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Here We Go Again Instrumental Miami Folk

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1967 song by Ray Charles

"Here Nosotros Go Over 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 Over again" seven-inch single cover art
Unmarried by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book Near It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Estrus of the Night"
(1967)

"Hither Nosotros Go Once more" is a country music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Y'all to Heed. Information technology was record producer past Joe Adams for ABC Records/Tangerine Records. To engagement, this version of the song has been the biggest commercial success, spending twelve sequent weeks on the U.s.a. Billboard Hot 100 nautical chart, peaking at number 15.

The nigh notable encompass version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Visitor. This version has been the biggest disquisitional success. After Genius Loves Visitor was released, "Hither We Go Again" earned Grammy Awards for Record of the Year and Best Popular Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the anthology's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song 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, 5 different versions take been listed on the music charts. Although its ii near successful versions have been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Get Over again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such equally i with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Go Once again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 anthology equally well. Embrace versions have appeared on compilation albums by a number of artists, even some who did non release "Here We Go Once more" equally a unmarried.

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.[one] According to Will Friedwald in A Biographical Guide to the Swell Jazz and Pop Singers, "His start four ABC albums were all primarily devoted to standards..."[ii] In the 1960s, he experienced crossover success with both rhythm and dejection and land music. Considering Charles was signed to ABC as a rhythm and blues vocaliser, he decided to expect until his contract was up for its three-yr renewal earlier experimenting with state music, although he wanted to exercise so sooner. With the aid of ABC executive Sid Feller, he gathered a prepare of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Mod Sounds in Country and Western Music and its follow-up Modern Sounds in Country and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here Nosotros Go Again" was recorded during a phase in Charles' career when he was focused on performing country music.[7] Thus, "Here We Get Again" was a country music vocal released past the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection style. Even so, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] simply he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[ten] Joe Adams produced and engineered the album, which included "Here We Go Again".[10]

First released by Charles in 1967, "Here We Become Again" was written past 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 every bit the sixth of ten tracks on Ray Charles Invites You to Mind.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[18]

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 mitt.[20] When he enrolled at West Texas Country University, he formed his offset country band.[19] Don Lanier formed a group by the proper name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil pharmacist just played weekends at land dances. After he quit his professional person role, he formed a ring that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk gild performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Get Again".[21] Steagall'southward first break came when Charles covered "Here We Become Again".[19] Steagall says that the song "came about in a very unusual manner and very quickly".[21] 1 source even claims that Steagall did non come to Hollywood until subsequently Charles recorded the song.[24]

According to the sheet music published past Dirk Music, "Here We Go Again" is set in 12/eight time with a slow shuffle tempo of sixty-ix beats per minute. The vocal is written in the key of B ♭ major.[25] Information technology is primarily a land song,[26] only contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Become Again' is a soulful carol 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 simple and sterling gospel organisation and, in hindsight, is one of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You lot to Listen is not readily available, merely "Here We Go Again" was the best-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 it visited the Royal Festival Hall, London and Salle Pleyel, Paris, equally well every bit Vienna. In May, the band played back in the United states at New York Metropolis's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Magazine and the New York Mail service. Later that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his first lucrative Nevada casino performances, which started with a three-calendar week run at Harrah'due south Reno that was praised in Diverseness. The tour too had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Once again" as "Some other splendid example of how Ray Charles was able to fuse dejection and country".[28] In a review for the single, a writer for Billboard magazine wrote that the song could hands exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May twenty, 1967, outcome and number 48 on the Usa Billboard Hot Rhythm & Blues Singles top 50 chart on June 10, 1967.[30] [31] For the weeks ending July xv, 22 and 29, the vocal spent iii weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles nautical 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 Get Again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 chart and 33 on the Twelvemonth-Finish Hot Rhythm & Blues Singles nautical chart.[xl]

Away, information technology debuted on the UK Singles Chart top forty at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Become Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number three.[44]

Co-ordinate to Will Friedwald, this song is an instance of Charles vocalizing in what would ordinarily be a by and large extraneous manner for dramatic issue past using a dissimilar voice than he had ever previously exhibited. He sang "... non only using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, only making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Track listing [edit]

  • seven-inch unmarried [45]
  1. "Here We Become Again" – 3:14
  2. "Somebody Ought to Write a Volume Nearly Information technology" – 3:02

According to Allmusic, the solo version is listed at lengths betwixt 3:xiv and 3:twenty on diverse albums.[17]

Credits [edit]

Charles is credited as vocaliser and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is one of two songs on the album ("Yesterday" being the other) that in add-on to beingness listed equally ABC-Par ABC595 is credited equally Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Rut of the Nighttime" too had a Dunhill credit but a dissimilar number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither We Get 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 past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(southward) Don Lanier, Blood-red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Hither We Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a encompass of the song for her 1969 album Nancy, which was her first album after catastrophe her business concern relationship with producer Lee Hazlewood.[49] The embrace, which according to programming guides had an like shooting fish in a barrel listening and country music appeal,[50] was produced by Billy Foreign.[51] [52] The B-side to the single, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the vocal favorably, stating that the comprehend was a "smooth sing-a-long pop style".[52] They also commended Sinatra'southward singing, calling information technology 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 as a country music song,[49] it never charted on state music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbling Nether Hot 100 Singles chart at number 106 and debuted on the U.s.a. Billboard Easy Listening Meridian 40 chart at number thirty.[55] [56] The following week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its noon for its two-week stay.[58] The vocal and then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2d consecutive week at its peak position of number xix on the Easy Listening nautical chart.[sixty] The song remained on the chart for 5 weeks until June 14, 1969.[61] [62] In Canada "Here We Go Once more" debuted at number 38 on the RPM Adult Gimmicky chart (previously Immature Developed Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June xvi, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the last year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Honey You" and "Drummer Man").[67]

Rails listing [edit]

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

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

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Go Again" every bit a duet with American singer-songwriter Norah Jones, who grew upwardly listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Hither Nosotros Go Once more" 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 next plane and I brought my mom. We went to his studio and did information technology 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 function that was not done live was a piano overlay that she added after to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform equally a duet and felt that this ane provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the ii singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at once been the regular organist in Charles' band.[71]

Reception [edit]

As role of Charles' Grammy Award for Anthology of the Twelvemonth-winning Genius Loves Company, the song proved to be the well-nigh popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received generally favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'due south Jason Warburg described the song every bit a "jazzy, slinky pas de deux" in which Charles matches Jones note for annotation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" functioning.[80] The song was described past the Orlando Sentinel 's Jim Abbott as 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's accompanying part 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 as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky arrangement".[71] Author Mike Evans wrote that "at that place's a mutual warmth of purpose in every breath [Charles and Jones] accept" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film 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 work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the song burden equally did many of Charles's duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening runway".[27] Preston'southward 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 role of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included 3 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 Slant Mag wrote that the duet was a "more staid and less compelling recording" on the album.[86] Notwithstanding, 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 ceremony, the duet earned the accolade for Record of the Yr and Best Popular Collaboration with Vocals.[90] It was the second Record of the Year winner non to brand the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Tape of the Twelvemonth, but not Song of the Year. Record of the Year is awarded to the artist(s), producer(due south), recording engineer(s) and/or mixer(due south), if other than artist for newly recorded material. Song of the Yr is awarded to the songwriter(s) of a new vocal or a song first achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited every bit the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new song.

Nautical chart performance [edit]

African American performing at a keyboard in concert

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

For the week catastrophe September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the US Billboard 200 chart and condign Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album brand the The states Billboard Hot Digital Tracks Top 50 chart. "Here We Get Again" was the download sales leader amidst the album's songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the vocal debuted on the Usa Billboard Hot Digital Tracks chart at number 26.[96] "Here We Become Again" fell out of the acme fifty ii weeks later.[97] Information technology was released every bit a single for digital download on Jan 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Manufacture Association of America for shipments exceeding 500,000 units in the Us.

After the album earned eight Grammy Awards and the vocal won Tape of the Yr, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the Us Billboard Bubbling Under Hot 100 nautical chart at number five in the consequence dated (for the calendar week catastrophe) February 26, 2005.[100] The song charted for a week on both the United states of america Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, but still did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, it 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 song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Superlative 40 chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. It logged half-dozen weeks on the chart.[104] "Here We Get Again" entered the French Singles Chart at number 54 on April two, 2005 and peaked ane week later at number 51. Information technology lasted 10 weeks on the top 100 chart.[105]

Runway listing [edit]

  • CD single [103]
  1. "Here We Go Again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – v:05
  3. "Interview With Norah Jones" – i: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 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 Country Songs nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal as well spent five weeks on the Cashbox Land Singles Chart, debuting on October 7, 1972, and peaking at number 61 iii weeks after.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the Nov half dozen, 1982 (season xv, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, just information technology entered the Hot Country Songs chart for the calendar week ending October xxx, 1982, at 88.[111] The song was one of only two mentioned in the October xxx, 1982, Billboard album review and was described equally "a solid land number".[112] The song peaked at number 65 in the calendar week ending Nov 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song as well spent seven weeks on the Cashbox State Singles Chart, debuting on Nov 6, 1982, and peaking at number 61 for two weeks (December four and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] equally did Dean Martin on his 1970 album My Adult female, My Woman, My Married woman.[117] Glen Campbell'southward version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold'southward on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Holding My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again album, but she did not include it on her 2007 duets album Reba: Duets, which was released 4 weeks afterward.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this land standard by Nathalie Baret of ABQ Journal.[123] Martin'southward version was iii:07, and it afterwards appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is 2:53 and appears afterwards on his 2004 Greatest Collection at a two:55 length.[120] Steagall'south version with McEntire (who Steagall discovered at a 1974 canton off-white)[123] [124] is iii:10.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Ruby I.[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. ii 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 Feb 9 and x, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Over again: Celebrating the Genius of Ray Charles was recorded on these ii live dates. The album, which was released on March 29, 2011, included a track entitled "Hither Nosotros Go Again".[132] [133] The vocals on "Hither Nosotros Go Once more" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:10, was arranged by Andy Farber and performed in a rhythm and dejection 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and brio" 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 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 grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland too 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 (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 Immature (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 as Strait's "most difficult-core country anthology" up to that point in his career.[138] Allmusic staff noted that the anthology held its own at the time of release confronting well-nigh of its competitors and has aged better than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward manner of singing.[140] The iTunes Store describes the album as the result of a transition in eras of country music.[141]

The song plays during the opening credit dance past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 picture Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 motion picture Ray nor the limited edition boosted 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 Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Terminal Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Only The Aforementioned". 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 Once again (Legal Championship)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modernistic Sounds in State and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". 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 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 All-time Land Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star Land. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  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–half-dozen. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Become Over again Canvass Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May nine, 2011.
  26. ^ a b "Superlative lx Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): twenty. May 6, 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 10, 2011.
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Bibliography [edit]

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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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