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1967 song by Ray Charles

"Here We 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

"Here Nosotros Go Again" 7-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites Yous to Mind
B-side "Somebody Ought to Write a Book About Information technology"
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(south) Joe Adams
Ray Charles singles chronology
"Delight Say Y'all're Fooling"
(1966) 		"Hither We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Again" is a country music standard written by Don Lanier and Cerise Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the U.s.a. Billboard Hot 100 nautical chart, peaking at number xv.

The about notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Become Over again" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album's release. Some other notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a wide variety of musical genres. In total, five different versions have been listed on the music charts. Although its two most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Become Again" was first covered in an instrumental jazz format, and many of the more than recent covers have been sung equally duets, such equally one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute anthology Here We Go Over again: Celebrating the Genius of Ray Charles. The song lent its proper name to Scarlet Steagall'due south 2007 album every bit well. Cover versions have appeared on compilation albums past a number of artists, fifty-fifty some who did not release "Here We Go Again" as a single.

Original version [edit]

In November 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Volition Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His first 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 blues vocalist, he decided to wait until his contract was upward for its three-year 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 set of country songs to record, despite the wishes of ABC.[iii] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-upwardly Modern Sounds in Land and Western Music, Vol. ii broadened the entreatment of his music to the mainstream. At this betoken, Charles began to appeal more to a white audience.[iv] In 1962 he founded his own tape characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [half-dozen]

"Here We Go Again" was recorded during a stage in Charles' career when he was focused on performing state music.[7] Thus, "Here Nosotros Get Over again" was a land music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. Nonetheless, his works did not deport the Tangerine characterization until 1968.[eight] Feller left ABC in 1965,[nine] but he returned to arrange Charles' 1967 album, Ray Charles Invites Yous to Listen.[x] Joe Adams produced and engineered the album, which included "Here We Go Once more".[10]

First released by Charles in 1967, "Hither We Go Once more" 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 song was listed as the 6th of ten tracks on Ray Charles Invites Y'all to Listen.[14] [15] [16] Starting in 1987, information technology 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 rail.[12] [13] Information technology was also included on the 1988 anthology Ray Charles Anthology.[eighteen]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This action helped him regain the use of his left arm and hand.[20] When he enrolled at Due west Texas State University, he formed his get-go country band.[nineteen] Don Lanier formed a grouping by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist only 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 2 music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Get Over again".[21] Steagall's first break came when Charles covered "Hither We Go Again".[19] Steagall says that the song "came about in a very unusual style and very speedily".[21] One source fifty-fifty claims that Steagall did not come to Hollywood until subsequently Charles recorded the song.[24]

According to the canvas music published past Dirk Music, "Here We Become Again" is gear up in 12/8 time with a ho-hum shuffle tempo of sixty-ix beats per minute. The vocal is written in the primal of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Hither We Go Once more' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, but, what information technology is. The recording has a simple and sterling gospel arrangement and, in retrospect, 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 Y'all to Listen is not readily available, simply "Here We Go Again" was the all-time-charting song 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 information technology visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well every bit Vienna. In May, the band played back in the U.s.a. at New York Urban center'south Carnegie Hall before returning to California. The bout received bad reviews from publications such every bit Jazz Periodical, Jazz Mag and the New York Post. After that summertime, the ring 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 also had an extended fall run at New York'southward 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 land".[28] In a review for the unmarried, a author for Billboard magazine wrote that the vocal could hands exist 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 & Dejection Singles height 50 chart on June x, 1967.[30] [31] For the weeks ending July xv, 22 and 29, the song spent 3 weeks at its tiptop position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its superlative position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it vicious out the Hot 100 chart, ending a 12-week run.[36] Information technology remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Here We Go Once more" was Charles' last single to enter the summit twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the The states Billboard Yr-End Hot 100 chart and 33 on the Year-Finish Hot Rhythm & Dejection Singles chart.[forty]

Abroad, information technology debuted on the United kingdom Singles Chart meridian 40 at number 38 on July eight, 1967, which would be its acme.[41] It totalled 3 non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Get Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number three.[44]

According to Volition Friedwald, this song is an instance of Charles vocalizing in what would ordinarily be a generally extraneous style for dramatic effect by using a different vocalization than he had ever previously exhibited. He sang "... non just using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, but making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • 7-inch single [45]
  1. "Here We Go Again" – 3:14
  2. "Somebody Ought to Write a Volume Nigh Information technology" – 3:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is 1 of two songs on the album ("Yesterday" being the other) that in addition to beingness 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 Estrus of the Night" also had a Dunhill credit just a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here We Go Again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Unmarried past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Land
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(south) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Beloved You"
(1968) 		"Here We Get Over again"
(1969) 		"Drummer Human being"
(1969)

Nancy Sinatra recorded a cover of the vocal for her 1969 album Nancy, which was her commencement anthology after ending her business human relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate 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 song favorably, stating that the cover was a "smooth sing-a-long pop style".[52] They also commended Sinatra'southward singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart functioning [edit]

Although CD Universe describes the song equally a land 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 Nether Hot 100 Singles nautical chart at number 106 and debuted on the US Billboard Like shooting fish in a barrel Listening Top xl chart at number 30.[55] [56] The following calendar week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its ii-calendar week stay.[58] The song and then spent a total of two weeks on the Hot 100.[59] For the week catastrophe June seven, the song spent a 2d sequent calendar week at its peak position of number xix on the Piece of cake Listening chart.[sixty] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Become Again" debuted at number 38 on the RPM Adult Contemporary nautical chart (previously Immature Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a total of 5 weeks on the nautical chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the concluding year in her career that Sinatra reached the Hot 100 chart (with "Hither We Go Once again", "God Knows I Love You" and "Drummer Human").[67]

Track listing [edit]

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

According to Allmusic the original track was three:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-exclusive licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this runway:[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)
  • Scarlet Rhodes (steel guitar)
  • Sid Precipitous (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (pianoforte)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Hither We Get 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 Nosotros Get Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets tape. I got on the side by side plane and I brought my mom. We went to his studio and did it live with the ring. I sang it right next to Ray, watching his mouth 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 i ...Featuring interview that the only role that was not done live was a piano overlay that she added subsequently 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 one provided the all-time 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' ring.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the nearly popular and critically acclaimed on the anthology. 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 'due south Jason Warburg described the song equally a "jazzy, slinky pas de deux" in which Charles matches Jones notation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The vocal was described past the Orlando Sentinel 's Jim Abbott as a recreation of 1 of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to stand for 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 "there'due south 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 flick Ray in theaters and described the song as soulful, that finely combines Charles' "deep, honeyed growl with Jones'due south lighter timber", while noting Preston for his "sweeping" organ work.[81]

The 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 album.[82] USA Today 's Steve Jones said the vocal "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rail".[27] Preston's performance was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" 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 Twelvemonth and several from albums that were nominees,[84] the vocal did not stand out. Few of the reviews at Metacritic had noun comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more than staid and less compelling recording" on the album.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than than just 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 anniversary, the duet earned the award for Tape of the Year and Best Pop Collaboration with Vocals.[ninety] It was the second Record of the Twelvemonth winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Yr, but not Vocal of the Year. Record of the Year is awarded to the artist(southward), producer(s), recording engineer(south) and/or mixer(s), if other than creative person for newly recorded cloth. Song of the Year is awarded to the songwriter(southward) of a new song or a song beginning achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their piece of work on its original version in 1967.[93] Thus, the song was non a new song.

Nautical chart performance [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the Usa Billboard 200 nautical chart and condign Charles' highest-charting anthology in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album brand the US Billboard Hot Digital Tracks Superlative 50 chart. "Here We Go Once again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the vocal debuted on the U.s. Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Go Again" fell out of the top 50 two weeks later.[97] It was released equally a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold past the Recording Manufacture Clan of America for shipments exceeding 500,000 units in the U.s.a..

After the album earned eight Grammy Awards and the vocal won Record of the Twelvemonth, sales picked up and the anthology was re-promoted.[99] "Here Nosotros Go Over again" entered the U.s. 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 elevation 75 at number 73 and the US Billboard Popular 100 at number 74 for the calendar week ending March five, 2005, simply still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, information technology ascended to its Bubbling Under Hot 100 nautical chart peak position of number two for the week ending March 5, 2005.[102] A compact disc single of the vocal was released on April nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Top 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] "Hither We Go Once again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one week afterward at number 51. Information technology lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was between 3:56 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 nautical chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical chart. Information technology debuted on the Hot Land Songs chart on September thirty, 1972, peaking at number 66 and spending a total of 5 weeks on the chart.[107] The song also spent five weeks on the Cashbox State Singles Nautical chart, debuting on Oct 7, 1972, and peaking at number 61 three weeks later.[108]

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

Other versions and uses [edit]

Billy Vaughn covered "Hither We Go Again" on his 1967 Ode to Billy Joe instrumental anthology,[116] as did Dean Martin on his 1970 album My Adult female, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 anthology The Terminal Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait'due south on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Once again album, simply she did non include it on her 2007 duets anthology Reba: Duets, which was released 4 weeks subsequently.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin'due south version was 3:07, and information technology later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. two. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell's version was merely two:26.[118] Strait's version is 2:53 and appears afterwards on his 2004 Greatest Drove at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Niggling Willie Littlefield recorded a version for his 1997 album The Ruby-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 vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here Nosotros 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 We Go Over again" were performed past Jones and Nelson, while instrumental support was provided past 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 v:10, was arranged by Andy Farber and performed in a rhythm and dejection 12/viii shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "style and brio" to this performance.[134] At ane concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rail is sparse, Popular Matters 's Volition Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland as well notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'south country music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (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 anthology equally Strait's "well-nigh hard-core country album" upwards to that signal 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 amend than near country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward mode of singing.[140] The iTunes Store describes the album as the consequence 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's 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition boosted soundtrack anthology More than 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 Pop Singers. Pantheon Books. pp. 78–fourscore. 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–sixteen.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It'due south A Pleasant Listening Experience Just The Same". Orlando Sentinel. Tribune Company. Retrieved May thirteen, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Become Over again (Legal Title)". Circulate 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 8, 2011.
  13. ^ a b Modernistic 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 Y'all to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May eight, 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-seven.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lonely Star Country. Texas Christian University 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-seven.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once more Sail Music". Musicnotes.com. Dirk Music. February xiv, 2005. Retrieved May 9, 2011.
  26. ^ a b "Superlative 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May half dozen, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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