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1967 song by Ray Charles

"Hither 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 We Go Again" vii-inch single embrace art
Single by Ray Charles
from the album Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Cherry-red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say Y'all're Fooling"
(1966) 		"Hither We Go Again"
(1967) 		"In the Oestrus of the Night"
(1967)

"Here We Go Over again" is a country 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 Heed. 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 sequent weeks on the Us Billboard Hot 100 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 Company. This version has been the biggest critical success. Afterwards Genius Loves Company was released, "Here Nosotros Go Again" earned Grammy Awards for Tape of the Yr and All-time Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 'south Hot Country Songs chart for v weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The vocal has been covered in a wide multifariousness of musical genres. In full, five different versions accept been listed on the music charts. Although its two nigh successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither We Go Again" was kickoff covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such every bit ane with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Get Again: Celebrating the Genius of Ray Charles. The vocal lent its name to Red Steagall'southward 2007 album as well. Cover versions have appeared on compilation albums past a number of artists, even some who did not release "Here Nosotros Go Once more" as a single.

Original version [edit]

In November 1959, later on twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[i] According to Volition Friedwald in A Biographical Guide to the Not bad Jazz and Popular Singers, "His get-go iv ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Because Charles was signed to ABC equally a rhythm and blues singer, he decided to wait until his contract was up for its three-year renewal before experimenting with country music, although he wanted to exercise so sooner. With the assistance of ABC executive Sid Feller, he gathered a gear up of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Land and Western Music and its follow-up Modern Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[four] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Hither We Get Again" was recorded during a phase in Charles' career when he was focused on performing country music.[vii] Thus, "Here We Go Again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection style. Yet, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 anthology, Ray Charles Invites You lot to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Become Once again".[10]

First released by Charles in 1967, "Here Nosotros 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 as the sixth of ten tracks on Ray Charles Invites Yous to Listen.[14] [15] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Mod Sounds in Country and Western Music was reissued in 1988, the song was added equally a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Album.[18]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activity helped him regain the use of his left arm and manus.[20] When he enrolled at West Texas State University, he formed his commencement state band.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist just played weekends at country dances. Later he quit his professional role, 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 gild performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Go Over again".[21] Steagall's starting time break came when Charles covered "Here We Go Over again".[19] Steagall says that the song "came well-nigh in a very unusual manner and very quickly".[21] One source fifty-fifty claims that Steagall did non come to Hollywood until after Charles recorded the vocal.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither Nosotros Become Again" is prepare in 12/8 time with a boring shuffle tempo of sixty-nine beats per minute. The song is written in the key of B ♭ major.[25] Information technology is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful carol in the Southern dejection tradition. Lyrically, it 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' effectively attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites Yous to Listen is not readily available, but "Here We Get 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 tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the band played back in the The states at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Mail service. Subsequently 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 three-week run at Harrah's Reno that was praised in Variety. The tour as well had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Once more" as "Some other excellent case of how Ray Charles was able to fuse blues and country".[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 The states Billboard Hot Rhythm & Dejection Singles height l chart on June 10, 1967.[30] [31] For the weeks catastrophe July xv, 22 and 29, the song spent 3 weeks at its peak position of number fifteen 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 cruel out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for xiii weeks ending on September two.[37] [38] "Hither We Become Once again" was Charles' last single to enter the peak xx of the Hot 100.[39] For the year 1967 the song finished at number lxxx on the U.s. Billboard Year-Stop Hot 100 chart and 33 on the Twelvemonth-End Hot Rhythm & Blues Singles chart.[twoscore]

Abroad, it debuted on the United kingdom Singles Chart top twoscore at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-sequent weeks on the nautical chart.[42] [43] In the Netherlands, "Here We Go Once more" appeared on the singles chart at number x on July 15, 1967, and later peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally extraneous style for dramatic result by 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 information technology the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track listing [edit]

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

Co-ordinate to Allmusic, the solo version is listed at lengths between 3:xiv and 3:xx on diverse albums.[17]

Credits [edit]

Charles is credited as vocalizer and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is i of two songs on the album ("Yesterday" beingness the other) that in addition to being listed as ABC-Par ABC595 is credited equally Dunhill DZS036 [CD].[46] The individual vocal had a characterization number ABC/TRC 10938.[47] [48] "In the Heat of the Nighttime" also had a Dunhill credit but a unlike 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".
Unmarried past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here We Go Over again"
(1969) 		"Drummer Human being"
(1969)

Nancy Sinatra recorded a encompass of the song for her 1969 album Nancy, which was her beginning album after ending her business concern relationship with producer Lee Hazlewood.[49] The comprehend, which co-ordinate to programming guides had an like shooting fish in a barrel listening and country music appeal,[l] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smoothen sing-a-long pop style".[52] They besides commended Sinatra's singing, calling it a "fine" performance, noting that it would probable return her to the Billboard charts.[52] Sinatra's version was later on remastered and reissued in 1996.[54]

Chart functioning [edit]

Although CD Universe describes the song equally a country music song,[49] it never charted on country music charts. For the calendar week catastrophe May 17, 1969, the song was listed among U.s.a. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top 40 chart at number thirty.[55] [56] The post-obit week information technology debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song so spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a 2nd consecutive week at its elevation position of number 19 on the Piece of cake Listening nautical chart.[lx] The song remained on the chart for v weeks until June 14, 1969.[61] [62] In Canada "Here We Get Again" 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 v 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 "Hither Nosotros Go Once more", "God Knows I Love You" and "Drummer Human being").[67]

Runway listing [edit]

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

Co-ordinate to Allmusic the original track was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was three:eleven.[68] The single was initially released through Reprise Records. In a not-exclusive 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 following musicians performed on this rail:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Red 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 Nosotros Go Again"
Single 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 iii:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Ruby Steagall
Producer(southward) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here 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 Nearly You lot"
(2006)

In 2004, Charles re-recorded "Hither We Get Again" as a duet with American vocaliser-songwriter Norah Jones, who grew upward listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here Nosotros Go Again" duet, she said "I got a phone call from Ray asking if I'd exist interested in singing on this duets record. I got on the adjacent aeroplane and I brought my mom. We went to his studio and did it live with the ring. I sang it correct adjacent to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was groovy because I was petrified walking in at that place."[72] She noted in one ...Featuring interview that the merely part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this i provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the ii singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at 1 fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Honour for Album of the Twelvemonth-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the vocal had its early detractors,[77] [78] information technology received by and large 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 notation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" operation.[lxxx] The vocal was described by the Orlando Scout 'southward 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'southward accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vox was understated, this song was said to represent his "indomitable spirit", while Jones performed as "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare only funky arrangement".[71] Author Mike Evans wrote that "there'south a mutual warmth of purpose in every breath [Charles and Jones] accept" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song equally soulful, that finely combines Charles' "deep, honeyed growl with Jones'due south 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'due south duet partners on the album.[82] U.s.a. Today 'south Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rails".[27] Preston's performance was favorably described by The Washington Postal service 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that part of Charles' career.[83]

When the vocal was included on Jones' ...Featuring, which included 3 of her collaborations from Albums of the Yr and several from albums that were nominees,[84] the vocal did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant 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 than simply filler.[87] [88]

Awards and nominations [edit]

In Dec 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 award for Record of the Year and All-time Popular Collaboration with Vocals.[xc] It was the second Record of the Twelvemonth winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, merely non Song of the Year. Tape of the Twelvemonth is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(southward), if other than artist for newly recorded textile. Song of the Year is awarded to the songwriter(s) of a new vocal or a vocal showtime achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their piece of work on its original version in 1967.[93] Thus, the vocal 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 death

For the calendar week catastrophe September eighteen, 2004, Genius Loves Visitor sold 202,000 copies, ranking 2d on the US Billboard 200 chart and becoming Charles' highest-charting anthology in over xl years. Digital singles sales saw 12 of the xiii tracks on the album brand the The states Billboard Hot Digital Tracks Elevation l nautical chart. "Hither 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 anthology was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" fell out of the elevation fifty ii weeks later.[97] It was released equally a unmarried for digital download on Jan 31, 2005.[98] On May 22, 2019, the song was certified gold past the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

Later on the album earned viii Grammy Awards and the vocal won Record of the Yr, sales picked up and the anthology was re-promoted.[99] "Here Nosotros Become Again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs peak 75 at number 73 and the US Billboard Pop 100 at number 74 for the calendar week ending March five, 2005, but nonetheless did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, information technology ascended to its Bubbles Nether Hot 100 chart pinnacle position of number two for the week ending March 5, 2005.[102] A compact disc unmarried of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Here Nosotros Go Once again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week afterward at number 51. Information technology lasted ten weeks on the superlative 100 chart.[105]

Runway listing [edit]

  • CD unmarried [103]
  1. "Hither Nosotros Go Once again" (Ray Charles and Norah Jones) – iii:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – five:05
  3. "Interview With Norah Jones" – ane:35

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

Credits [edit]

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

State 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 total of v weeks on the nautical chart.[107] The song as well spent five weeks on the Cashbox State Singles Nautical chart, debuting on October 7, 1972, and peaking at number 61 iii weeks subsequently.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the Nov 6, 1982 (flavour 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Land Songs chart for the week ending Oct thirty, 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 week ending November 27 and remained in the nautical chart for two more weeks, making the total run 7 weeks.[113] [114] The song likewise spent vii weeks on the Cashbox State Singles Chart, debuting on November half dozen, 1982, and peaking at number 61 for 2 weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Go Once more" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell'due south version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Alone People,[119] and George Strait's on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Once again anthology, but she did non include it on her 2007 duets album Reba: Duets, which was released 4 weeks subsequently.[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 later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was but 2:26.[118] Strait's version is 2:53 and appears afterwards his 2004 Greatest Drove at a 2:55 length.[120] Steagall'due south 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 Trivial 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 album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden 60 minutes 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 Heart'southward Rose Theatre on February ix and 10, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Go Over again: Jubilant 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 Go Again".[132] [133] The vocals on "Here We Become Again" 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 vocal, which had a length of five:ten, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "way and panache" to this performance.[134] At one concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rails 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 album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's land music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (groundwork vocals), and Reggie Immature (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'due south Alanna Nash regarded the album as Strait's "most hard-cadre state album" upward to that point in his career.[138] Allmusic staff noted that the album held its own at the time of release against nigh of its competitors and has aged amend than about state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the near straightforward fashion of singing.[140] The iTunes Store describes the album every bit the result of a transition in eras of country music.[141]

The song plays during the opening credit dance past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'southward 1970 film Gods of the Plague.[142] [143] Nevertheless, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack album More than 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 Cracking Jazz and Pop Singers. Pantheon Books. pp. 78–fourscore. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–sixteen.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Terminal Album From Ray Charles Isn't Stellar, But It'southward A Pleasant Listening Experience Just The Same". Orlando Sentinel. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Become Again (Legal Championship)". Circulate Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May eight, 2011.
  13. ^ a b Modernistic Sounds in State and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhino Amusement Visitor. 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 At present Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites You lot to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Hither We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). State Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Press. pp. 208–nine. 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 Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–six. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Go Again Canvass Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top sixty Spotlights". Billboard. Nielsen Business organisation Media, Inc. 79 (18): 20. May vi, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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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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