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Ray Charles Here We Go Again Cd

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1967 song past Ray Charles

"Hither Nosotros 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 Once more" 7-inch single cover art
Unmarried by Ray Charles
from the anthology Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length three:xviii
Label ABC Records/Tangerine Records
Songwriter(south) Don Lanier, Carmine Steagall
Producer(southward) Joe Adams
Ray Charles singles chronology
"Please Say You lot're Fooling"
(1966) 		"Here We Go Over again"
(1967) 		"In the Estrus of the Night"
(1967)

"Here Nosotros Go Again" is a country music standard written past Don Lanier and Red Steagall that first became notable as a rhythm and blues single past Ray Charles from his 1967 anthology Ray Charles Invites You to Heed. It was record producer by Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the vocal has been the biggest commercial success, spending twelve sequent weeks on the US Billboard Hot 100 chart, peaking at number fifteen.

The almost 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 critical success. After Genius Loves Company was released, "Here Nosotros Go Over again" earned Grammy Awards for Record of the Twelvemonth and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album's release. Some other notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for v weeks in 1972, while Roy Clark did and so for vii weeks in 1982.

The song has been covered in a broad variety of musical genres. In total, five dissimilar versions have been listed on the music charts. Although its 2 most successful versions have been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here We Go Again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung equally duets, such as 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Get Once more: Celebrating the Genius of Ray Charles. The vocal lent its proper noun to Scarlet Steagall's 2007 album as well. Cover versions have appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Here We Go Again" equally a single.

Original version [edit]

In November 1959, after twelve years equally a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[one] According to Volition Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His showtime four ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Considering Charles was signed to ABC as a rhythm and blues singer, he decided to await until his contract was upwardly for its iii-year renewal before experimenting with state music, although he wanted to practice so sooner. With the assistance of ABC executive Sid Feller, he gathered a gear up of country songs to record, 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. 2 broadened the entreatment of his music to the mainstream. At this bespeak, Charles began to entreatment more to a white audience.[4] In 1962 he founded his own tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Again" was recorded during a stage in Charles' career when he was focused on performing state music.[7] Thus, "Hither We Get Again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection style. However, his works did not conduct the Tangerine characterization until 1968.[eight] Feller left ABC in 1965,[ix] merely he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Hither Nosotros Go Once again".[10]

First released by Charles in 1967, "Hither We Go Over again" was written by Lanier and Steagall and published by the Dirk Music Company.[xi] 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] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus rails.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This action helped him regain the use of his left arm and paw.[twenty] When he enrolled at Due west Texas Land University, he formed his first country band.[xix] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil chemist just played weekends at country dances. Later on 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 social club performing and songwriting.[23] He wrote for ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Somewhen, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Become Again".[21] Steagall's showtime interruption came when Charles covered "Hither Nosotros Get Once more".[19] Steagall says that the song "came nigh in a very unusual manner and very chop-chop".[21] One source fifty-fifty claims that Steagall did not come to Hollywood until after Charles recorded the vocal.[24]

Co-ordinate to the canvass music published by Dirk Music, "Here We Go Once again" is set in 12/8 time with a tiresome shuffle tempo of sixty-nine beats per infinitesimal. The song is written in the fundamental of B ♭ major.[25] Information technology is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Go Again' is a soulful carol in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, only, what information technology is. The recording has a simple and sterling gospel system and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily available, but "Here We Get Again" was the best-charting vocal on the album (and probable 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, every bit well equally Vienna. In May, the ring played back in the United States at New York City'south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Mag and the New York Post. Subsequently that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his showtime lucrative Nevada casino performances, which started with a three-week run at Harrah'southward Reno that was praised in Diversity. The bout likewise had an extended autumn run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Again" as "Another excellent case of how Ray Charles was able to fuse blues and country".[28] In a review for the unmarried, a writer for Billboard magazine wrote that the song could easily exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, issue and number 48 on the US Billboard Hot Rhythm & Dejection Singles top 50 chart on June x, 1967.[30] [31] For the weeks catastrophe July xv, 22 and 29, the vocal spent three weeks at its superlative position of number 15 on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its summit position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for xiii weeks ending on September 2.[37] [38] "Here Nosotros Go Once more" was Charles' terminal 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-Finish Hot 100 chart and 33 on the Year-Cease Hot Rhythm & Blues Singles chart.[40]

Abroad, it debuted on the UK Singles Nautical chart acme forty at number 38 on July 8, 1967, which would be its summit.[41] Information technology totalled 3 non-sequent weeks on the chart.[42] [43] In the netherlands, "Here We Go Again" 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 case of Charles vocalizing in what would ordinarily be a more often than not extraneous style for dramatic issue by using a different vox than he had always previously exhibited. He sang "... not simply using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, only making it the centre of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Track list [edit]

  • 7-inch single [45]
  1. "Hither We Go Again" – three:14
  2. "Somebody Ought to Write a Book About Information technology" – 3:02

According to Allmusic, the solo version is listed at lengths betwixt 3:14 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 two songs on the album ("Yesterday" beingness the other) that in addition to being listed every bit ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private song had a label number ABC/TRC 10938.[47] [48] "In the Oestrus of the Dark" also had a Dunhill credit simply a dissimilar number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither We Go Once more"
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
Label Reprise (#0821)
Songwriter(south) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Honey You lot"
(1968) 		"Here We Go Over again"
(1969) 		"Drummer Man"
(1969)

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

Nautical chart performance [edit]

Although CD Universe describes the song as a land music song,[49] information technology never charted on state music charts. For the week ending May 17, 1969, the song was listed among Usa Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Height xl chart at number 30.[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 two weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2d consecutive calendar week at its summit position of number 19 on the Piece of cake Listening chart.[60] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Hither We Go Again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Young Adult Nautical chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of five weeks on the nautical chart.[65] [66] According to Allmusic databases, 1969 was the terminal year in her career that Sinatra reached the Hot 100 nautical chart (with "Here Nosotros Go Again", "God Knows I Beloved Y'all" and "Drummer Man").[67]

Rails listing [edit]

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

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

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this anthology:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Get Once again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Visitor
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length three:59
Label Agree/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(south) 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) 		"Here Nosotros Go Over again"
(2004) 		"Thinking Near You"
(2006)

In 2004, Charles re-recorded "Hither We Go Again" every bit 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 Nosotros Go Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets record. I got on the next aeroplane and I brought my mom. We went to his studio and did it live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was neat considering I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the but part that was not done live 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 one provided the all-time 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 one time been the regular organist in Charles' band.[71]

Reception [edit]

As office of Charles' Grammy Laurels for Anthology of the Twelvemonth-winning Genius Loves Company, the song proved to exist the about popular and critically acclaimed on the album. Although the vocal had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'southward 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" performance.[eighty] The song was described by the Orlando Lookout 's Jim Abbott as a recreation of one of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying part on Hammond B3.[seven] Equally opposed to other tracks on the album, when Charles' vocalization 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 simply funky system".[71] Author Mike Evans wrote that "there'south a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal every bit soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The vocal received other specific forms of praise. Robert Christgau notes that Jones carried the song burden as did many of Charles's duet partners on the album.[82] USA Today 's Steve Jones said the vocal "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rails".[27] Preston's functioning was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that 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 up out. Few of the reviews at Metacritic had noun comments on the duet when included among her grouping of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Camber Mag wrote that the duet was a "more staid and less compelling recording" on the anthology.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In Dec 2004, the Jones–Charles version of the song was nominated in ii categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the award for Tape of the Year and All-time Pop Collaboration with Vocals.[90] It was the 2nd Record of the Year winner not to brand the Hot 100 (post-obit "Walk On" in 2001 past U2).[91] The vocal won Record of the Twelvemonth, but not Song of the Year. Record of the Year is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited every bit the writers of this song from their work on its original version in 1967.[93] Thus, the vocal was not a new vocal.

Chart functioning [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the US Billboard 200 nautical chart and condign Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the anthology make the U.s.a. Billboard Hot Digital Tracks Top l chart. "Here We Go Once more" 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 Usa Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" fell out of the acme 50 two weeks afterwards.[97] Information technology was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold past the Recording Manufacture Association of America for shipments exceeding 500,000 units in the United States.

Subsequently the album earned eight Grammy Awards and the song won Record of the Year, sales picked upwardly and the album was re-promoted.[99] "Here Nosotros Go Once again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the upshot dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the U.s. Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, but still did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] However, information technology ascended to its Bubbles Nether Hot 100 chart pinnacle position of number ii for the calendar week ending March five, 2005.[102] A compact disc single of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Pinnacle 40 chart at number 53 on March half-dozen, 2005, and peaked the following week at number 52. It logged 6 weeks on the nautical chart.[104] "Here We Become Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week later at number 51. It lasted 10 weeks on the height 100 chart.[105]

Track listing [edit]

  • CD single [103]
  1. "Here We Go Over 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 between 3:56 and 3:59 on diverse 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]

Land chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical chart. It debuted on the Hot State Songs chart on September 30, 1972, peaking at number 66 and spending a full of five weeks on the chart.[107] The vocal as well spent five weeks on the Cashbox State Singles Chart, debuting on October 7, 1972, and peaking at number 61 iii weeks afterward.[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 xv, episode nine), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 nautical chart, but information technology entered the Hot Land Songs nautical chart for the week ending October 30, 1982, at 88.[111] The song was ane of but two mentioned in the October thirty, 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 seven weeks.[113] [114] The song too spent seven weeks on the Cashbox State Singles Chart, debuting on Nov half dozen, 1982, and peaking at number 61 for two weeks (Dec 4 and 11).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here We Go Again" on his 1967 Ode to Billy Joe instrumental anthology,[116] every bit did Dean Martin on his 1970 album My Woman, My Adult female, My Married woman.[117] Glen Campbell'due south version appeared on his 1971 album The Terminal Time I Saw Her,[118] Eddy Arnold'south on his 1972 album Lonely People,[119] and George Strait'south on his 1992 album Property My Ain.[120] Steagall performed information technology with Reba McEntire on his 2007 Here Nosotros Go Again album, but she did not include it on her 2007 duets album Reba: Duets, which was released 4 weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin'due south version was 3:07, and information technology afterward appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. two. It has appeared on a handful of other Martin compilation albums.[117] Campbell'due south version was only 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is iii:10.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Crimson 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 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 Middle'southward Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Hither We Go Over again: Celebrating the Genius of Ray Charles was recorded on these two live dates. The anthology, which was released on March 29, 2011, included a track entitled "Here Nosotros Go Over again".[132] [133] The vocals on "Here We Get Again" were performed past 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 5:ten, was bundled by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "style 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 track is sparse, Popular Matters 's Will Layman notes that the album reveals "how decisive and stiff 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 person mastery of Marsalis' quintet.[136] Tilland too notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

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

The song plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] Nevertheless, the song was on neither the eponymous soundtrack for the 2004 moving 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–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. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Merely It's A Pleasant Listening Experience Just The Same". Orlando Sentry. 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 Go Again (Legal Title)". Circulate Music Incorporated. Archived from the original on July xix, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modernistic Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Mod Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino 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 (August 5, 2004). "Tangerine Anthology Discography". Both Sides At present Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here Nosotros Get Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Lexicon. 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, Westward. C. (2008). Notes from Texas: on writing in the Solitary Star Country. Texas Christian University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of land music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Printing. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Again Sheet Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top threescore Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (eighteen): twenty. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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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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