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Here We Go Again by Ray Charles

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1967 song by Ray Charles

"Here We Go Once 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 Over again" vii-inch single cover fine art
Single past Ray Charles
from the album Ray Charles Invites Y'all to Listen
B-side "Somebody Ought to Write a Book About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:xviii
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Become Again"
(1967) 		"In the Heat of the Night"
(1967)

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

The most notable embrace version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest disquisitional success. Later Genius Loves Company was released, "Here We Go 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 anthology's release. Another notable version by Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the song on Billboard 'southward Hot Land Songs chart for v 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 2 most successful versions accept been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither We Go Again" was starting time covered in an instrumental jazz format, and many of the more contempo covers have been sung equally duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Go Over again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Cover versions accept appeared on compilation albums by a number of artists, fifty-fifty some who did non release "Here Nosotros Go Once again" as a single.

Original version [edit]

In November 1959, later 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 Pop 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 state music. Because Charles was signed to ABC every bit a rhythm and dejection vocaliser, he decided to wait until his contract was up for its three-yr renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Modern Sounds in Country and Western Music, Vol. two broadened the entreatment of his music to the mainstream. At this signal, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [6]

"Here We Get Once more" was recorded during a phase in Charles' career when he was focused on performing land music.[7] Thus, "Hither Nosotros Become Again" was a country music song released by the Tangerine label ABC-Paramount, just performed in Charles' rhythm and dejection fashion. However, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[ix] but he returned to adapt Charles' 1967 album, Ray Charles Invites You to Mind.[x] Joe Adams produced and engineered the anthology, which included "Here Nosotros Go Again".[10]

Get-go released by Charles in 1967, "Here We Go Over again" was written by Lanier and Steagall and published by the Dirk Music Visitor.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed as 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 Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was as well included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This action helped him regain the utilize of his left arm and hand.[xx] When he enrolled at West Texas Land University, he formed his first country band.[19] Don Lanier formed a group 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 state dances. After he quit his professional person part, 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 social club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Somewhen, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Get Again".[21] Steagall'southward first intermission came when Charles covered "Hither Nosotros Go Over again".[xix] Steagall says that the vocal "came almost in a very unusual mode and very apace".[21] One source even claims that Steagall did non come to Hollywood until after Charles recorded the vocal.[24]

According to the sheet music published by Dirk Music, "Here We Get Over again" is ready in 12/8 time with a slow shuffle tempo of sixty-ix beats per infinitesimal. The song is written in the cardinal of B ♭ major.[25] It is primarily a state song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful carol in the Southern blues tradition. Lyrically, information technology has a resignation and pain that makes the blues, simply, what it is. The recording has a simple and sterling gospel arrangement and, in retrospect, is 1 of Charles' finer attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Yous to Listen is not readily available, only "Here We Go Again" was the best-charting song on the anthology (and likely on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, connected to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played back in the United States at New York Urban center'south Carnegie Hall before returning to California. The bout received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Later on that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his offset lucrative Nevada casino performances, which started with a 3-calendar week run at Harrah's Reno that was praised in Diversity. The tour likewise had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither Nosotros Go Again" as "Another excellent case of how Ray Charles was able to fuse blues and land".[28] In a review for the single, a writer for Billboard mag wrote that the vocal 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 The states Billboard Hot Rhythm & Blues Singles tiptop l chart on June 10, 1967.[xxx] [31] For the weeks catastrophe July 15, 22 and 29, the song spent three weeks at its elevation position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its peak position of number five on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, catastrophe a 12-calendar week run.[36] Information technology remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Here Nosotros Go Again" was Charles' last single to enter the top 20 of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Year-Terminate Hot 100 chart and 33 on the Yr-End Hot Rhythm & Blues Singles chart.[40]

Abroad, it debuted on the UK Singles Chart top forty at number 38 on July eight, 1967, which would be its meridian.[41] It totalled 3 non-sequent weeks on the nautical chart.[42] [43] In holland, "Here We Go Again" appeared on the singles chart at number x on July xv, 1967, and afterward peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally inapplicable style for dramatic issue by using a different vocalisation than he had ever previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for boosted 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 groundwork singers).[two]

Track listing [edit]

  • seven-inch single [45]
  1. "Hither We Get Once again" – 3:14
  2. "Somebody Ought to Write a Volume Near Information technology" – three:02

Co-ordinate to Allmusic, the solo version is listed at lengths betwixt iii:14 and 3:20 on various albums.[17]

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is one of ii songs on the anthology ("Yesterday" beingness the other) that in addition to existence listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Rut of the Night" as well had a Dunhill credit merely a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a encompass of the song for her 1969 album Nancy, which was her outset anthology after catastrophe her business concern relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music entreatment,[l] was produced by Baton 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 cover was a "smooth sing-a-long popular way".[52] They also commended Sinatra'southward singing, calling it a "fine" performance, noting that it would likely render 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 vocal,[49] it never charted on country music charts. For the week catastrophe May 17, 1969, the vocal was listed amid US Billboard Bubbling Nether Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Superlative forty chart at number xxx.[55] [56] The following week it debuted on the United states of america Billboard Hot 100 chart at number 98,[57] its noon for its two-week stay.[58] The song then spent a total of 2 weeks on the Hot 100.[59] For the week ending June 7, the song spent a second consecutive week at its peak position of number 19 on the Easy Listening nautical chart.[threescore] The song remained on the nautical chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Developed Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June xvi, 1969.[64] The vocal spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Go Over again", "God Knows I Dear You" and "Drummer Human being").[67]

Track listing [edit]

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

Co-ordinate to Allmusic the original rail was 3:09, but when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was iii:11.[68] The unmarried was initially released through Reprise Records. In a non-exclusive licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, and 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 (fill-in vocals)

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Go Again" equally a duet with American singer-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 Again" duet, she said "I got a telephone call from Ray request if I'd be interested in singing on this duets tape. I got on the next airplane and I brought my mom. We went to his studio and did it alive with the band. I sang information technology right side by side to Ray, watching his oral cavity 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 one ...Featuring interview that the but role that was not done alive was a piano overlay that she added afterward 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 i provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

As role of Charles' Grammy Award for Anthology of the Yr-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] 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 notation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song 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's accompanying role on Hammond B3.[vii] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to correspond his "indomitable spirit", while Jones performed equally "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky arrangement".[71] Writer Mike Evans wrote that "there'south a mutual warmth of purpose in every jiff [Charles and Jones] accept" on the vocal.[75] Music Week staff noted the timeliness of the release with the biographical movie 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 burden as did many of Charles'south duet partners on the album.[82] The states Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening runway".[27] Preston'due south 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'south "countrified anguish" represented that part 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 out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Camber Magazine 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 track was more than merely filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the February thirteen, 2005 awards ceremony, the duet earned the honor for Record of the Year and Best Pop Collaboration with Vocals.[90] Information technology was the second Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Tape of the Yr, simply non Song of the Twelvemonth. Tape of the Year is awarded to the creative person(s), producer(south), recording engineer(s) and/or mixer(due south), if other than artist for newly recorded material. Vocal of the Twelvemonth is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as 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 before his 2004 death

For the calendar week catastrophe September xviii, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the US Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the xiii tracks on the album make the U.s. Billboard Hot Digital Tracks Top 50 nautical chart. "Here Nosotros Get Again" was the download sales leader among the anthology'south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the vocal debuted on the U.s.a. Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" cruel out of the acme 50 two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gilded by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

After the anthology earned eight Grammy Awards and the song won Tape of the Yr, sales picked up and the album was re-promoted.[99] "Here We Become Again" entered the U.s. Billboard Bubbles Under Hot 100 nautical chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The vocal charted for a week on both the US Billboard Hot Digital Songs top 75 at number 73 and the The states Billboard Pop 100 at number 74 for the calendar week catastrophe March 5, 2005, but yet did not make the Hot 100,[101] ranking 113th earlier falling out of the nautical chart.[48] However, information technology ascended to its Bubbling Nether Hot 100 chart peak position of number two for the week ending March five, 2005.[102] A compact disc single of the vocal was released on April nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Peak forty chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged vi weeks on the chart.[104] "Here Nosotros Go Again" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked i week later at number 51. It lasted 10 weeks on the peak 100 chart.[105]

Track listing [edit]

  • CD single [103]
  1. "Hither We Go Again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – 1:35

According to Allmusic, the duet version was betwixt three:56 and iii:59 on diverse 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. Information technology debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a full of five weeks on the chart.[107] The vocal also spent v weeks on the Cashbox Country Singles Nautical chart, debuting on Oct 7, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (flavor 15, episode nine), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but it entered the Hot Land Songs chart for the 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 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 two more weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Country Singles Chart, debuting on November half-dozen, 1982, and peaking at number 61 for ii weeks (December 4 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 album My Woman, My Woman, My Wife.[117] Glen Campbell'south version appeared on his 1971 album The Last Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait'due south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Get Once again album, just she did not include it on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Periodical.[123] Martin'southward version was 3:07, and information technology after appeared on compilation albums, starting with the 1996 Dean Martin Gilded, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was merely 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'due south 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 Little Willie Littlefield recorded a version for his 1997 album The Crimson 1.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February ix and 10, 2009. A 2011 alive tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: Jubilant the Genius of Ray Charles was recorded on these 2 live dates. The album, which was released on March 29, 2011, included a track entitled "Hither We Go Again".[132] [133] The vocals on "Here We Become 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 five:10, was arranged past Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At 1 concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Will Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' ring "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait's land music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Immature (background vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'southward Alanna Nash regarded the album as Strait's "about difficult-core country album" upward to that point in his career.[138] Allmusic staff noted that the album held its ain at the time of release against about of its competitors and has aged meliorate than most state 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 equally the upshot 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 motion-picture show Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express 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 (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But Information technology's A Pleasant Listening Feel Just The Same". Orlando Spotter. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here Nosotros Go Again (Legal Title)". Circulate Music Incorporated. Archived from the original on July nineteen, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in State and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modernistic Sounds in Land 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 Anthology Discography". Both Sides Now Publications. Retrieved May 8, 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 Y'all To Listen". Retrieved May eight, 2011.
  17. ^ a b c "Hither We Become Over again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Enquiry. pp. 191–192. ISBN0-89820-166-vii.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Land: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, West. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Press. pp. 208–ix. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Once again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Business concern Media, Inc. 79 (18): twenty. May vi, 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 Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May ten, 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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