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Here We Come Again Old School

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1967 song past Ray Charles

"Hither 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 Nosotros Go Again" seven-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Book 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 Y'all're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither We Go Again" is a country music standard written by Don Lanier and Blood-red Steagall that first became notable every bit a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Yous to Listen. It was tape producer past Joe Adams for ABC Records/Tangerine Records. To date, this version of the vocal has been the biggest commercial success, spending twelve consecutive weeks on the The states Billboard Hot 100 nautical chart, peaking at number fifteen.

The most notable cover version is a duet past Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest disquisitional success. After Genius Loves Visitor was released, "Here We Go Again" earned Grammy Awards for Record of the Year and All-time Pop 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 five weeks in 1969. Johnny Duncan charted the song on Billboard 'southward Hot Land Songs chart for v weeks in 1972, while Roy Clark did and so for 7 weeks in 1982.

The vocal has been covered in a wide multifariousness of musical genres. In total, five different versions have been listed on the music charts. Although its 2 most successful versions have been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Hither We Get Once again" was showtime covered in an instrumental jazz format, and many of the more recent covers have 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 album Here Nosotros Go Again: Jubilant the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album too. Encompass versions accept appeared on compilation albums by a number of artists, even some who did not release "Here We Go Again" equally a single.

Original version [edit]

In November 1959, afterward twelve years as a professional person musician, Ray Charles signed with ABC Records, post-obit the expiration of his Atlantic Records contract.[one] According to Will Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Because Charles was signed to ABC every bit a rhythm and dejection singer, he decided to await until his contract was up for its iii-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 record, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-upwards Mod Sounds in Country and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this signal, Charles began to appeal more than to a white audience.[four] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [vi]

"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 by the Tangerine label ABC-Paramount, merely performed in Charles' rhythm and blues mode. However, his works did not bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 anthology, Ray Charles Invites You to Mind.[10] Joe Adams produced and engineered the album, which included "Here We Go Again".[ten]

First released by Charles in 1967, "Hither We Get Again" was written by Lanier and Steagall and published by the Dirk Music Visitor.[11] 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 Listen.[14] [xv] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in State and Western Music was reissued in 1988, the song was added as a bonus rails.[12] [13] It was also 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.[nineteen] This activity helped him regain the use of his left arm and hand.[xx] When he enrolled at West Texas State University, he formed his showtime country ring.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist but played weekends at country dances. After he quit his professional role, he formed a band that became pop in the Rocky Mount ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Somewhen, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Hither We Go Again".[21] Steagall's first break came when Charles covered "Here Nosotros Go Over again".[19] Steagall says that the vocal "came most in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come up to Hollywood until later on Charles recorded the song.[24]

Co-ordinate to the sail music published by Dirk Music, "Here We Get Once more" is set up in 12/8 fourth dimension with a slow shuffle tempo of sixty-nine beats per minute. The song is written in the key of B ♭ major.[25] It is primarily a country song,[26] simply contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Become Again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what it is. The recording has a unproblematic and sterling gospel arrangement and, in hindsight, is one of Charles' finer 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, but "Here We Go Again" was the best-charting vocal on the album (and likely 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 tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played back in the United States at New York City's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Mag and the New York Mail service. Afterward that summertime, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-calendar week run at Harrah's Reno that was praised in Variety. The tour besides 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 fantabulous example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer for Billboard mag wrote that the song could hands 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 Usa Billboard Hot Rhythm & Blues Singles height 50 chart on June 10, 1967.[30] [31] For the weeks ending July xv, 22 and 29, the vocal spent three weeks at its height position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number v on the Hot Rhythm & Dejection Singles chart.[34] [35] Past August 12, it vicious out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for thirteen weeks ending on September 2.[37] [38] "Hither We Go Again" was Charles' last single to enter the acme twenty of the Hot 100.[39] For the year 1967 the song finished at number fourscore on the US Billboard Year-Stop Hot 100 chart and 33 on the Year-Finish Hot Rhythm & Dejection Singles nautical chart.[40]

Abroad, information technology debuted on the United kingdom of great britain and northern ireland Singles Chart tiptop 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 Nosotros Go Again" appeared on the singles chart at number ten on July 15, 1967, and later on peaked at number three.[44]

According to Volition Friedwald, this vocal is an case of Charles vocalizing in what would ordinarily be a generally extraneous mode for dramatic event past using a different voice than he had always previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, only making information technology the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Runway listing [edit]

  • 7-inch unmarried [45]
  1. "Here We Go Over again" – 3:xiv
  2. "Somebody Ought to Write a Book Well-nigh It" – 3:02

According to Allmusic, the solo version is listed at lengths betwixt iii: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 i of two songs on the anthology ("Yesterday" beingness 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 Rut of the Dark" also had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither 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 by Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre State
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Baton Strange
Nancy Sinatra singles chronology
"God Knows I Honey Yous"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Human"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album subsequently ending her account with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music entreatment,[l] 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 mag staff reviewed the song favorably, stating that the embrace was a "polish sing-a-long popular style".[52] They too 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]

Nautical chart performance [edit]

Although CD Universe describes the song equally a state music vocal,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among Us Billboard Bubbling Nether Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Peak 40 nautical chart at number 30.[55] [56] The post-obit week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its apex for its ii-week stay.[58] The song and then spent a total of ii weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second consecutive week at its peak position of number 19 on the Easy Listening chart.[threescore] The song remained on the nautical chart for 5 weeks until June 14, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Adult Chart) on June two, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The vocal spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Hither Nosotros Go Once again", "God Knows I Love You" and "Drummer Man").[67]

Rail listing [edit]

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

Co-ordinate to Allmusic the original rail was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was iii:xi.[68] The unmarried 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, and then she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this anthology:[49]

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

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Become Once again" as a duet with American vocalizer-songwriter Norah Jones, who grew upward listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Hither We Go Once again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets tape. 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 it correct next to Ray, watching his mouth for the phrasing. He was very sugariness and put me at ease, which was peachy because I was petrified walking in there."[72] She noted in ane ...Featuring interview that the just function that was not done live was a pianoforte overlay that she added afterward to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this ane provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the 2 singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

Every bit role of Charles' Grammy Accolade for Album of the Twelvemonth-winning Genius Loves Company, the song proved to exist the near popular and critically acclaimed on the album. Although the vocal had its early detractors,[77] [78] information technology received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the vocal equally 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" operation.[80] The song was described by the Orlando Sentry 's Jim Abbott as 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's accompanying role on Hammond B3.[vii] As 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 organization".[71] Author Mike Evans wrote that "in that location'due south a common warmth of purpose in every breath [Charles and Jones] have" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal equally 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 song burden as did many of Charles's duet partners on the anthology.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'southward performance was favorably described by The Washington Post 'south Richard Harrington equally "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal'south "countrified ache" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the vocal did not stand up 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 Mag wrote that the duet was a "more 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 February 13, 2005 awards ceremony, the duet earned the award for Record of the Yr and Best Pop Collaboration with Vocals.[90] It was the second Tape of the Year winner not to brand the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Tape of the Yr, but not Song of the Year. Record of the Yr is awarded to the artist(south), producer(s), recording engineer(s) and/or mixer(southward), if other than artist for newly recorded material. Song of the Twelvemonth is awarded to the songwriter(s) of a new song or a song kickoff achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their work on its original version in 1967.[93] Thus, the vocal was non a new song.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September eighteen, 2004, Genius Loves Company sold 202,000 copies, ranking second on the US Billboard 200 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 Top 50 chart. "Here We Go Again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the Us Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Go Again" barbarous out of the top 50 two weeks later.[97] Information technology was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry 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 Twelvemonth, sales picked up and the album was re-promoted.[99] "Hither We Become Again" entered the US Billboard Bubbling Under Hot 100 chart at number 5 in the consequence dated (for the calendar week ending) February 26, 2005.[100] The vocal charted for a week on both the US Billboard Hot Digital Songs summit 75 at number 73 and the The states Billboard Popular 100 at number 74 for the week ending March 5, 2005, but still did non make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] Withal, it ascended to its Bubbling Nether Hot 100 nautical chart peak position of number two for the week ending March 5, 2005.[102] A meaty disc single of the song was released on April xix, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Tiptop twoscore chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged half-dozen weeks on the chart.[104] "Here Nosotros Get Again" entered the French Singles Chart at number 54 on April two, 2005 and peaked one week subsequently at number 51. It lasted 10 weeks on the top 100 nautical chart.[105]

Track listing [edit]

  • CD single [103]
  1. "Hither We Go Again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – 1:35

According to Allmusic, the duet version was between 3:56 and three:59 on diverse 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 chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal also spent five weeks on the Cashbox Country Singles Nautical chart, debuting on October vii, 1972, and peaking at number 61 three 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 half-dozen, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, just 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 October 30, 1982, Billboard anthology review and was described as "a solid land number".[112] The song peaked at number 65 in the calendar week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The vocal also spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for 2 weeks (Dec 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Once more" 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 Terminal Time I Saw Her,[118] Eddy Arnold's on his 1972 album Alone People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither Nosotros Go Again album, simply she did non include it on her 2007 duets album Reba: Duets, which was released four weeks after.[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 3:07, and it subsequently appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only ii:26.[118] Strait'south version is two:53 and appears later on on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Lilliputian Willie Littlefield recorded a version for his 1997 album The Red 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 vocal[129] that he included on his 1976 album Gilded 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 ii concerts at Lincoln Center'south Rose Theatre on February 9 and x, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: 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 Go Again".[132] [133] The vocals on "Hither Nosotros Become Once more" were performed past 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 dejection 12/8 shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "style and panache" to this operation.[134] At i concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rail is sparse, Pop Matters 's Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with condescending 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 country music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Immature (background vocals), and Reggie Immature (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait'due south "most difficult-core state album" up to that indicate in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against most of its competitors and has aged better than most state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the near straightforward style of singing.[140] The iTunes Store describes the album equally the result of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'southward 1970 movie Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition additional soundtrack anthology 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 (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Feel Just 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. ^ "Here Nosotros Go Again (Legal Championship)". Circulate Music Incorporated. Archived from the original on July nineteen, 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: 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May eight, 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 Y'all To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record 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 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. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-seven.
  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 Printing. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Canvas Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): twenty. 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.
  28. ^ a b "Here We Get 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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