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Here We Go Again Lyrics Ray Charlwa

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1967 vocal by Ray Charles

"Here We Get 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" 7-inch single cover 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 blues
Length three:xviii
Characterization 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) 		"Here We Get Over again"
(1967) 		"In the Heat of the Night"
(1967)

"Here Nosotros Go Once again" is a country music standard written past Don Lanier and Red Steagall that first became notable as a rhythm and blues unmarried past Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology was record producer past Joe Adams for ABC Records/Tangerine Records. To appointment, 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 by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical 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 anthology'due south release. Another notable version by Nancy Sinatra charted for 5 weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs nautical chart for 5 weeks in 1972, while Roy Clark did and so for 7 weeks in 1982.

The vocal has been covered in a broad variety of musical genres. In total, v dissimilar versions have been listed on the music charts. Although its 2 virtually 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 first covered in an instrumental jazz format, and many of the more recent covers have 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 proper noun to Blood-red Steagall's 2007 album likewise. Cover versions accept appeared on compilation albums by a number of artists, even some who did non release "Here We Go Again" every bit a unmarried.

Original version [edit]

In November 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[one] According to Will Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to wait until his contract was up for its three-twelvemonth renewal before experimenting with country music, although he wanted to do so sooner. With the aid of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[three] The release of his 1962 country albums Modern Sounds in State 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 to a white audience.[4] In 1962 he founded his ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [6]

"Here We Go Over again" was recorded during a stage in Charles' career when he was focused on performing country music.[seven] Thus, "Hither Nosotros Go Again" was a land music song released past the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. However, his works did non bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to adjust Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the anthology, which included "Here We Become Once again".[10]

Commencement released by Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded it at RPM International Studios, Los Angeles,[12] [thirteen] and the song was listed as the sixth of ten tracks on Ray Charles Invites Yous to Listen.[xiv] [15] [sixteen] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Mod Sounds in Country and Western Music was reissued in 1988, the vocal was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Album.[18]

Limerick [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the use of his left arm and hand.[20] When he enrolled at West Texas Country Academy, he formed his first country ring.[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 but played weekends at country dances. After he quit his professional person 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 order performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Go Again".[21] Steagall'due south first break came when Charles covered "Here We Go Again".[19] 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 vocal.[24]

According to the sheet music published by Dirk Music, "Here We Become Over again" is set in 12/8 fourth dimension with a irksome shuffle tempo of lx-nine beats per infinitesimal. The vocal is written in the key of B ♭ major.[25] It is primarily a state song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the dejection, simply, what information technology is. The recording has a elementary and sterling gospel arrangement and, in retrospect, is i of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is non readily available, but "Here We Become Over again" was the best-charting vocal on the anthology (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' outset since 1964, connected to Europe in mid-April where information technology visited the Royal Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played back in the United States at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Mail. Later that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Variety. The tour likewise had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Become Once again" as "Another excellent example of how Ray Charles was able to fuse blues and land".[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 United states Billboard Hot Rhythm & Blues Singles top 50 chart on June 10, 1967.[30] [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 summit position of number 5 on the Hot Rhythm & Dejection Singles chart.[34] [35] Past August 12, information technology barbarous out the Hot 100 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] "Hither We Go Again" was Charles' last unmarried to enter the top xx of the Hot 100.[39] For the year 1967 the song finished at number 80 on the The states Billboard Year-End Hot 100 nautical chart and 33 on the Twelvemonth-End Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the UK Singles Chart top xl at number 38 on July 8, 1967, which would be its acme.[41] It totalled 3 non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number three.[44]

According to Will Friedwald, this vocal is an example of Charles vocalizing in what would ordinarily be a generally inapplicable manner for dramatic effect by using a unlike voice than he had e'er previously exhibited. He sang "... non just using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, only making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Rails list [edit]

  • vii-inch single [45]
  1. "Hither We Go Again" – 3:14
  2. "Somebody Ought to Write a Book Well-nigh It" – 3:02

According to Allmusic, the solo version is listed at lengths between 3:14 and 3:20 on diverse 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 i of ii songs on the anthology ("Yesterday" being the other) that in addition to being listed equally ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" as well had a Dunhill credit simply a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros Go Over again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length iii:07
Label Reprise (#0821)
Songwriter(southward) Don Lanier, Cherry Steagall
Producer(s) Baton Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Hither 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 first album afterward ending her business organisation relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an easy listening and country music appeal,[50] was produced by Baton Foreign.[51] [52] The B-side to the single, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard mag staff reviewed the vocal favorably, stating that the embrace was a "smoothen sing-a-long popular way".[52] They as well commended Sinatra'south singing, calling it a "fine" performance, noting that it would probable render her to the Billboard charts.[52] Sinatra'southward version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal as 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 US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Elevation xl nautical chart at number thirty.[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 and so spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2d consecutive week at its tiptop position of number 19 on the Easy Listening chart.[60] The vocal remained on the chart for five weeks until June xiv, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June 16, 1969.[64] The song spent a full of five weeks on the 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 We Go Once again", "God Knows I Love You" and "Drummer Man").[67]

Track list [edit]

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

According to Allmusic the original rails was 3:09, but when information technology appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[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, and so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this rails:[51]

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

The post-obit 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)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Go Again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here Nosotros Get Over again" duet, she said "I got a phone call from Ray asking if I'd be interested in singing on this duets record. I got on the side by side aeroplane and I brought my mom. We went to his studio and did it live with the band. I sang it right adjacent to Ray, watching his mouth for the phrasing. He was very sweetness and put me at ease, which was great because I was petrified walking in at that place."[72] She noted in 1 ...Featuring interview that the only function that was not washed live was a piano overlay that she added after 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 equally a duet and felt that this ane provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at 1 time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the anthology. Although the song had its early detractors,[77] [78] it received by and large 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.[fourscore] The vocal was described by the Orlando Sentinel 's Jim Abbott as a recreation of i of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying office on Hammond B3.[vii] Every bit opposed to other tracks on the album, when Charles' vocalism was understated, this vocal was said to correspond his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organization".[71] Writer Mike Evans wrote that "there's a common warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Calendar week staff noted the timeliness of the release with the biographical pic Ray in theaters and described the song as 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 burden as did many of Charles's duet partners on the album.[82] United states Today 'due south Steve Jones said the song "strikes an like shooting fish in a barrel groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'southward performance was favorably described past The Washington Post 'south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified anguish" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included iii of her collaborations from Albums of the Yr and several from albums that were nominees,[84] the vocal did non 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 than staid and less compelling recording" on the album.[86] Notwithstanding, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than only filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the vocal was nominated in two categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the laurels for Record of the Twelvemonth and Best Pop Collaboration with Vocals.[ninety] It was the second Record of the Year winner not to brand the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Yr, only non Song of the Year. Record of the Year is awarded to the creative person(due south), producer(s), recording engineer(s) and/or mixer(due south), if other than creative person for newly recorded material. Song of the Twelvemonth is awarded to the songwriter(s) of a new vocal or a song first achieving prominence during the eligibility yr.[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 song was non a new vocal.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the Usa Billboard 200 chart and becoming Charles' highest-charting album in over forty years. Digital singles sales saw 12 of the 13 tracks on the anthology make the United states of america Billboard Hot Digital Tracks Tiptop fifty nautical chart. "Here We Go Over again" was the download sales leader among the album'due south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Again" fell out of the pinnacle 50 ii weeks later.[97] It was released as a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gilt by the Recording Industry Clan of America for shipments exceeding 500,000 units in the The states.

Subsequently the anthology earned eight Grammy Awards and the vocal won Record of the Twelvemonth, sales picked upwardly and the album was re-promoted.[99] "Hither We Get 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 United states of america Billboard Popular 100 at number 74 for the week catastrophe March five, 2005, simply still did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] Notwithstanding, it ascended to its Bubbles Under Hot 100 chart superlative position of number ii for the week catastrophe March 5, 2005.[102] A compact disc single of the song was released on April xix, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top xl nautical chart at number 53 on March 6, 2005, and peaked the post-obit week at number 52. It logged six weeks on the nautical chart.[104] "Hither We Go Again" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked 1 calendar week later at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track list [edit]

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

According to Allmusic, the duet version was betwixt 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]

Country nautical chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a full of 5 weeks on the chart.[107] The song also spent five weeks on the Cashbox Land Singles Chart, debuting on October vii, 1972, and peaking at number 61 three weeks afterwards.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, but it entered the Hot Country Songs nautical chart for the week ending Oct xxx, 1982, at 88.[111] The song was 1 of only ii 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 ii more weeks, making the total run seven weeks.[113] [114] The song likewise spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (December iv and eleven).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Again" on his 1967 Ode to Baton Joe instrumental anthology,[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 Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Alone People,[119] and George Strait'southward on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again album, only she did not 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 land standard past Nathalie Baret of ABQ Journal.[123] Martin'southward version was 3:07, and it later on appeared on compilation albums, starting with the 1996 Dean Martin Gilded, Vol. 2. It has appeared on a scattering of other Martin compilation albums.[117] Campbell'due south version was only 2:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Collection at a ii:55 length.[120] Steagall'due south version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Niggling Willie Littlefield recorded a version for his 1997 album The Cerise One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Heart'south Rose Theatre on February 9 and 10, 2009. A 2011 alive tribute album past Nelson and Marsalis featuring Jones entitled Here We Go Again: Celebrating the Genius of Ray Charles was recorded on these two alive dates. The anthology, which was released on March 29, 2011, included a track entitled "Here We Go Once more".[132] [133] The vocals on "Hither We Get Again" were performed by Jones and Nelson, while instrumental support was provided past Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:x, was bundled by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Beak Tilland noted that Jones added her usual "manner and brio" to this performance.[134] At 1 concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Will Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland likewise notes that on the album Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

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

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'due south 1970 motion-picture show Gods of the Plague.[142] [143] Even so, the vocal was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition additional soundtrack anthology 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 Bully 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 Anthology From Ray Charles Isn't Stellar, Just It's A Pleasant Listening Experience Just The Aforementioned". 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 Go Once again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July xix, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Land and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May 8, 2011.
  17. ^ a b c "Here Nosotros Go Again". Allmusic. Rovi Corporation. Retrieved May eight, 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). 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, W. C. (2008). Notes from Texas: on writing in the Lonely Star State. Texas Christian Academy 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-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once more Sheet Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (xviii): 20. May half dozen, 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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