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Here I Go Again Was Written by Country Artist 1969

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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

"Here We Go Again" 7-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites You lot to Listen
B-side "Somebody Ought to Write a Book Nearly It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length iii:18
Label ABC Records/Tangerine Records
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say Y'all're Fooling"
(1966) 		"Hither We Get Again"
(1967) 		"In the Oestrus of the Night"
(1967)

"Here Nosotros Go Once again" is a country music standard written past Don Lanier and Ruby Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Yous to Mind. It was record producer past Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the song has been the biggest commercial success, spending twelve sequent weeks on the US Billboard Hot 100 chart, peaking at number xv.

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

The song has been covered in a wide 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. "Here We Get Once again" was offset covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such as 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Go Once again: Celebrating the Genius of Ray Charles. The song lent its name to Blood-red Steagall's 2007 anthology as well. Cover versions accept appeared on compilation albums by a number of artists, even some who did not release "Here We Go Again" as a single.

Original version [edit]

In November 1959, later twelve years equally a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] Co-ordinate 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..."[ii] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC every bit a rhythm and blues vocalizer, he decided to wait until his contract was up for its 3-year renewal before experimenting with land music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to tape, despite the wishes of ABC.[three] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Modern Sounds in State and Western Music, Vol. two broadened the entreatment of his music to the mainstream. At this signal, Charles began to entreatment more than to a white audition.[4] In 1962 he founded his own tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Become Again" was recorded during a phase in Charles' career when he was focused on performing country music.[7] Thus, "Hither We Become Once more" was a country music song released past the Tangerine characterization ABC-Paramount, but performed in Charles' rhythm and blues mode. However, his works did not bear the Tangerine label until 1968.[eight] Feller left ABC in 1965,[nine] merely he returned to accommodate Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Here Nosotros Get Again".[10]

First released past Charles in 1967, "Hither We Go 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] [xiii] and the song was listed as the sixth of ten tracks on Ray Charles Invites Y'all to Listen.[fourteen] [15] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in State and Western Music was reissued in 1988, the vocal was added equally a bonus rails.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio every bit 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.[20] When he enrolled at Due west Texas Land University, he formed his first land 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 equally a soil pharmacist but played weekends at state dances. Afterwards he quit his professional role, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Go Again".[21] Steagall'due south starting time interruption came when Charles covered "Here Nosotros Get Once more".[19] Steagall says that the song "came well-nigh in a very unusual manner and very quickly".[21] One source fifty-fifty claims that Steagall did not come to Hollywood until after Charles recorded the vocal.[24]

According to the sheet music published by Dirk Music, "Here We Get Again" is set in 12/8 time with a boring 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] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Get Once again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and hurting that makes the blues, simply, what it is. The recording has a simple and sterling gospel arrangement and, in retrospect, is i of Charles' finer attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily available, but "Here We Become Again" was the best-charting song on the anthology (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-Apr where it visited the Imperial Festival Hall, London and Salle Pleyel, Paris, every bit well equally Vienna. In May, the band played back in the United States at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Post. Later that summer, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his start 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'due south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Once again" as "Another first-class example of how Ray Charles was able to fuse blues and country".[28] In a review for the unmarried, a author for Billboard magazine wrote that the vocal could hands be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May twenty, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles peak 50 chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its pinnacle position of number 15 on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its superlative position of number v on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for 13 weeks ending on September 2.[37] [38] "Here We Go Again" was Charles' final single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number fourscore on the The states Billboard Year-Cease Hot 100 chart and 33 on the Year-Terminate Hot Rhythm & Blues Singles chart.[twoscore]

Abroad, it debuted on the Britain Singles Chart top 40 at number 38 on July eight, 1967, which would be its pinnacle.[41] It totalled 3 non-consecutive weeks on the chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles chart at number x on July xv, 1967, and later peaked at number three.[44]

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

Runway listing [edit]

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

According to Allmusic, the solo version is listed at lengths between iii:fourteen and three:20 on diverse albums.[17]

Credits [edit]

Charles is credited as singer and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is ane of 2 songs on the anthology ("Yesterday" beingness the other) that in addition to existence 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" as well 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 anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(south) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dearest You"
(1968) 		"Hither Nosotros Become Again"
(1969) 		"Drummer Man"
(1969)

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

Chart performance [edit]

Although CD Universe describes the vocal equally a country music vocal,[49] it never charted on land music charts. For the week catastrophe May 17, 1969, the song was listed amidst US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the U.s. Billboard Piece of cake Listening Top 40 chart at number 30.[55] [56] The following week information technology debuted on the United states Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song and then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a 2d consecutive week at its superlative position of number xix on the Easy Listening chart.[60] The vocal remained on the nautical chart for five weeks until June xiv, 1969.[61] [62] In Canada "Hither We Go Again" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June 16, 1969.[64] The song spent a full of v weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the last yr in her career that Sinatra reached the Hot 100 nautical chart (with "Hither Nosotros Go Again", "God Knows I Love You lot" and "Drummer Homo").[67]

Track listing [edit]

  • 7-inch vinyl single [53]
  1. "Here We Become Again" – three:07
  2. "Memories" – 3:twoscore

According to Allmusic the original track was 3:09, simply when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was three:xi.[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, and so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Go Once again"
Unmarried by Ray Charles and Norah Jones
from the anthology Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length three:59
Characterization Concord/Hear Music
Songwriter(s) Don Lanier, Cherry-red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Become Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Virtually You"
(2006)

In 2004, Charles re-recorded "Here We Go Once again" equally a duet with American vocalist-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here Nosotros Go Over again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets record. I got on the next airplane and I brought my mom. We 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 sweet and put me at ease, which was great considering I was petrified walking in there."[72] She noted in one ...Featuring interview that the but part that was not done live was a piano overlay that she added later to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform equally a duet and felt that this i provided the all-time opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at ane time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the vocal proved to exist the most pop and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'southward Jason Warburg described the song equally 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" functioning.[80] The song was described past the Orlando Sentinel 's Jim Abbott as a recreation of i of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare just funky arrangement".[71] Writer Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical pic Ray in theaters and described the vocal 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's duet partners on the anthology.[82] United states Today 's Steve Jones said the song "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described by The Washington Post 'south Richard Harrington every bit "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 song was included on Jones' ...Featuring, which included iii of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand 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 Camber Mag wrote that the duet was a "more staid and less compelling recording" on the album.[86] Yet, 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 thirteen, 2005 awards ceremony, the duet earned the award for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the 2d Record of the Twelvemonth winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Twelvemonth, but not Song of the Year. Record of the Year is awarded to the artist(s), producer(southward), recording engineer(s) and/or mixer(s), if other than artist for newly recorded textile. Song of the Yr is awarded to the songwriter(southward) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this vocal 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 death

For the week catastrophe September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the United states of america Billboard 200 chart and becoming Charles' highest-charting anthology in over twoscore years. Digital singles sales saw 12 of the 13 tracks on the album brand the The states Billboard Hot Digital Tracks Height 50 chart. "Hither We Go Again" was the download sales leader among the album'south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here We Get Once more" savage out of the pinnacle 50 two weeks later.[97] It was released as a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

After the anthology earned eight Grammy Awards and the vocal won Tape of the Year, sales picked upward and the anthology was re-promoted.[99] "Here We Become Over again" entered the US Billboard Bubbling Nether Hot 100 nautical chart at number v in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs height 75 at number 73 and the US Billboard Pop 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 chart.[48] However, it ascended to its Bubbles Under Hot 100 chart peak position of number two for the week catastrophe March v, 2005.[102] A compact disc single of the song was released on Apr 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March six, 2005, and peaked the following week at number 52. It logged vi weeks on the chart.[104] "Here We Become Over again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one calendar week later at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was betwixt 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 chart versions [edit]

Johnny Duncan charted a version of the vocal for Columbia Records that missed the Hot 100 nautical chart. It debuted on the Hot Country Songs chart on September xxx, 1972, peaking at number 66 and spending a total of v weeks on the chart.[107] The song too spent five weeks on the Cashbox Country Singles Nautical 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 Nov 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but information technology entered the Hot State Songs chart for the calendar week ending Oct xxx, 1982, at 88.[111] The song was ane of only two mentioned in the October 30, 1982, Billboard anthology review and was described as "a solid country number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the chart for ii more weeks, making the total run seven weeks.[113] [114] The song besides spent vii weeks on the Cashbox State Singles Nautical chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (Dec 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Once again" on his 1967 Ode to Billy Joe instrumental anthology,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Married woman.[117] Glen Campbell'due south 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 Property My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Again album, merely she did not include it on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this state standard past Nathalie Baret of ABQ Journal.[123] Martin'southward version was 3:07, and it later 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'due south version was just ii:26.[118] Strait'due south 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 canton fair)[123] [124] is iii:x.[125] R&B and boogie-woogie pianist and vocalist Piffling Willie Littlefield recorded a version for his 1997 album The Crimson One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 album 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 ix and ten, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Become 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 runway entitled "Here We Go Once again".[132] [133] The vocals on "Here We Go Again" were performed past Jones and Nelson, while instrumental back up 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 5:10, 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 "way and panache" to this performance.[134] At one concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this runway is sparse, Pop Matters 's Will Layman notes that the anthology reveals "how decisive and potent Jones sounds while singing with a truly legitimate jazz group" 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 land music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (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 album equally Strait'due south "nearly hard-core country album" up to that indicate in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against well-nigh of its competitors and has aged meliorate than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Store describes the album as the result of a transition in eras of state 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 motion-picture show Gods of the Plague.[142] [143] Nevertheless, 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 Not bad 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. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Only Information technology's A Pleasant Listening Experience Just The Aforementioned". Orlando Sentry. 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 Once 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 8, 2011.
  13. ^ a b Mod Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August v, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You lot to Heed -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Become Once more". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). State Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to State: 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 State. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Over again Sheet Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May nine, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Business Media, Inc. 79 (xviii): 20. May six, 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 Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May x, 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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