chart in early 1969. This performance established it as Bell's first major solo hit on the soul charts, reflecting its strong appeal within the R&B community despite limited crossover to pop audiences. At the time, the song garnered praise in music publications for Bell's emotive vocals and the heartfelt lyrics that captured themes of romantic neglect and longing. It was subsequently included as the opening track on Bell's 1969 album Bound to Happen, helping to solidify his position as a key Stax artist.

Other soul and R&B covers

Several soul and R&B artists have reinterpreted William Bell's "I Forgot to Be Your Lover" since its 1968 release, often emphasizing the song's theme of relational neglect through layered harmonies or intimate vocal deliveries that diverge from the original's raw Stax sound. These versions typically feature smoother production and updated arrangements while preserving the ballad's emotional core of and for . The Mad Lads, a vocal group, delivered an early cover in 1973 on the Volt label, serving as the B-side to their single "I'm So Glad I Fell in Love with You." Their rendition incorporates orchestral strings and tight group harmonies, shifting the focus from Bell's solo introspection to a collective, church-like plea that highlights vocal interplay among the members. Released amid the group's waning commercial phase after their Stax heyday, it did not achieve significant chart success but remains a notable example of adaptation within the label's ecosystem. Organist and producer recorded a soulful cover in 1976 for his album Act Like Nothing's Wrong on . Kooper's version features a slow, bluesy arrangement with prominent organ work and his distinctive vocals, delivering a introspective take that underscores the song's themes of regret in a rock-soul hybrid style. Though not a commercial single, it highlighted Kooper's appreciation for Stax soul influences. Southern soul singer Tommy Tate offered a faithful yet emotive take in 1990 on his album Love Me Now (also issued as Good Medicine), produced in a style reminiscent of classic deep soul with Tate's powerful, wailing vocals underscoring the lyrics' vulnerability. Clocking in at under three minutes, the track features subtle horn accents and a mid-tempo groove that contrasts the original's slower pace, emphasizing Tate's reputation as a consistent interpreter of Stax material. Though it garnered appreciation among soul enthusiasts, the album and single saw limited commercial impact on national charts. In 2012, The Revelations featuring Tre Williams revived the song for the soundtrack to The Man with the Iron Fists, blending sensibilities with production by Bob Perry. Williams' lead vocals deliver a gritty, confessional tone over a sparse arrangement of and horns, evoking the original's intimacy while adding a modern edge suitable for the film's aesthetic. Released on , the track contributed to the album's critical nod for its homage to classic soul but did not enter major charts.

Reggae versions

George Faith adaptation

In 1977, Jamaican singer George Faith released a reggae adaptation of William Bell's soul ballad, featured as the title track on his album To Be a Lover, issued by Records, a subsidiary of . The recording was produced by Lee "Scratch" Perry at his in , where Perry applied his signature experimental techniques to transform the original's smooth R&B structure into a arrangement infused with dub effects. This version marked the first major release to popularize the shortened title "To Be a Lover (Have Mercy)," extending the runtime to 6:04 with layered echoes, reverb, and percussive delays characteristic of Perry's innovative production style. The personnel on the track included George Faith on lead vocals, with Perry handling production and sound effects; the backing was provided by , Perry's house band, featuring notable contributions from drummer Lowell "Sly" Dunbar and bassist , alongside keyboardist Winston Wright. Faith's emotive, velvet-toned delivery complemented the rhythmic shift, blending soulful phrasing with reggae's offbeat groove. The full album To Be a Lover comprised eight tracks, primarily reinterpretations of classic and R&B songs, including covers of " / Ya Ya," "Opportunity," "So Fine," "I've Got the Groove," "Diana," "All the Love I've Got," and "Turn Back the Hands of Time," alongside Faith's original "Opportunity." A single of "To Be a Lover (Have Mercy)" followed, highlighting Perry's dub-heavy mix that emphasized spatial audio elements like echoing vocals and instrumental fades. This adaptation gained recognition within circles for its fusion of soul influences and Perry's pioneering dub experimentation, often hailed as a standout example of from the era's Black Ark sessions. Critics have praised the track's sultry atmosphere and Perry's "kinky" sound design, which elevated Faith's performance into a , genre-blending gem influential in the development of reggae's romantic substyle.

Additional reggae interpretations

In the years following George Faith's influential 1977 adaptation, which truncated the original title to "To Be a Lover," additional interpretations emerged, showcasing evolutions in production and style while building on Lee "Scratch" Perry's pioneering dub techniques from his Upsetter era. These versions often extended dubs with layered echoes and reverb, emphasizing the genre's experimental side, and occasionally infused elements with subtle Rastafarian undertones through vocal delivery and rhythmic phrasing, though the core lyrics remained a soulful plea for love. Mical Rustle's dub-heavy take, released in 2003 as part of the collaborative album Twice as Nice on VP Records (a prominent Jamaican label with ties to international distribution networks like those affiliated with Island Records), focused on a prominent skanking rhythm that drove the track's infectious groove. This version, titled "Forgot to Be Your Lover," leaned into extended dub elements with heavy basslines and sparse instrumentation, echoing Perry's innovative remixing approach by stripping back the arrangement for atmospheric depth while maintaining the song's romantic essence. The production highlighted Rustle's smooth vocals over a mid-tempo riddim, contributing to the track's replay value in dancehall and roots sets. Similarly, Chenley Duffus's 1971 roots reggae adaptation, produced in Jamaica by Lee Perry on the Upsetter label, offered an early blueprint for these evolutions with its call-and-response vocals that engaged listeners in a communal style typical of roots sessions. Released during the early 1970s explosion of n sound systems (approximately 1971-1972), this single built directly on Perry's dub techniques, featuring instrumental versions that extended the original with echo effects and percussive drops, influencing later interpretations. Though predating 1977, its impact persisted in post-1977 productions by demonstrating how the song could incorporate Rastafarian-inflected harmonies and spiritual resonance in vocal interplays, blending romantic lyrics with the genre's socio-spiritual undertones. These interpretations underscored the song's versatility within , from dub extensions that prioritized instrumental experimentation to vocal adaptations that amplified call-and-response dynamics, fostering a lasting impact on the genre's and roots substyles during the late through .

Billy Idol version

Recording and composition

selected "To Be a Lover" for his 1986 Whiplash Smile, transforming the original soul ballad—written by William Bell and —into a high-octane rock rendition infused with punk edge and flair. In adapting the track, Idol shortened the title from "I Forgot to Be Your Lover" and ramped up the tempo to 184 beats per minute, adding aggressive guitar riffs courtesy of , layered textures, and a driving to inject urgency and , while preserving the essential in his signature sneering, defiant delivery. Recording took place over 1985 and 1986 at Right Track Studios and Unique Recording Studios in , with longtime collaborator handling production duties to blend Idol's raw energy with polished studio sheen. The core lineup featured on lead vocals and rhythm guitar, on lead guitar and keyboards, on drums, bass contributions from John Regan and , and additional backing vocals by Connie Harvey, , and specifically for this track.

Release and formats

"To Be a Lover" was released in September 1986 as the lead single from Billy Idol's third studio album, , by . The single was issued in multiple formats, including 7-inch vinyl in the UK and extended 12-inch versions in the UK and , featuring and additional tracks to appeal to both radio and club audiences. The 7-inch single (catalog number IDOL 8) featured the standard album version on the A-side and the non-album B-side "All Summer Single" on the reverse.
SideTrackDurationWriter(s)
ATo Be a Lover3:50William Bell,
BAll Summer Single4:33
The 12-inch single (IDOLX 8) included an extended "Mother of Mercy Mix" of the title track, alongside the standard version and "All Summer Single."
SideTrackDurationRemix/Notes
ATo Be a Lover (Mother of Mercy Mix)6:45Extended remix
B1To Be a Lover4:07Album version
B2All Summer Single4:33
In , the 12-inch single (X 14449) mirrored the extended release with the same track listing and the Mother of Mercy Mix. Promotion for the single centered on a directed by David Mallet, showcasing Idol's signature leather-clad rock aesthetic amid dynamic performance shots with guitarist . The release aligned with the rollout of and supported Idol's subsequent album tour.

Commercial performance

Billy Idol's version of "To Be a Lover" marked his second top 10 hit on the US , peaking at No. 6 in late 1986 and spending 18 weeks on the chart. In the , the single reached No. 22 on the Official Singles Chart, where it charted for eight weeks. The track also performed strongly internationally, attaining top 10 positions in countries such as (No. 3), (No. 2), (No. 8), and (No. 3). On year-end charts, "To Be a Lover" ranked No. 64 on Billboard's 1987 Hot 100 recap, reflecting its sustained popularity across the year. Although the single itself received limited formal s, it was certified gold in by for sales exceeding 50,000 units. The accompanying album Whiplash Smile earned platinum from the RIAA in the United States for 1,000,000 units shipped, with global sales estimated at over 2 million copies, bolstered by the single's performance. The song's music video, directed by David Mallet, garnered significant airplay on , enhancing Idol's visibility during the network's peak influence on rock promotion and contributing to the album's commercial momentum.

Critical reception

Upon its release in , Billy Idol's version of "To Be a Lover" received positive attention for its energetic transformation of the original soul ballad into a -infused track. critic Rob Tannenbaum highlighted the song as one of the album's standout moments, praising how Idol converted William Bell's soul tune into a "rockabilly stomper" that exemplified the record's forceful and dynamic qualities, though he noted the overall lyrics as trite. Music Week described the single as effectively "doodling at the end of the spectrum," appreciating its upbeat style and compatibility with Idol's persona. Critics often pointed to Idol's over-the-top vocal delivery—Elvis Presley-inspired snarls and sneers—as a key strength, adding a playful intensity that amplified the track's fist-pumping appeal. The accompanying , directed by David Mallet, further boosted the song's visibility through its synergy with programming, featuring Idol in a amid a spectacle of leather and lights that captured the era's aesthetic and contributed to heavy rotation on . Billboard's review commended the crisp production and catchy arrangement, emphasizing how the rock edge revitalized the classic without losing its emotional core. In retrospective analyses from the 2000s and beyond, the track has been viewed as a pivotal bridge between Idol's punk roots and his pop-metal evolution, showcasing his versatility in blending genres. AllMusic's awarded the parent album three out of five stars, lauding "To Be a Lover" for its memorable hooks and the way Idol's cover injected fresh vitality into the soul original through Stevens' guitar work and synth-driven rhythm. Ultimate Classic Rock positioned it among Idol's finest love songs, crediting the rollicking energy and Elvis-esque flair for turning a stale relationship narrative into an enduring rocker that highlighted his reinvention skills. While some soul enthusiasts critiqued the shift as diluting the original's intimate vulnerability, the consensus affirms its role in broadening the song's commercial reach and appeal.

Legacy

Sampling in hip-hop

The original Stax recording of William Bell's "I Forgot to Be Your Lover" (1968) has served as a key source material for hip-hop sampling due to its soulful vocal hooks and groovy instrumentation. One of the most notable uses is in ' "Worst Comes to Worst" (2001), which incorporates the track's vocal hooks over a beat produced by The Alchemist. Featuring , the single appeared on the group's album Expansion Team, which debuted at No. 36 on the and No. 8 on the Top R&B/Hip-Hop Albums chart, helping establish the track as a breakthrough hit in underground rap circles. Another prominent hip-hop sample comes from ' "" (2001), which draws on the and chorus elements from Bell's original to create a reflective Southern rap narrative. Produced by , the song features Scarface, Lil' Fate, and Keon Bryce and was included on Ludacris' platinum-certified album , contributing to its commercial success amid the Dirty South rap wave. The enduring groove of the original has notably shaped production aesthetics in West Coast rap, as evidenced by ' layered, atmospheric approach, and Southern rap, where Ludacris and similar artists flipped it for emotive, bass-heavy backdrops.

Recent covers and influence

In 2024, included a cover of the song's foundational version, "I Forgot to Be Your Lover," on their album . Produced by , the track offers a faithful blend of soul and rock elements and premiered as a single in February 2024. performed the song live during concerts in the 2000s, delivering an acoustic arrangement that emphasized its introspective lyrics. In 2022, Springsteen released a studio cover featuring on his soul covers album Only the Strong Survive. The song has contributed to bridging soul, reggae, and rock genres, with Billy Idol's 1986 rendition introducing reggae rhythms and soulful themes to mainstream rock audiences through its upbeat rockabilly-infused adaptation. It features in music documentaries exploring these crossovers, including the 2024 HBO series Stax: Soulsville U.S.A., which highlights William Bell's original "I Forgot to Be Your Lover" as a cornerstone of Stax Records' soul legacy, and discussions of 1980s MTV programming where Idol's video exemplified the era's fusion of visual spectacle and genre-blending hits. Post-2000 developments have revitalized the song's presence, particularly through streaming platforms; Billy Idol's version alone has accumulated over 12 million streams by late 2024, reflecting ongoing digital revivals of its rock iteration.

References

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  45. https://ultimateclassicrock.com/best-love-songs/
  46. https://lostsongs.substack.com/p/to-be-a-lover-billy-idol-review
  47. https://www.whosampled.com/William-Bell/I-Forgot-to-Be-Your-Lover/
  48. https://www.whosampled.com/sample/1718/Dilated-Peoples-Guru-Worst-Comes-to-Worst-William-Bell-I-Forgot-to-Be-Your-Lover/
  49. https://www.whosampled.com/William-Bell/I-Forgot-to-Be-Your-Lover/sampled/
  50. https://www.rollingstone.com/music/music-news/black-keys-i-forgot-to-be-a-lover-ohio-players-1234965260/
  51. https://www.coveredbybrucespringsteen.com/viewcover.aspx?recordID=1077
  52. https://www.bookey.app/book/dancing-with-myself
  53. https://www.npr.org/2024/05/21/1252770337/new-documentary-charts-the-rise-and-fall-of-iconic-memphis-record-label
  54. https://rateyourmusic.com/list/Rocknroll1987/billy-idol-wants-his-mtv/
  55. https://kworb.net/spotify/artist/7lzordPuZEXxwt9aoVZYmG_songs.html
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