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1967 song past Ray Charles

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

"Here Nosotros Get Once again" is a state music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and blues unmarried by Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 nautical chart, peaking at number 15.

The most notable comprehend 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. Afterwards Genius Loves Company was released, "Here We Get Again" earned Grammy Awards for Record of the Yr and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'southward release. Another notable version by Nancy Sinatra charted for v 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 7 weeks in 1982.

The song has been covered in a wide variety of musical genres. In full, five different versions have been listed on the music charts. Although its two most successful versions take been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Get Again" was start covered in an instrumental jazz format, and many of the more contempo covers have been sung as duets, such every bit 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Become Once again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Cover versions take appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Here We Get Once again" as a single.

Original version [edit]

In November 1959, subsequently twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His first iv ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Considering Charles was signed to ABC equally a rhythm and dejection singer, he decided to await until his contract was upward for its iii-year renewal before experimenting with state music, although he wanted to do and so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of land songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in State and Western Music and its follow-up Modern Sounds in Land and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his ain record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Over again" was recorded during a phase in Charles' career when he was focused on performing land music.[7] Thus, "Here We Get Once more" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. Withal, his works did non bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[nine] just he returned to suit Charles' 1967 album, Ray Charles Invites You to Mind.[10] Joe Adams produced and engineered the album, which included "Here We Go Once again".[10]

First released by Charles in 1967, "Here We Become Once more" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the song was listed equally the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [fifteen] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in Country and Western Music was reissued in 1988, the vocal was added as a bonus track.[12] [13] It was likewise included on the 1988 album Ray Charles Anthology.[eighteen]

Limerick [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the apply of his left arm and hand.[20] When he enrolled at W Texas Country University, he formed his showtime land band.[19] Don Lanier formed a grouping by 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. 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 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 Become Again".[21] Steagall'southward start pause came when Charles covered "Here We Go Once again".[19] Steagall says that the vocal "came about in a very unusual manner and very quickly".[21] One source even claims that Steagall did non come to Hollywood until afterward Charles recorded the vocal.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither Nosotros Go Again" is set in 12/8 time with a slow shuffle tempo of 60-ix beats per infinitesimal. The vocal is written in the key of B ♭ major.[25] It is primarily a country song,[26] only contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Once more' is a soulful carol in the Southern dejection tradition. Lyrically, it has a resignation and hurting that makes the blues, but, what it is. The recording has a simple and sterling gospel organization and, in retrospect, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Mind is non readily bachelor, but "Here We Go Over 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 State of war from San Diego Harbor. The bout, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, equally well as Vienna. In May, the band played dorsum in the United States at New York Urban center's Carnegie Hall earlier returning to California. The bout received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Postal service. Later that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah'southward Reno that was praised in Diversity. The tour also had an extended autumn run at New York'due south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Once more" as "Another excellent example of how Ray Charles was able to fuse blues and state".[28] In a review for the single, a writer for Billboard magazine wrote that the song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles tiptop 50 chart on June 10, 1967.[30] [31] For the weeks catastrophe July xv, 22 and 29, the vocal spent three weeks at its peak position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it roughshod out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for xiii weeks ending on September ii.[37] [38] "Hither We Go Again" was Charles' last unmarried to enter the tiptop xx of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 nautical chart and 33 on the Twelvemonth-End Hot Rhythm & Dejection Singles chart.[40]

Abroad, information technology debuted on the UK Singles Nautical chart top 40 at number 38 on July 8, 1967, which would be its pinnacle.[41] It totalled 3 non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Get Once again" appeared on the singles nautical chart at number ten on July fifteen, 1967, and afterwards peaked at number 3.[44]

Co-ordinate to Will Friedwald, this vocal is an case of Charles vocalizing in what would unremarkably 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, merely making it the middle of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[two]

Track listing [edit]

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

According to Allmusic, the solo version is listed at lengths between iii:xiv and iii:xx on various albums.[17]

Credits [edit]

Charles is credited equally vocalist and pianist with unknown accessory. Feller is credited for having bundled and conducted the recording. This is one of ii songs on the anthology ("Yesterday" being the other) that in addition to being 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" besides had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here 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
Characterization Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Honey Y'all"
(1968) 		"Hither Nosotros Go Again"
(1969) 		"Drummer Human"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album later on ending her business relationship with producer Lee Hazlewood.[49] The comprehend, which according to programming guides had an easy listening and state music appeal,[fifty] was produced by Billy Foreign.[51] [52] The B-side to the unmarried, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the vocal favorably, stating that the encompass was a "smooth sing-a-long popular style".[52] They also commended Sinatra's singing, calling it a "fine" operation, noting that it would likely render her to the Billboard charts.[52] Sinatra'due south version was later remastered and reissued in 1996.[54]

Chart operation [edit]

Although CD Universe describes the song as a state music vocal,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed amidst U.s. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the The states Billboard Easy Listening Top 40 chart at number 30.[55] [56] The following week information technology debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The vocal then spent a full of two weeks on the Hot 100.[59] For the week ending June seven, the song spent a second consecutive week at its height position of number nineteen on the Easy Listening chart.[threescore] The vocal remained on the nautical chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Get Once more" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Developed Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June 16, 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 "Hither Nosotros Get Over again", "God Knows I Love Yous" and "Drummer Man").[67]

Rail listing [edit]

  • 7-inch vinyl single [53]
  1. "Here We Go Over again" – iii:07
  2. "Memories" – 3:40

According to Allmusic the original rail was 3:09, but when information technology appeared on the 2006 compilation album Essential Nancy Sinatra, it was three:11.[68] The single was initially released through Reprise Records. In a non-sectional 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 rail:[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)
  • Red Rhodes (steel guitar)
  • Sid Precipitous (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (pianoforte)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Here We Go 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 three:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Again"
(2005) 		"You lot Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweetness Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Almost You"
(2006)

In 2004, Charles re-recorded "Hither Nosotros Go Once more" as a duet with American vocaliser-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Over again" duet, she said "I got a call from Ray asking if I'd exist 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 right adjacent to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was not bad because I was petrified walking in there."[72] She noted in one ...Featuring interview that the but office that was non done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the best opportunity to harmonize rather than alternating vocal verses.[73] On the record, the ii singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at i time been the regular organist in Charles' band.[71]

Reception [edit]

Equally part of Charles' Grammy Laurels for Album of the Year-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] information technology 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 annotation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[eighty] The song was described by the Orlando Watch 's Jim Abbott as a recreation of ane of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[vii] As opposed to other tracks on the album, when Charles' voice 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 merely funky system".[71] Author Mike Evans wrote that "in that location's a mutual warmth of purpose in every jiff [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 song every bit 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 like shooting fish in a barrel groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening track".[27] Preston'south functioning was favorably described past The Washington Mail service 's Richard Harrington every bit "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal'southward "countrified anguish" represented that part of Charles' career.[83]

When the vocal was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included amidst 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] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rails was more than just filler.[87] [88]

Awards and nominations [edit]

In Dec 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 award for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the second Record of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Tape of the Year, just not Song of the Year. Record of the Year is awarded to the artist(southward), producer(due south), recording engineer(s) and/or mixer(s), if other than artist for newly recorded textile. Song of the Year is awarded to the songwriter(s) of a new vocal 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 not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than xi months earlier 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 album in over xl years. Digital singles sales saw 12 of the 13 tracks on the album brand the Usa Billboard Hot Digital Tracks Elevation 50 nautical 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 We Become Once again" fell out of the top l two weeks later.[97] It was released equally a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

After the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked up and the anthology was re-promoted.[99] "Here We Go Once again" entered the US Billboard Bubbling Nether Hot 100 chart at number five in the issue dated (for the week catastrophe) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Popular 100 at number 74 for the week catastrophe March 5, 2005, simply still did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart superlative position of number two for the calendar 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 Elevation 40 chart at number 53 on March 6, 2005, and peaked the post-obit week at number 52. It logged six weeks on the chart.[104] "Here Nosotros Go Once again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one calendar week later at number 51. It lasted ten weeks on the height 100 chart.[105]

Rails listing [edit]

  • CD single [103]
  1. "Hither We Go Once again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – v: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 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 chart. It debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the nautical chart.[107] The song as well spent 5 weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later on.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, but it entered the Hot Country Songs chart for the calendar week catastrophe October thirty, 1982, at 88.[111] The song was one of merely 2 mentioned in the Oct 30, 1982, Billboard album review and was described as "a solid country number".[112] The song peaked at number 65 in the calendar week ending November 27 and remained in the chart for 2 more weeks, making the total run seven weeks.[113] [114] The song as well spent vii weeks on the Cashbox State Singles Chart, debuting on November half dozen, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Adult female, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Last Fourth dimension I Saw Her,[118] Boil Arnold'due south on his 1972 album Lone People,[119] and George Strait'due south on his 1992 album Belongings My Own.[120] Steagall performed information technology with Reba McEntire on his 2007 Here We Go Over again album, only she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this land standard by Nathalie Baret of ABQ Journal.[123] Martin'south version was iii:07, and information technology later on appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. two. 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 later on his 2004 Greatest Drove at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and vocaliser Niggling Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee made a version of the vocal on their 1976 on their Serenade anthology.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 anthology Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February 9 and x, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Over again: Jubilant the Genius of Ray Charles was recorded on these 2 alive dates. The album, which was released on March 29, 2011, included a runway entitled "Here We Go Over again".[132] [133] The vocals on "Here We Get Once again" were performed by Jones and Nelson, while instrumental support was provided past Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:10, was bundled 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 "mode and panache" to this performance.[134] At i concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this runway is sparse, Popular Matters 'southward Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland too notes that on the album Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's state music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Immature (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album equally Strait's "most hard-core country anthology" up to that signal in his career.[138] Allmusic staff noted that the anthology held its own at the time of release confronting most of its competitors and has aged ameliorate 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 Shop describes the anthology as the result of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'southward 1970 film Gods of the Plague.[142] [143] Even so, the song was on neither the eponymous soundtrack for the 2004 picture 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. 78–80. 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 Sound Of Genius: Music Review: The Final Anthology From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Just The Same". Orlando Sentinel. Tribune Visitor. 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 Go Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July xix, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modernistic Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhinoceros Amusement 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May eight, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Y'all to Mind -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Get Again". Allmusic. Rovi Corporation. Retrieved May viii, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Tape Research. pp. 191–192. ISBN0-89820-166-seven.
  19. ^ a b c Carlin, Richard (2002). State Music: A Biographical Lexicon. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Land 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 Land Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of state music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford Academy Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Become Once more Sail Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May half dozen, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here Nosotros 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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