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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 You to Mind
B-side "Somebody Ought to Write a Book Nearly It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:18
Characterization ABC Records/Tangerine Records
Songwriter(due south) Don Lanier, Scarlet Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Oestrus of the Night"
(1967)

"Hither We Become Again" is a land music standard written past Don Lanier and Blood-red Steagall that commencement became notable equally a rhythm and dejection single past Ray Charles from his 1967 anthology 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 vocal has been the biggest commercial success, spending twelve sequent weeks on the US Billboard Hot 100 chart, peaking at number 15.

The virtually notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Visitor. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Go Once more" earned Grammy Awards for Tape of the Year and Best Popular Collaboration at the 47th Grammy Awards in Feb 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 'southward Hot State Songs nautical chart for five weeks in 1972, while Roy Clark did then for 7 weeks in 1982.

The vocal has been covered in a broad variety of musical genres. In total, five dissimilar 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 Go Once more" was first covered in an instrumental jazz format, and many of the more contempo covers have been sung as duets, such as one 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 proper noun to Red Steagall's 2007 album besides. Cover versions accept appeared on compilation albums by a number of artists, even some who did non release "Hither Nosotros Go Once again" as a unmarried.

Original version [edit]

In November 1959, after twelve years equally a professional musician, Ray Charles signed with ABC Records, post-obit the expiration of his Atlantic Records contract.[ane] According to Will Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to wait until his contract was up for its 3-twelvemonth renewal earlier experimenting with country music, although he wanted to practice then sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in Country and Western Music and its follow-up Mod 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.[four] In 1962 he founded his ain record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Become Over again" was recorded during a phase in Charles' career when he was focused on performing state music.[7] Thus, "Here We Become Again" was a country music song released past the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection style. Still, his works did not carry the Tangerine label until 1968.[viii] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites Yous to Mind.[10] Joe Adams produced and engineered the album, which included "Here We Become Again".[10]

First released by Charles in 1967, "Here 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] [13] and the song was listed every bit the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in Land and Western Music was reissued in 1988, the song was added as a bonus track.[12] [xiii] Information technology was likewise included on the 1988 anthology 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 activeness helped him regain the use of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his commencement country band.[19] Don Lanier formed a group past the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at country dances. After he quit his professional function, 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 We Get Again".[21] Steagall'south first break came when Charles covered "Here Nosotros Go Over again".[19] Steagall says that the song "came nearly in a very unusual manner and very chop-chop".[21] One source even claims that Steagall did not come to Hollywood until later Charles recorded the vocal.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither We Go Again" is ready in 12/8 time with a dull shuffle tempo of lx-nine beats per infinitesimal. The song is written in the key of B ♭ major.[25] It is primarily a state song,[26] simply contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the dejection, merely, 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 You lot to Listen is not readily bachelor, but "Hither 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' start since 1964, continued to Europe in mid-April where information technology visited the Majestic Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the band played back in the United States at New York City's Carnegie Hall before returning to California. The bout received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Subsequently that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his commencement lucrative Nevada casino performances, which started with a three-calendar week run at Harrah's Reno that was praised in Variety. The tour also had an extended autumn run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Go Again" as "Another fantabulous case 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 song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, upshot and number 48 on the Usa Billboard Hot Rhythm & Blues Singles top l nautical chart on June x, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its tiptop position of number fifteen 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 vicious out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Hither We Go Once more" was Charles' last single to enter the top 20 of the Hot 100.[39] For the yr 1967 the song finished at number fourscore on the US Billboard Year-Finish Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles chart.[40]

Abroad, information technology debuted on the UK Singles Chart acme 40 at number 38 on July 8, 1967, which would be its height.[41] It totalled 3 not-consecutive weeks on the chart.[42] [43] In the Netherlands, "Hither We Go Once again" appeared on the singles chart at number ten on July 15, 1967, and subsequently peaked at number three.[44]

According to Will Friedwald, this song is an case of Charles vocalizing in what would ordinarily be a generally extraneous style for dramatic effect past using a different voice 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 center of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[ii]

Rails listing [edit]

  • 7-inch single [45]
  1. "Here Nosotros Become Once again" – iii:14
  2. "Somebody Ought to Write a Book Near It" – 3:02

According to Allmusic, the solo version is listed at lengths between three:14 and 3:20 on various albums.[17]

Credits [edit]

Charles is credited equally vocaliser and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is 1 of two songs on the anthology ("Yesterday" beingness the other) that in improver 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 Heat of the Night" likewise had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither Nosotros 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 past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Cherry Steagall
Producer(s) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love Yous"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Homo"
(1969)

Nancy Sinatra recorded a encompass of the vocal for her 1969 anthology Nancy, which was her get-go album after ending her business organization relationship with producer Lee Hazlewood.[49] The comprehend, which according to programming guides had an like shooting fish in a barrel listening and country music entreatment,[50] was produced by Billy Strange.[51] [52] The B-side to the unmarried, "Memories", was written past Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long pop style".[52] They also commended Sinatra's singing, calling it a "fine" performance, noting that information technology would likely return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the song as a country music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the song was listed amidst US Billboard Bubbling Nether Hot 100 Singles nautical chart at number 106 and debuted on the US Billboard Piece of cake Listening Top forty nautical chart at number thirty.[55] [56] The following 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 full of two weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2nd sequent calendar week at its peak position of number 19 on the Easy Listening chart.[60] The song remained on the chart for v weeks until June 14, 1969.[61] [62] In Canada "Hither We Go Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Adult Nautical chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of v weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the concluding yr in her career that Sinatra reached the Hot 100 chart (with "Hither Nosotros Go Again", "God Knows I Dearest You" and "Drummer Man").[67]

Rail listing [edit]

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

According to Allmusic the original track was iii:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, information technology was 3:11.[68] The single was initially released through Reprise Records. In a non-sectional licensing understanding, 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 post-obit musicians performed on this track:[51]

  • B.J. Baker Singers (fill-in vocals)
  • The Blossoms (backup 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 (pianoforte)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here Nosotros Go Over again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets tape. I got on the next plane and I brought my mom. We went to his studio and did information technology live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was swell because I was petrified walking in there."[72] She noted in one ...Featuring interview that the only role that was non washed alive was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the all-time opportunity to harmonize rather than alternating vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Visitor, the song proved to be the most popular 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 's Jason Warburg described the song as 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" operation.[eighty] The vocal was described by the Orlando Sentinel 'due south Jim Abbott as a recreation of one of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vocalism was understated, this vocal was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organization".[71] Author Mike Evans wrote that "in that location'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 film Ray in theaters and described the song as soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ piece of work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the vocal brunt as did many of Charles's duet partners on the album.[82] Usa Today 's Steve Jones said the vocal "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'south performance was favorably described by The Washington Postal service 's Richard Harrington every bit "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that function of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the 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 Slant Mag wrote that the duet was a "more than staid and less compelling recording" on the anthology.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the vocal was nominated in two categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the laurels for Record of the Year and Best Pop Collaboration with Vocals.[xc] It was the 2d Tape of the Year winner non to make the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Record of the Year, just non Song of the Year. Tape of the Year is awarded to the artist(south), producer(s), recording engineer(s) and/or mixer(southward), if other than artist for newly recorded material. Vocal of the Year is awarded to the songwriter(southward) of a new song or a song offset achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new song.

Nautical chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the US Billboard 200 chart and becoming Charles' highest-charting anthology in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album make the US Billboard Hot Digital Tracks Tiptop 50 chart. "Here We Go Again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Get Again" roughshod out of the elevation 50 two weeks later on.[97] It was released as a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold past the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

Afterwards the album earned viii Grammy Awards and the song won Record of the Twelvemonth, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbles Nether Hot 100 chart at number five in the issue dated (for the calendar week ending) Feb 26, 2005.[100] The song charted for a week on both the U.s.a. 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, merely still did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] Nonetheless, information technology ascended to its Bubbling Under Hot 100 chart top 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 Republic of austria Top 40 chart at number 53 on March six, 2005, and peaked the following week at number 52. It logged half dozen weeks on the chart.[104] "Here Nosotros Go Again" entered the French Singles Chart at number 54 on April two, 2005 and peaked one calendar week later on at number 51. Information technology lasted 10 weeks on the top 100 nautical chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was between 3:56 and three:59 on various albums.[17]

Credits [edit]

The vocal was recorded at RPM International Studio (Los Angeles), mixed at Capitol Studios and mastered at the Mastering Lab.[106]

Country chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical chart. Information technology debuted on the Hot Land Songs chart on September 30, 1972, peaking at number 66 and spending a total of 5 weeks on the chart.[107] The vocal also spent five weeks on the Cashbox Country Singles Chart, debuting on Oct vii, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the November 6, 1982 (flavor 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, simply it entered the Hot Country Songs chart for the calendar week ending October 30, 1982, at 88.[111] The song was one of only two mentioned in the October 30, 1982, Billboard album review and was described equally "a solid land number".[112] The vocal peaked at number 65 in the calendar week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song also spent 7 weeks on the Cashbox Land 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 "Here Nosotros Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] every bit did Dean Martin on his 1970 anthology My Woman, My Adult female, My Wife.[117] Glen Campbell's version appeared on his 1971 anthology 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 Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here Nosotros Get Once more album, but she did non include it on her 2007 duets album Reba: Duets, which was released four weeks later on.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Periodical.[123] Martin's version was 3:07, and it subsequently 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'south version was only 2:26.[118] Strait'south version is 2:53 and appears afterwards his 2004 Greatest Collection at a ii: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 Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album 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 10, 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 two live dates. The album, which was released on March 29, 2011, included a track entitled "Here We Get 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 v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "style and brio" to this performance.[134] At one concert operation, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Will Layman notes that the album reveals "how decisive and potent 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 also notes that on the anthology Marsalis' ring "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 (acoustic 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 Amusement Weekly 's Alanna Nash regarded the anthology as Strait'southward "most difficult-cadre country album" up to that point in his career.[138] Allmusic staff noted that the album held its own at the time of release against well-nigh of its competitors and has aged meliorate than most land music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the well-nigh straightforward style of singing.[140] The iTunes Shop describes the album as the result of a transition in eras of country music.[141]

The song plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 moving picture Gods of the Plague.[142] [143] Notwithstanding, 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 Great Jazz and Pop Singers. Pantheon Books. pp. 78–lxxx. 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 Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Feel Just The Aforementioned". Orlando Sentinel. Tribune Company. Retrieved May xiii, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modernistic Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: 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 Listen". Retrieved May eight, 2011.
  17. ^ a b c "Here Nosotros Go Once again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Land Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star Country. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  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. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Again Sheet Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): twenty. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Become 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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