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1967 song by Ray Charles

"Here We Get Again"
Black 45 record label with the ABC logo on top and the song "Here We Go Again", singer Ray Charles and other detail

"Here We Go Again" 7-inch single embrace art
Single past Ray Charles
from the anthology Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book Almost Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:xviii
Label ABC Records/Tangerine Records
Songwriter(south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You lot're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Estrus of the Night"
(1967)

"Here We Go Again" is a country music standard written past Don Lanier and Blood-red Steagall that first became notable equally a rhythm and dejection single by Ray Charles from his 1967 album Ray Charles Invites You to Heed. It was record producer by Joe Adams for ABC Records/Tangerine Records. To engagement, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number xv.

The about notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Visitor. This version has been the biggest disquisitional success. Afterwards Genius Loves Company was released, "Here We Go Again" earned Grammy Awards for Tape of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the anthology's release. Another notable version past Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for 5 weeks in 1972, while Roy Clark did then for seven weeks in 1982.

The vocal has been covered in a broad variety of musical genres. In total, 5 different versions accept been listed on the music charts. Although its two most successful versions accept been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Go Again" was kickoff covered in an instrumental jazz format, and many of the more contempo covers accept been sung as duets, such every bit one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute anthology Hither We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 anthology likewise. Cover versions have appeared on compilation albums past a number of artists, even some who did non release "Here We Become Again" every bit a single.

Original version [edit]

In November 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His offset 4 ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC every bit a rhythm and blues singer, he decided to expect until his contract was upwards for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a ready of state songs to tape, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in Country and Western Music and its follow-up Mod Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audition.[4] In 1962 he founded his ain record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Again" was recorded during a phase in Charles' career when he was focused on performing country music.[seven] Thus, "Here We Go Again" was a country music vocal released past the Tangerine label ABC-Paramount, only performed in Charles' rhythm and blues style. However, his works did non carry the Tangerine label until 1968.[8] Feller left ABC in 1965,[ix] just he returned to conform Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Go Over again".[10]

First released past Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed as the sixth of ten tracks on Ray Charles Invites You to Heed.[14] [15] [sixteen] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the vocal was added equally a bonus runway.[12] [thirteen] It was also included on the 1988 album Ray Charles Anthology.[18]

Limerick [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[xix] This action helped him regain the use of his left arm and paw.[xx] When he enrolled at West Texas State University, he formed his first state band.[19] Don Lanier formed a group past the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist just played weekends at country dances. Later on he quit his professional role, he formed a ring that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk society performing and songwriting.[23] He wrote for 2 music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Become Once again".[21] Steagall's outset break came when Charles covered "Here We Go Again".[19] Steagall says that the song "came about in a very unusual manner and very rapidly".[21] One source even claims that Steagall did not come up to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Here We Become Once again" is prepare in 12/8 time with a slow shuffle tempo of 60-nine beats per infinitesimal. The song is written in the key of B ♭ major.[25] It is primarily a land vocal,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Get Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what it is. The recording has a uncomplicated and sterling gospel arrangement and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Mind is not readily available, simply "Here We Go Again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam State of war from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-Apr where information technology visited the Regal Festival Hall, London and Salle Pleyel, Paris, as well equally Vienna. In May, the ring played back in the United States at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Postal service. Subsequently that summertime, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his beginning lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Variety. The bout also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Go Again" equally "Another fantabulous example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a author for Billboard mag wrote that the vocal could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles meridian 50 chart on June 10, 1967.[xxx] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its summit position of number fifteen on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its peak position of number v on the Hot Rhythm & Dejection Singles nautical chart.[34] [35] By August 12, information technology fell out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for thirteen weeks ending on September 2.[37] [38] "Here We Get Again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the U.s.a. Billboard Year-End Hot 100 chart and 33 on the Twelvemonth-End Hot Rhythm & Dejection Singles chart.[40]

Away, it debuted on the UK Singles Chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Go Once more" appeared on the singles chart at number 10 on July xv, 1967, and later peaked at number three.[44]

According to Will Friedwald, this vocal is an instance of Charles vocalizing in what would usually be a generally extraneous manner for dramatic effect by using a unlike phonation than he had ever previously exhibited. He sang "... not simply using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, merely making it the heart of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • 7-inch single [45]
  1. "Hither Nosotros Become Again" – 3:fourteen
  2. "Somebody Ought to Write a Book About It" – three:02

According to Allmusic, the solo version is listed at lengths betwixt 3:14 and iii:twenty on various albums.[17]

Credits [edit]

Charles is credited every bit vocaliser and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is one of 2 songs on the album ("Yesterday" being the other) that in addition to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" likewise had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros Get Once again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(south) Don Lanier, Reddish Steagall
Producer(s) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here We Go Once more"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the vocal for her 1969 album Nancy, which was her first album after ending her business organization relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an like shooting fish in a barrel listening and land music entreatment,[50] was produced past Billy Foreign.[51] [52] The B-side to the single, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the comprehend was a "smoothen sing-a-long popular style".[52] They also commended Sinatra'southward singing, calling information technology a "fine" performance, noting that it would probable return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the song as a country music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top 40 chart at number xxx.[55] [56] The following week it debuted on the United states Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar week stay.[58] The song and so spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second consecutive week at its elevation position of number 19 on the Easy Listening chart.[60] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Hither Nosotros Go Once more" debuted at number 38 on the RPM Developed Contemporary nautical chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a full of 5 weeks on the nautical chart.[65] [66] According to Allmusic databases, 1969 was the concluding twelvemonth in her career that Sinatra reached the Hot 100 nautical chart (with "Hither Nosotros Go Again", "God Knows I Honey You" and "Drummer Human being").[67]

Track list [edit]

  • 7-inch vinyl single [53]
  1. "Here We Go Again" – three:07
  2. "Memories" – 3:40

According to Allmusic the original runway was three:09, simply when information technology appeared on the 2006 compilation album Essential Nancy Sinatra, it was iii:11.[68] The single was initially released through Reprise Records. In a non-sectional licensing understanding, Reprise (role of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[lxx]

Credits [edit]

The following musicians performed on this track:[51]

  • B.J. Bakery Singers (fill-in vocals)
  • The Blossoms (backup vocals)

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Ruddy Rhodes (steel guitar)
  • Sid Sharp (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (piano)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Here We Become Over again"
Unmarried by Ray Charles and Norah Jones
from the album Genius Loves Company
Released Jan 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(due south) Don Lanier, Ruby Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Become Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweetness Words"
(2004) 		"Here We Go Over again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here Nosotros Go Once again" equally a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets record. I got on the next plane and I brought my mom. Nosotros went to his studio and did information technology live with the band. I sang information technology correct adjacent to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was great considering I was petrified walking in at that place."[72] She noted in one ...Featuring interview that the but part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a vocal from Charles' songbook to perform as a duet and felt that this i provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the ii singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

Every bit part of Charles' Grammy Honor for Album of the Year-winning Genius Loves Company, the song proved to be the virtually popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones annotation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[eighty] The song was described by the Orlando Scout 's Jim Abbott equally a recreation of i of the gems from Charles' land music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'southward accompanying function on Hammond B3.[seven] Every bit opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organisation".[71] Author Mike Evans wrote that "in that location's a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Calendar week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song every bit soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the vocal brunt as did many of Charles's duet partners on the anthology.[82] U.s. Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening rails".[27] Preston's performance was favorably described by The Washington Post 'due south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified anguish" represented that role of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included 3 of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did non stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more than staid and less compelling recording" on the album.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than only filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the Feb xiii, 2005 awards ceremony, the duet earned the award for Record of the Twelvemonth and Best Popular Collaboration with Vocals.[ninety] It was the 2d Record of the Yr winner not to brand the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Tape of the Twelvemonth, only not Song of the Year. Tape of the Yr is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than creative person for newly recorded cloth. Song of the Year is awarded to the songwriter(s) of a new song or a song outset achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their piece of work on its original version in 1967.[93] Thus, the song was not a new vocal.

Chart operation [edit]

Ray Charles performing

Charles in July 2003, less than 11 months before his 2004 death

For the calendar week catastrophe September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the US Billboard 200 chart and condign Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album make the US Billboard Hot Digital Tracks Elevation 50 chart. "Here We Get Again" was the download sales leader among the album'due south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the vocal debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Get Again" fell out of the pinnacle 50 two weeks afterwards.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the United states.

After the album earned viii Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Here We Become Again" entered the US Billboard Bubbles Nether Hot 100 chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March five, 2005, but still did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] Withal, it ascended to its Bubbling Under Hot 100 chart pinnacle position of number 2 for the week ending March five, 2005.[102] A meaty disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Summit 40 nautical chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. Information technology logged six weeks on the chart.[104] "Hither We Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked ane week later at number 51. It lasted 10 weeks on the top 100 chart.[105]

Rails listing [edit]

  • CD unmarried [103]
  1. "Here Nosotros Go Over again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – v:05
  3. "Interview With Norah Jones" – ane:35

According to Allmusic, the duet version was between three:56 and 3:59 on various albums.[17]

Credits [edit]

The vocal was recorded at RPM International Studio (Los Angeles), mixed at Capitol Studios and mastered at the Mastering Lab.[106]

State nautical chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Country Songs chart on September thirty, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song besides spent five weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the November vi, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, simply it entered the Hot Country Songs nautical chart for the week catastrophe Oct 30, 1982, at 88.[111] The song was 1 of but 2 mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The song peaked at number 65 in the calendar week ending Nov 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song also spent 7 weeks on the Cashbox Country Singles Nautical chart, debuting on November half dozen, 1982, and peaking at number 61 for two weeks (December iv and 11).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Concluding Fourth dimension I Saw Her,[118] Boil Arnold's on his 1972 anthology Alone People,[119] and George Strait'south on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Over again album, only she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this state standard by Nathalie Baret of ABQ Journal.[123] Martin's version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. It has appeared on a scattering of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait'southward version is 2:53 and appears subsequently on his 2004 Greatest Drove at a two:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is 3:ten.[125] R&B and boogie-woogie pianist and vocalist Piddling Willie Littlefield recorded a version for his 1997 album The Ruby Ane.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on Feb 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Hither Nosotros Go Again: Jubilant the Genius of Ray Charles was recorded on these 2 live dates. The anthology, which was released on March 29, 2011, included a rail entitled "Here We Become Over again".[132] [133] The vocals on "Hither We Go Over again" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:x, was bundled by Andy Farber and performed in a rhythm and dejection 12/8 shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "fashion and panache" to this performance.[134] At one concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Popular Matters 's Volition Layman notes that the album reveals "how decisive and potent Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional person mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'south country music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Immature (groundwork vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the anthology as Strait's "virtually hard-core land anthology" up to that bespeak in his career.[138] Allmusic staff noted that the album held its ain at the time of release against most of its competitors and has aged meliorate than about country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the almost straightforward style of singing.[140] The iTunes Store describes the album equally the consequence of a transition in eras of land music.[141]

The vocal plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'south 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 moving picture Ray nor the limited edition additional soundtrack anthology More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Corking Jazz and Pop Singers. Pantheon Books. pp. 78–lxxx. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It'south A Pleasant Listening Experience Simply The Same". Orlando Lookout man. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Hither We Go Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites Yous To Heed". Retrieved May viii, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Tape Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the All-time State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Printing. pp. 505–half dozen. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Go Again Sheet Music". Musicnotes.com. Dirk Music. Feb fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Pinnacle 60 Spotlights". Billboard. Nielsen Concern Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Bibliography [edit]

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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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