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Here We Go Again Portrait Sample

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1967 song past Ray Charles

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

"Hither We Go Over again" 7-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites You to Heed
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:eighteen
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Cherry Steagall
Producer(due south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Heat of the Nighttime"
(1967)

"Hither Nosotros Become Over again" is a country music standard written by Don Lanier and Red Steagall that get-go became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology 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 sequent weeks on the US Billboard Hot 100 nautical chart, peaking at number 15.

The most notable embrace version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Go Once more" earned Grammy Awards for Record of the Year and Best Popular Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died earlier the anthology'southward release. Another notable version past Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 'south Hot Country Songs chart for 5 weeks in 1972, while Roy Clark did so for 7 weeks in 1982.

The song has been covered in a wide variety of musical genres. In full, five different versions have been listed on the music charts. Although its two most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on land music albums. "Hither We Go Again" was outset covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such as 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute anthology Here We Get Over again: Celebrating the Genius of Ray Charles. The song lent its proper noun to Red Steagall's 2007 album every bit well. Cover versions have appeared on compilation albums past a number of artists, fifty-fifty some who did non release "Here We Go Again" every bit a unmarried.

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.[one] According to Will Friedwald in A Biographical Guide to the Keen Jazz and Popular Singers, "His beginning iv ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Because Charles was signed to ABC as a rhythm and blues vocalist, he decided to wait until his contract was up for its 3-year renewal before experimenting with country music, although he wanted to exercise and then sooner. With the assist of ABC executive Sid Feller, he gathered a set of country songs to tape, despite the wishes of ABC.[three] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Mod Sounds in Country and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this betoken, Charles began to appeal more than to a white audience.[4] In 1962 he founded his own 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 state music.[vii] Thus, "Here We Go Again" was a country music vocal released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues manner. All the same, his works did not behave the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to suit Charles' 1967 album, Ray Charles Invites You to Heed.[10] Joe Adams produced and engineered the anthology, which included "Here We Go Again".[ten]

First released by Charles in 1967, "Here We Become Again" was written by Lanier and Steagall and published by the Dirk Music Company.[11] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the vocal was listed as the sixth of 10 tracks on Ray Charles Invites Yous to Mind.[14] [xv] [xvi] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in Country and Western Music was reissued in 1988, the song was added equally a bonus rail.[12] [xiii] Information technology was as well included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the use of his left arm and hand.[20] When he enrolled at West Texas Land University, he formed his first country band.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at country dances. After he quit his professional part, 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 club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Go Again".[21] Steagall's beginning break came when Charles covered "Here We Become Again".[xix] Steagall says that the song "came about in a very unusual style and very quickly".[21] One source fifty-fifty claims that Steagall did non come up to Hollywood until after Charles recorded the vocal.[24]

According to the sheet music published by Dirk Music, "Hither We Go Again" is set in 12/eight fourth dimension with a slow shuffle tempo of sixty-nine beats per infinitesimal. The song is written in the central of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Become Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, just, what it is. The recording has a simple and sterling gospel organisation and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Heed is non readily available, but "Hither Nosotros Go Again" was the all-time-charting song on the album (and probable on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The bout, Charles' kickoff since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, equally well equally Vienna. In May, the band played back in the U.s.a. at New York City's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Later on that summer, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Diverseness. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" as "Another excellent example of how Ray Charles was able to fuse blues and land".[28] In a review for the single, a author for Billboard mag wrote that the song could easily exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May xx, 1967, issue and number 48 on the Us Billboard Hot Rhythm & Blues Singles meridian 50 chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its acme position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its height position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for 13 weeks ending on September 2.[37] [38] "Here We Become Again" was Charles' last single to enter the acme 20 of the Hot 100.[39] For the year 1967 the vocal finished at number 80 on the Us Billboard Twelvemonth-End Hot 100 nautical chart and 33 on the Yr-Stop Hot Rhythm & Blues Singles chart.[40]

Abroad, information technology debuted on the United kingdom of great britain and northern ireland Singles Chart summit 40 at number 38 on July 8, 1967, which would be its tiptop.[41] Information technology totalled 3 not-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and afterward peaked at number three.[44]

Co-ordinate to Volition Friedwald, this vocal is an example of Charles vocalizing in what would ordinarily be a more often than not inapplicable manner for dramatic event by using a different vocalism than he had ever previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, but making it the heart of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Runway listing [edit]

  • 7-inch single [45]
  1. "Here Nosotros Get Once more" – three:14
  2. "Somebody Ought to Write a Volume About It" – 3:02

Co-ordinate to Allmusic, the solo version is listed at lengths between 3:14 and iii:xx on various albums.[17]

Credits [edit]

Charles is credited as vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is 1 of 2 songs on the anthology ("Yesterday" being the other) that in add-on to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" likewise had a Dunhill credit just a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here We Go 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 anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length iii:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Reddish Steagall
Producer(due south) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love Y'all"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her kickoff album after ending her business organization relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music entreatment,[50] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long pop style".[52] They also commended Sinatra'south singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart functioning [edit]

Although CD Universe describes the song every bit a state music song,[49] information technology never charted on state music charts. For the week ending May 17, 1969, the vocal was listed amidst Usa Billboard Bubbling Under Hot 100 Singles nautical chart at number 106 and debuted on the Us Billboard Easy Listening Summit twoscore chart at number 30.[55] [56] The following week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its 2-week stay.[58] The song then spent a full of two weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a second consecutive week at its peak position of number 19 on the Easy Listening chart.[60] The song remained on the nautical chart for 5 weeks until June fourteen, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Developed Gimmicky chart (previously Young Adult Chart) on June 2, 1969.[63] Information technology peaked at number 21 for the week of June xvi, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the concluding yr in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Become Again", "God Knows I Love Yous" and "Drummer Man").[67]

Runway listing [edit]

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

According to Allmusic the original track was 3:09, but when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, information technology was 3:11.[68] The single was initially released through Reprise Records. In a non-sectional licensing agreement, Reprise (part 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.[seventy]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this anthology:[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 Nosotros Go Again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length 3:59
Characterization Concord/Hear Music
Songwriter(s) Don Lanier, Blood-red Steagall
Producer(due south) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Again"
(2005) 		"Yous Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here Nosotros Get Once again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here We Get Once again" equally a duet with American vocalist-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 Over again" duet, she said "I got a telephone call from Ray asking if I'd exist interested in singing on this duets record. I got on the adjacent airplane and I brought my mom. We went to his studio and did it live with the band. I sang it correct next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was great because I was petrified walking in there."[72] She noted in one ...Featuring interview that the only part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform every bit a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

Equally office of Charles' Grammy Laurels for Album of the Year-winning Genius Loves Visitor, the song proved to exist the about popular and critically acclaimed on the anthology. 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 vocal 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.[80] The song was described by the Orlando Sentinel 'southward Jim Abbott every bit a recreation of ane of the gems from Charles' land music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying part on Hammond B3.[vii] As opposed to other tracks on the anthology, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed equally "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky system".[71] Writer Mike Evans wrote that "at that place'southward a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical motion-picture show Ray in theaters and described the vocal as soulful, that finely combines Charles' "deep, honeyed growl with Jones'due south lighter timber", while noting Preston for his "sweeping" organ work.[81]

The vocal received other specific forms of praise. Robert Christgau notes that Jones carried the vocal burden equally did many of Charles's duet partners on the album.[82] U.s.a. Today 's Steve Jones said the song "strikes an like shooting fish in a barrel groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described by The Washington Post 'south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included iii of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had noun comments on the duet when included amid her grouping of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Mag wrote that the duet was a "more staid and less compelling recording" on the anthology.[86] Still, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than 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 February 13, 2005 awards ceremony, the duet earned the laurels for Tape of the Twelvemonth and All-time Pop Collaboration with Vocals.[90] It was the 2d Tape of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Year, but not Vocal of the Yr. Tape of the Year is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded cloth. Song of the Year is awarded to the songwriter(s) of a new song or a song starting time achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this vocal from their piece of work on its original version in 1967.[93] Thus, the song was not a new song.

Chart functioning [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than eleven months earlier his 2004 death

For the week catastrophe September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the The states Billboard 200 chart and becoming Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the 13 tracks on the anthology make the US Billboard Hot Digital Tracks Top 50 chart. "Here We Go Again" was the download sales leader amongst the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks nautical chart at number 26.[96] "Here We Go Once again" barbarous out of the top l two weeks later.[97] Information technology was released every bit a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gilded by the Recording Industry Association of America for shipments exceeding 500,000 units in the United states of america.

Afterward the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked up and the album was re-promoted.[99] "Here We Get Again" entered the United states of america Billboard Bubbling Under Hot 100 chart at number v in the upshot dated (for the week ending) Feb 26, 2005.[100] The song charted for a calendar week on both the The states 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, just nonetheless did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, it ascended to its Bubbling Under Hot 100 chart meridian position of number two for the week ending March v, 2005.[102] A meaty disc unmarried of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Peak xl nautical chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the nautical chart.[104] "Here We Go Over again" entered the French Singles Chart at number 54 on April two, 2005 and peaked one week after at number 51. It lasted 10 weeks on the acme 100 chart.[105]

Rails list [edit]

  • CD single [103]
  1. "Hither We Become Over again" (Ray Charles and Norah Jones) – three:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – v:05
  3. "Interview With Norah Jones" – one:35

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

Credits [edit]

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

Country chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. Information technology debuted on the Hot State Songs chart on September xxx, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song also spent five weeks on the Cashbox State Singles Chart, debuting on October 7, 1972, and peaking at number 61 3 weeks later on.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, merely information technology entered the Hot Country Songs nautical chart for the week ending October thirty, 1982, at 88.[111] The song was one of merely ii mentioned in the October xxx, 1982, Billboard album review and was described as "a solid country number".[112] The vocal peaked at number 65 in the week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The vocal too spent 7 weeks on the Cashbox Country Singles Chart, debuting on November vi, 1982, and peaking at number 61 for two weeks (Dec iv and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Once 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'south version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold'south on his 1972 album Lone People,[119] and George Strait'southward on his 1992 anthology Holding My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Again album, but she did not include it on her 2007 duets album Reba: Duets, which was released four weeks subsequently.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin's version was three:07, and information technology later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'southward version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Petty Willie Littlefield recorded a version for his 1997 album The Ruddy One.[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 Gilded 60 minutes Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed ii concerts at Lincoln Center's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Once more: Jubilant the Genius of Ray Charles was recorded on these two live dates. The album, which was released on March 29, 2011, included a track entitled "Here We Become Again".[132] [133] The vocals on "Here We Go Once more" 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 five:x, was arranged by Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this operation.[134] At one concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this runway is sparse, Pop Matters 's Volition Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland likewise notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'south land music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (groundwork vocals), and Reggie Young (electric guitar). The anthology was produced past Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album equally Strait'south "most hard-cadre country album" up to that betoken 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 amend than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward manner of singing.[140] The iTunes Store describes the album as the upshot of a transition in eras of country music.[141]

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

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. 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 Sound Of Genius: Music Review: The Concluding Anthology From Ray Charles Isn't Stellar, But It'due south A Pleasant Listening Experience Just The Same". Orlando Lookout man. Tribune Company. Retrieved May xiii, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Get Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July xix, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modernistic Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhinoceros 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 five, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Become Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Tape Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Lexicon. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Land: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star Country. Texas Christian University Printing. pp. 208–ix. 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. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sail Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Business Media, Inc. 79 (xviii): xx. May half-dozen, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 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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