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Song That Says Well Here We Are Again

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1967 song by Ray Charles

"Here We Go Over again"
Black 45 record label with the ABC logo on top and the song "Here We Go Again", singer Ray Charles and other detail

"Here Nosotros Get Over again" 7-inch unmarried cover art
Single past Ray Charles
from the anthology Ray Charles Invites You 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 iii:xviii
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Reddish Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Dark"
(1967)

"Here We Go Once more" is a state music standard written by Don Lanier and Cherry-red Steagall that commencement became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Yous to Listen. It was tape 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 chart, peaking at number 15.

The most notable cover version is a duet past Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest disquisitional success. After Genius Loves Company was released, "Here We Go Again" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album's release. Another notable version past Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a broad variety of musical genres. In total, five dissimilar versions take been listed on the music charts. Although its two near successful versions have been rhythm and blues recordings, many of its other notable covers were featured on state music albums. "Here We Get Again" was outset covered in an instrumental jazz format, and many of the more than recent covers take been sung as duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Go Again: Jubilant the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Encompass versions have appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Here We Go Again" as a single.

Original version [edit]

In November 1959, after twelve years every bit a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Volition Friedwald in A Biographical Guide to the Dandy Jazz and Pop Singers, "His kickoff iv ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to await until his contract was upwardly for its iii-year renewal before experimenting with land music, although he wanted to practice and so sooner. With the assistance of ABC executive Sid Feller, he gathered a fix of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Modernistic Sounds in Country and Western Music and its follow-up Modern Sounds in Land and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Once again" was recorded during a phase in Charles' career when he was focused on performing country music.[vii] Thus, "Here We Go Over again" was a country music song released past the Tangerine characterization ABC-Paramount, but performed in Charles' rhythm and blues fashion. All the same, his works did not conduct the Tangerine label until 1968.[8] Feller left ABC in 1965,[nine] only he returned to adjust Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Go Once more".[10]

First released past Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed as the sixth of ten tracks on Ray Charles Invites Y'all to Heed.[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 track.[12] [13] Information technology was likewise included on the 1988 album Ray Charles Anthology.[18]

Limerick [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[xix] This action helped him regain the use of his left arm and manus.[20] When he enrolled at Due west Texas State Academy, he formed his first country ring.[nineteen] Don Lanier formed a grouping by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil pharmacist only played weekends at state dances. Afterwards he quit his professional role, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk society 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 "Hither We Get Again".[21] Steagall'due south kickoff interruption came when Charles covered "Here We Go Again".[nineteen] Steagall says that the song "came about in a very unusual manner and very quickly".[21] I source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

According to the canvas music published past Dirk Music, "Hither We Become Again" is set in 12/8 time with a slow shuffle tempo of sixty-ix beats per minute. The song is written in the cardinal of B ♭ major.[25] Information technology is primarily a land song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Get Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the dejection, simply, what it is. The recording has a simple and sterling gospel arrangement and, in retrospect, is one of Charles' effectively 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 bachelor, but "Hither We Go Again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a do good 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-Apr where it visited the Purple Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played dorsum in the United States at New York Urban center's Carnegie Hall earlier returning to California. The bout received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Mail service. Later that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his offset lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Multifariousness. The bout too had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" every bit "Another excellent example 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 exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, result and number 48 on the Us Billboard Hot Rhythm & Dejection Singles acme 50 nautical chart on June ten, 1967.[xxx] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its meridian position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, information technology roughshod out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September two.[37] [38] "Here We Go Again" was Charles' final unmarried to enter the peak twenty of the Hot 100.[39] For the yr 1967 the vocal finished at number lxxx on the US Billboard Year-Finish Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles chart.[twoscore]

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

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally extraneous manner for dramatic consequence by using a different vocalism than he had e'er previously exhibited. He sang "... not merely 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 background singers).[2]

Track listing [edit]

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

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

Credits [edit]

Charles is credited as singer 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" being the other) that in addition to being listed as ABC-Par ABC595 is credited every bit Dunhill DZS036 [CD].[46] The individual song had a characterization number ABC/TRC 10938.[47] [48] "In the Heat of the Night" also had a Dunhill credit but a dissimilar number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her beginning anthology after ending her business organization relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an easy listening and country music appeal,[fifty] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Foreign forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "polish sing-a-long pop style".[52] They also commended Sinatra'due south singing, calling it a "fine" performance, noting that information technology would likely return her to the Billboard charts.[52] Sinatra'due south 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 calendar week ending May 17, 1969, the vocal was listed among Us Billboard Bubbling Under Hot 100 Singles nautical chart at number 106 and debuted on the US Billboard Easy Listening Peak 40 chart at number 30.[55] [56] The following calendar week it debuted on the U.s.a. Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar week stay.[58] The song and so spent a full of 2 weeks on the Hot 100.[59] For the calendar week ending June 7, the song spent a second consecutive week at its meridian position of number nineteen on the Easy Listening chart.[60] The vocal remained on the chart for five weeks until June fourteen, 1969.[61] [62] In Canada "Here Nosotros Get Again" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Chart) on June ii, 1969.[63] It peaked at number 21 for the calendar week of June sixteen, 1969.[64] The song spent a full of 5 weeks on the nautical chart.[65] [66] According to Allmusic databases, 1969 was the last year in her career that Sinatra reached the Hot 100 chart (with "Here We Get Again", "God Knows I Love You" and "Drummer Human").[67]

Track listing [edit]

  • vii-inch vinyl single [53]
  1. "Here We Become Once again" – iii:07
  2. "Memories" – iii:xl

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

  • B.J. Bakery Singers (backup 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 (piano)
  • Jerry Scheff (bass guitar)
  • Ballad Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Get Over again" as a duet with American singer-songwriter Norah Jones, who grew upwardly listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here We Go Once again" duet, she said "I got a call from Ray request if I'd be interested in singing on this duets tape. I got on the next plane and I brought my mom. We went to his studio and did information technology live with the ring. I sang it correct adjacent to Ray, watching his oral fissure for the phrasing. He was very sweet and put me at ease, which was corking considering I was petrified walking in at that place."[72] She noted in one ...Featuring interview that the simply part that was not done alive was a pianoforte overlay that she added later 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 every bit a duet and felt that this i provided the best opportunity to harmonize rather than alternating vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at in one case been the regular organist in Charles' ring.[71]

Reception [edit]

As part of Charles' Grammy Honour for Anthology of the Year-winning Genius Loves Company, the song proved to exist the near 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 annotation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[eighty] The song was described past the Orlando Sentinel 's Jim Abbott equally a recreation of ane of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying role on Hammond B3.[7] Equally opposed to other tracks on the album, when Charles' vocalization was understated, this vocal 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 merely funky arrangement".[71] Writer Mike Evans wrote that "there's 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 motion picture 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 work.[81]

The vocal 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] Us Today 'south Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's operation was favorably described past The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal'south "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 amidst her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Mag wrote that the duet was a "more staid and less compelling recording" on the album.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in ii categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the award for Record of the Yr and Best Pop Collaboration with Vocals.[90] It was the 2nd Record of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Twelvemonth, but non Song of the Year. Record of the Yr is awarded to the artist(s), producer(southward), recording engineer(s) and/or mixer(due south), if other than artist for newly recorded material. Song of the Yr 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 as the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than eleven months earlier his 2004 death

For the week ending September eighteen, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the US Billboard 200 chart and condign Charles' highest-charting album in over twoscore years. Digital singles sales saw 12 of the xiii tracks on the album make the The states Billboard Hot Digital Tracks Top 50 chart. "Here We Go Once again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks nautical chart at number 26.[96] "Hither We Get Again" fell out of the tiptop 50 two weeks later.[97] It was released every bit a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified golden by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

After the album earned eight Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week catastrophe) February 26, 2005.[100] The song charted for a calendar week on both the Us Billboard Hot Digital Songs acme 75 at number 73 and the Usa Billboard Pop 100 at number 74 for the week catastrophe March 5, 2005, just withal did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number two for the week ending March 5, 2005.[102] A compact disc single of the song was released on Apr 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March vi, 2005, and peaked the post-obit week at number 52. Information technology logged six weeks on the nautical chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked ane calendar week later at number 51. Information technology lasted 10 weeks on the top 100 chart.[105]

Rails listing [edit]

  • CD single [103]
  1. "Here 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" – one:35

According to Allmusic, the duet version was between 3:56 and 3:59 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]

Country 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 Country Songs nautical chart on September thirty, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal besides spent five weeks on the Cashbox Country Singles Chart, debuting on Oct 7, 1972, and peaking at number 61 three weeks afterwards.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, just it entered the Hot Country Songs chart for the week ending October 30, 1982, at 88.[111] The song was i of just two mentioned in the Oct 30, 1982, Billboard album review and was described as "a solid land number".[112] The song peaked at number 65 in the week ending Nov 27 and remained in the nautical chart for two more than 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 two weeks (Dec iv and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Once again" 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's version appeared on his 1971 album The Final Time I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait's on his 1992 anthology Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Again anthology, but she did non include it on her 2007 duets anthology Reba: Duets, which was released four 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's version was 3:07, and it afterwards appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell'due south version was only 2:26.[118] Strait's version is 2:53 and appears afterward on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'south version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Fiddling Willie Littlefield recorded a version for his 1997 album The Carmine I.[126] [127] Peters and Lee made a version of the vocal on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. two and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center'south Rose Theatre on February ix and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Once again: Celebrating the Genius of Ray Charles was recorded on these 2 live dates. The album, which was released on March 29, 2011, included a rail entitled "Here Nosotros Go Once more".[132] [133] The vocals on "Here We Go 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 song, which had a length of 5:ten, was arranged by Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At 1 concert operation, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is thin, Pop Matters 's Will Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland besides notes that on the album Marsalis' band "compensates quite fairly 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 (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (groundwork vocals), and Reggie Young (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album every bit Strait'south "most hard-cadre country album" up to that indicate 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 anile amend than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the nearly straightforward fashion of singing.[140] The iTunes Shop describes the album as the upshot of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited 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 Nifty 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Only It's A Pleasant Listening Experience Simply The Same". Orlando Spotter. Tribune Company. Retrieved May thirteen, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here Nosotros Become Over again (Legal Title)". Broadcast 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 8, 2011.
  13. ^ a b Modernistic Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhinoceros Entertainment Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May viii, 2011.
  17. ^ a b c "Here Nosotros 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). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the All-time 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 Academy Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford Academy Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Again Canvas Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Concern Media, Inc. 79 (xviii): 20. May 6, 1967. ISSN 0006-2510. Retrieved May viii, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Get 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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