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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 Become Once again" 7-inch unmarried cover fine art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:18
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say You're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Estrus of the Night"
(1967)

"Here We Go Once again" is a land music standard written past Don Lanier and Red Steagall that first became notable as a rhythm and dejection unmarried by Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology was tape 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 Usa Billboard Hot 100 chart, peaking at number xv.

The most notable cover 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 Visitor was released, "Here We Go Again" 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 album's release. Another notable version by Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the vocal on Billboard 'due south Hot Country Songs nautical chart for v weeks in 1972, while Roy Clark did and then for seven weeks in 1982.

The vocal has been covered in a wide variety of musical genres. In full, five dissimilar versions have been listed on the music charts. Although its 2 most successful versions take been rhythm and dejection recordings, many of its other notable covers were featured on land music albums. "Here We Go Once again" was kickoff covered in an instrumental jazz format, and many of the more than recent covers have been sung as duets, such equally one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Go Once again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album every bit well. Comprehend versions have appeared on compilation albums past a number of artists, even some who did not release "Here We Go Once more" as a single.

Original version [edit]

In November 1959, subsequently 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 Pop Singers, "His start four ABC albums were all primarily devoted to standards..."[ii] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Considering Charles was signed to ABC as a rhythm and blues singer, he decided to wait until his contract was upwardly for its three-yr renewal before experimenting with country music, although he wanted to do and so sooner. With the assistance of ABC executive Sid Feller, he gathered a prepare of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-upwardly Mod Sounds in Country and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this point, Charles began to appeal more to a white audition.[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 country music.[vii] Thus, "Here We Go Again" was a country music song released past the Tangerine label ABC-Paramount, only performed in Charles' rhythm and blues style. Withal, his works did not deport the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the anthology, which included "Here Nosotros Go Again".[10]

First released by Charles in 1967, "Here We Become 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] [xiii] and the song was listed equally the 6th of ten tracks on Ray Charles Invites You to Listen.[xiv] [15] [16] 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 song was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[eighteen]

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 employ of his left arm and hand.[20] When he enrolled at Westward Texas State University, he formed his first land 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 pharmacist only played weekends at state dances. Afterward he quit his professional role, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk order 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 We Get Again".[21] Steagall's kickoff suspension came when Charles covered "Here We Go Again".[19] Steagall says that the song "came most in a very unusual way and very quickly".[21] 1 source even claims that Steagall did not come up to Hollywood until later Charles recorded the song.[24]

Co-ordinate to the canvass music published past Dirk Music, "Here We Go Again" is set in 12/viii time with a slow shuffle tempo of sixty-nine beats per infinitesimal. The vocal is written in the central of B ♭ major.[25] It is primarily a state song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Once again' is a soulful carol in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the blues, just, what information technology is. The recording has a simple and sterling gospel arrangement and, in hindsight, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily bachelor, only "Hither Nosotros Go Again" was the all-time-charting song on the anthology (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' start since 1964, continued to Europe in mid-April where it visited the Regal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the band played dorsum in the Usa at New York Urban center's Carnegie Hall before returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Magazine and the New York Post. Afterwards that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his outset lucrative Nevada casino performances, which started with a three-calendar week run at Harrah's Reno that was praised in Multifariousness. The bout also had an extended fall run at New York'southward Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Get Again" as "Another fantabulous case of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer for Billboard magazine wrote that the song could easily exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, issue and number 48 on the US Billboard Hot Rhythm & Dejection Singles meridian 50 nautical chart on June 10, 1967.[30] [31] For the weeks catastrophe July xv, 22 and 29, the song spent three weeks at its pinnacle position of number 15 on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its elevation position of number 5 on the Hot Rhythm & Dejection Singles chart.[34] [35] By August 12, it fell out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Hither Nosotros Become Again" was Charles' last single to enter the height twenty of the Hot 100.[39] For the yr 1967 the song finished at number 80 on the US Billboard Twelvemonth-Finish Hot 100 chart and 33 on the Year-End Hot Rhythm & Dejection Singles chart.[twoscore]

Abroad, it debuted on the UK Singles Nautical chart meridian 40 at number 38 on July 8, 1967, which would exist its height.[41] Information technology totalled iii not-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Become Again" appeared on the singles nautical chart at number 10 on July 15, 1967, and after peaked at number iii.[44]

Co-ordinate to Will Friedwald, this song is an case of Charles vocalizing in what would unremarkably be a generally inapplicable mode for dramatic effect by using a different voice than he had e'er previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, just making it the centre of the thing, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[two]

Track listing [edit]

  • 7-inch unmarried [45]
  1. "Hither We Get Once again" – 3:14
  2. "Somebody Ought to Write a Book About Information technology" – 3:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having bundled and conducted the recording. This is one of two songs on the album ("Yesterday" beingness the other) that in addition to being listed as ABC-Par ABC595 is credited equally Dunhill DZS036 [CD].[46] The individual vocal had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" also had a Dunhill credit only a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither We Go 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 by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dear You"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a comprehend of the song for her 1969 album Nancy, which was her kickoff anthology after catastrophe her business human 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 Baton Foreign.[51] [52] The B-side to the single, "Memories", was written by Foreign 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's 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 operation [edit]

Although CD Universe describes the vocal as a country music song,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top xl chart at number xxx.[55] [56] The following calendar week information technology debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a total of two weeks on the Hot 100.[59] For the week ending June seven, the song spent a second sequent week at its peak position of number xix on the Piece of cake Listening chart.[threescore] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Go Again" debuted at number 38 on the RPM Adult Contemporary chart (previously Immature 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 last year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Honey You lot" and "Drummer Man").[67]

Track listing [edit]

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

Co-ordinate to Allmusic the original runway was 3:09, but when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was iii:11.[68] The single was initially released through Reprise Records. In a non-exclusive licensing understanding, 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.[70]

Credits [edit]

The following musicians performed on this runway:[51]

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

The following musicians performed on this anthology:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Scarlet Rhodes (steel guitar)
  • Sid Abrupt (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 Go Again"
Unmarried past 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
Characterization Hold/Hear Music
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Become Once again"
(2005) 		"Y'all Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Become Again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here We Become Again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...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. We went to his studio and did it alive with the band. I sang it right next to Ray, watching his oral fissure for the phrasing. He was very sweetness and put me at ease, which was great because I was petrified walking in there."[72] She noted in 1 ...Featuring interview that the merely 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 every bit a duet and felt that this i provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at i fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

Every bit part of Charles' Grammy Honor for Anthology of the Twelvemonth-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the song had its early on 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 note for annotation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" functioning.[80] The song was described past the Orlando Sentry 'due south Jim Abbott as a recreation of i of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare merely funky arrangement".[71] Author Mike Evans wrote that "at that place'due south a common warmth of purpose in every jiff [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song as soulful, that finely combines Charles' "deep, honeyed growl with Jones'south 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 burden every bit did many of Charles's duet partners on the album.[82] The states Today 's Steve Jones said the song "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening runway".[27] Preston'south performance was favorably described by The Washington Mail service 'south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that function of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Yr and several from albums that were nominees,[84] the song did not 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 Camber Magazine wrote that the duet was a "more than staid and less compelling recording" on the album.[86] All the same, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rails was more simply filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in 2 categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards anniversary, the duet earned the award for Record of the Yr and Best Pop Collaboration with Vocals.[90] It was the second Record of the Year winner not to brand the Hot 100 (following "Walk On" in 2001 past U2).[91] The vocal won Record of the Yr, but not Song of the Yr. Record 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 textile. Song of the Year is awarded to the songwriter(s) of a new song or a vocal starting time achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the song was non a new song.

Chart operation [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September xviii, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the US Billboard 200 nautical chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album make the U.s.a. Billboard Hot Digital Tracks Elevation 50 nautical chart. "Here Nosotros Go Again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the anthology was released, the song debuted on the United states Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Again" fell out of the meridian 50 two weeks afterward.[97] It was released as a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Manufacture Association of America for shipments exceeding 500,000 units in the U.s..

After the anthology earned viii Grammy Awards and the song won Record of the Year, sales picked up and the anthology was re-promoted.[99] "Here We Go Once again" entered the US Billboard Bubbles Under Hot 100 chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs top 75 at number 73 and the U.s.a. Billboard Pop 100 at number 74 for the week catastrophe March 5, 2005, but still did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 nautical chart peak position of number two for the week catastrophe March 5, 2005.[102] A compact disc single of the vocal was released on Apr nineteen, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Elevation 40 chart at number 53 on March 6, 2005, and peaked the following week at number 52. Information technology logged half dozen weeks on the nautical chart.[104] "Here We Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked 1 week after at number 51. Information technology lasted 10 weeks on the top 100 nautical chart.[105]

Track listing [edit]

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

Co-ordinate to Allmusic, the duet version was between three:56 and 3:59 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. It debuted on the Hot Country Songs nautical chart on September 30, 1972, peaking at number 66 and spending a full of v weeks on the chart.[107] The vocal also spent five weeks on the Cashbox Country Singles Chart, debuting on October vii, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the Nov 6, 1982 (season 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, merely it entered the Hot Country Songs chart for the week ending October 30, 1982, at 88.[111] The vocal was one of only two mentioned in the Oct 30, 1982, Billboard album review and was described as "a solid land number".[112] The song peaked at number 65 in the week ending November 27 and remained in the chart for 2 more than weeks, making the full run seven weeks.[113] [114] The song also spent vii weeks on the Cashbox State Singles Chart, debuting on Nov half dozen, 1982, and peaking at number 61 for 2 weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Once again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Woman, My Adult female, My Wife.[117] Glen Campbell'due south version appeared on his 1971 anthology The Last Fourth dimension I Saw Her,[118] Eddy Arnold'due south on his 1972 anthology Solitary People,[119] and George Strait's on his 1992 anthology Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here Nosotros Become Over again album, but she did not include information technology on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Periodical.[123] Martin'south version was 3:07, and it after appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell'south version was only 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'due south version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee fabricated 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 Gilt Hr Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed 2 concerts at Lincoln Eye's Rose Theatre on February 9 and ten, 2009. A 2011 live tribute anthology by Nelson and Marsalis featuring Jones entitled Here Nosotros Become Again: Celebrating the Genius of Ray Charles was recorded on these ii live dates. The album, which was released on March 29, 2011, included a track entitled "Here Nosotros Go Once again".[132] [133] The vocals on "Here Nosotros Go 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 five:10, was arranged past Andy Farber and performed in a rhythm and dejection 12/viii shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this functioning.[134] At one concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rail is thin, Pop Matters 's Will 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 also notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's land 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 (background vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Amusement Weekly 's Alanna Nash regarded the album as Strait'due south "nearly hard-core country anthology" upwardly to that point in his career.[138] Allmusic staff noted that the album held its own at the time of release confronting virtually of its competitors and has aged better than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Store describes the anthology as the result of a transition in eras of country music.[141]

The song plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 motion picture Gods of the Plague.[142] [143] All the same, the song was on neither the eponymous soundtrack for the 2004 picture show 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 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It'southward A Pleasant Listening Experience But The Same". Orlando Lookout. 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. ^ "Here Nosotros Get Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 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 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 lot to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May viii, 2011.
  17. ^ a b c "Hither We Go 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). Land 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 Best Land 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 Country Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of state music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Go Again Sail Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top sixty Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): xx. May vi, 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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