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1967 song by Ray Charles

"Hither We Become 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 Again" 7-inch single cover art
Single past Ray Charles
from the album Ray Charles Invites You to Mind
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(due south) Joe Adams
Ray Charles singles chronology
"Please Say You lot're Fooling"
(1966) 		"Hither We Get Again"
(1967) 		"In the Rut of the Night"
(1967)

"Here We Go Again" is a country music standard written by Don Lanier and Reddish Steagall that get-go became notable equally a rhythm and blues unmarried by Ray Charles from his 1967 anthology Ray Charles Invites You to Listen. It was record producer past Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number 15.

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 disquisitional success. After Genius Loves Company was released, "Here We Become Again" earned Grammy Awards for Tape of the Yr and Best Popular Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album'southward release. Some other notable version past Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 'south Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The vocal has been covered in a wide diverseness of musical genres. In full, five different versions have been listed on the music charts. Although its ii most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither Nosotros Go Again" was first covered in an instrumental jazz format, and many of the more contempo covers have been sung as duets, such equally i with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute anthology Hither We Go Over again: Celebrating the Genius of Ray Charles. The vocal lent its proper noun to Ruddy Steagall's 2007 anthology every bit well. Cover versions have appeared on compilation albums by a number of artists, even some who did not release "Here We Become Again" every bit a single.

Original version [edit]

In November 1959, afterward twelve years equally a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[one] Co-ordinate to Will Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His showtime four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC as a rhythm and dejection vocaliser, he decided to wait until his contract was up for its 3-year renewal earlier experimenting with country music, although he wanted to do and then sooner. With the aid of ABC executive Sid Feller, he gathered a set 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-up Modern Sounds in Land and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Over again" was recorded during a stage in Charles' career when he was focused on performing country music.[7] Thus, "Hither We Go Again" was a country music song released by the Tangerine characterization ABC-Paramount, but performed in Charles' rhythm and dejection style. However, his works did not carry the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[nine] but he returned to arrange Charles' 1967 album, Ray Charles Invites Y'all to Heed.[ten] Joe Adams produced and engineered the album, which included "Here Nosotros Get Again".[10]

Beginning 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 it at RPM International Studios, Los Angeles,[12] [13] and the vocal was listed as the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [fifteen] [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 vocal was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[xviii]

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 State University, he formed his showtime country band.[xix] 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 office, he formed a band that became popular 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, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Go Again".[21] Steagall'due south beginning pause came when Charles covered "Here We Go Again".[19] Steagall says that the song "came about in a very unusual style and very quickly".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

According to the canvass music published by Dirk Music, "Hither Nosotros Go Once again" is fix in 12/8 time with a slow shuffle tempo of sixty-9 beats per minute. The song is written in the key of B ♭ major.[25] It is primarily a state vocal,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful ballad in the Southern blues tradition. Lyrically, information technology has a resignation and pain that makes the blues, merely, what it is. The recording has a elementary and sterling gospel system and, in retrospect, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Yous to Listen is not readily bachelor, but "Here We Go Again" was the all-time-charting song on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' starting time since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well every bit Vienna. In May, the band played back in the United States at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Mail service. Later on that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his commencement lucrative Nevada casino performances, which started with a iii-week run at Harrah's Reno that was praised in Variety. The tour as well 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 dejection and state".[28] In a review for the single, a writer for Billboard magazine wrote that the song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May 20, 1967, upshot and number 48 on the US Billboard Hot Rhythm & Blues Singles meridian l chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the vocal spent three weeks at its height position of number xv on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number v on the Hot Rhythm & Blues Singles chart.[34] [35] Past Baronial 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 catastrophe on September two.[37] [38] "Here Nosotros Get Again" was Charles' last single to enter the pinnacle twenty of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the US Billboard Year-Stop Hot 100 nautical chart and 33 on the Year-End Hot Rhythm & Blues Singles chart.[40]

Abroad, information technology debuted on the U.k. Singles Nautical chart top 40 at number 38 on July viii, 1967, which would be its meridian.[41] Information technology totalled three not-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Get Again" appeared on the singles chart at number 10 on July 15, 1967, and afterward peaked at number three.[44]

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

Rail listing [edit]

  • seven-inch single [45]
  1. "Here Nosotros Become Over again" – 3:14
  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 3:20 on various albums.[17]

Credits [edit]

Charles is credited as singer 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" existence the other) that in improver to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a characterization number ABC/TRC 10938.[47] [48] "In the Estrus of the Night" also had a Dunhill credit but 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 by Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(due south) Don Lanier, Reddish Steagall
Producer(south) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Beloved You"
(1968) 		"Here Nosotros Go Over again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her commencement album after ending her business relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music appeal,[50] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard mag staff reviewed the vocal favorably, stating that the cover was a "smoothen 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 song as a country music song,[49] it never charted on land music charts. For the week ending May 17, 1969, the vocal was listed among Usa Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the United states Billboard Easy Listening Top 40 chart at number thirty.[55] [56] The post-obit calendar week information technology debuted on the U.s.a. Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a total of 2 weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2d sequent week at its summit position of number 19 on the Easy Listening chart.[60] The song remained on the chart for five weeks until June fourteen, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Adult Contemporary nautical chart (previously Young Adult Chart) on June 2, 1969.[63] Information technology peaked at number 21 for the calendar 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 year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Love Yous" and "Drummer Homo").[67]

Track list [edit]

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

According to Allmusic the original rails was 3:09, but when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-exclusive licensing agreement, Reprise (role of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, and so she signed a long-term contract with RCA Records.[lxx]

Credits [edit]

The following musicians performed on this rails:[51]

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

The post-obit 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 (pianoforte)
  • Jerry Scheff (bass guitar)
  • Ballad Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Here We Go Over again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released Jan 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length iii:59
Characterization Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(south) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here Nosotros Get Again"
(2005) 		"Yous Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here We Go Again" as a duet with American vocaliser-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray request if I'd be interested in singing on this duets tape. I got on the next plane and I brought my mom. We went to his studio and did information technology live with the ring. I sang it right adjacent to Ray, watching his oral fissure 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 washed live was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a vocal from Charles' songbook to perform as a duet and felt that this ane 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]

As office of Charles' Grammy Award for Anthology of the Yr-winning Genius Loves Company, the song proved to be the near popular and critically acclaimed on the album. Although the song had its early on detractors,[77] [78] it received by and large favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song every bit a "jazzy, slinky pas de deux" in which Charles matches Jones note for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described past the Orlando Sentinel 's Jim Abbott every bit a recreation of one of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying role on Hammond B3.[7] As opposed to other tracks on the anthology, when Charles' vox 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 only funky arrangement".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] take" on the vocal.[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's lighter timber", while noting Preston for his "sweeping" organ piece of work.[81]

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

When the vocal 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 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 Mag wrote that the duet was a "more staid and less compelling recording" on the album.[86] Nonetheless, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rails was more than merely filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the award for Record of the Twelvemonth 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 by U2).[91] The song won Record of the Year, but not Song of the Yr. Record of the Yr is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(southward), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(s) of a new vocal or a vocal kickoff achieving prominence during the eligibility year.[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 not a new song.

Chart operation [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September eighteen, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the US Billboard 200 chart and becoming Charles' highest-charting anthology in over 40 years. Digital singles sales saw 12 of the 13 tracks on the anthology make the U.s.a. Billboard Hot Digital Tracks Peak fifty chart. "Here Nosotros Get Again" was the download sales leader among the album'south songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the song debuted on the US Billboard Hot Digital Tracks nautical chart at number 26.[96] "Here We Go Again" savage out of the top 50 two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified golden by the Recording Industry Clan of America for shipments exceeding 500,000 units in the U.s..

After the album earned 8 Grammy Awards and the song won Record of the Year, sales picked upward and the album was re-promoted.[99] "Here Nosotros Become Once again" entered the United states Billboard Bubbles Under Hot 100 chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The vocal charted for a week on both the U.s. Billboard Hot Digital Songs elevation 75 at number 73 and the US Billboard Pop 100 at number 74 for the week catastrophe March v, 2005, merely 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 chart tiptop position of number two for the week ending March 5, 2005.[102] A compact disc single of the song was released on April xix, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Height 40 nautical chart at number 53 on March half-dozen, 2005, and peaked the post-obit week at number 52. It logged six weeks on the chart.[104] "Here We Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week later at number 51. It lasted 10 weeks on the top 100 chart.[105]

Runway list [edit]

  • CD single [103]
  1. "Here We Become Over 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 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 vocal for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Land Songs nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal also spent v weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the November half dozen, 1982 (season 15, episode nine), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 nautical chart, but it entered the Hot State Songs chart for the week ending October 30, 1982, at 88.[111] The song was one of but two mentioned in the October 30, 1982, Billboard album review and was described equally "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 also spent 7 weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Become Again" on his 1967 Ode to Baton Joe instrumental album,[116] every bit did Dean Martin on his 1970 album My Woman, My Adult female, My Wife.[117] Glen Campbell'southward version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again album, only she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin's version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was merely 2:26.[118] Strait's version is ii:53 and appears afterward 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 3:ten.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Red Ane.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. two and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed ii concerts at Lincoln Center's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Go Once again: Celebrating 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 "Hither We Become 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 vocal, which had a length of five:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At 1 concert operation, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 'southward 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 person mastery of Marsalis' quintet.[136] Tilland likewise 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 support of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the anthology every bit Strait's "most difficult-core country album" up to that indicate in his career.[138] Allmusic staff noted that the album held its own at the time of release against nearly of its competitors and has aged better than near state 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 equally the result of a transition in eras of country music.[141]

The vocal plays during the opening credit dance past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] Even so, the song was on neither the eponymous soundtrack for the 2004 film 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 Bang-up Jazz and Popular 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 Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But Information technology'due south A Pleasant Listening Feel Just The Same". Orlando Sentinel. 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 We Become Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May eight, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Meaty 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 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 You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May eight, 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 Lexicon. 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 State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Alone Star State. Texas Christian Academy Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Land 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–half dozen. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Go Again Sail Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Pinnacle lx Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 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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