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Here We Go Here We Go Again 1 2 3 4

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1967 song by Ray Charles

"Here 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 Get Once more" 7-inch single cover art
Single by Ray Charles
from the anthology Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Book Virtually It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Cerise Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Oestrus of the Night"
(1967)

"Here Nosotros Go Again" is a country music standard written by Don Lanier and Red Steagall that get-go became notable every bit a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the U.s. 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 critical success. Later Genius Loves Company was released, "Here We Get Again" earned Grammy Awards for Tape of the Twelvemonth and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'southward release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 's Hot Country Songs chart for 5 weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a broad multifariousness of musical genres. In total, five unlike 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 Get Again" was first covered in an instrumental jazz format, and many of the more contempo covers take been sung as duets, such as i with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Get Over again: Jubilant the Genius of Ray Charles. The song lent its name to Cherry-red Steagall's 2007 album as well. Cover versions have appeared on compilation albums past a number of artists, even some who did not release "Hither We Become Again" equally a unmarried.

Original version [edit]

In November 1959, after twelve years equally a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[i] According to Volition Friedwald in A Biographical Guide to the Corking Jazz and Pop Singers, "His showtime four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Because Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was up for its 3-year renewal before experimenting with country music, although he wanted to do so sooner. With the help of ABC executive Sid Feller, he gathered a prepare of country songs to record, despite the wishes of ABC.[3] The release of his 1962 country albums Mod Sounds in Country and Western Music and its follow-upwards Modern Sounds in Land and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this signal, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Get Again" was recorded during a stage in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Again" was a land music vocal released by the Tangerine label ABC-Paramount, merely performed in Charles' rhythm and blues style. Yet, his works did not bear the Tangerine label until 1968.[viii] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[x] Joe Adams produced and engineered the album, which included "Here We Go Again".[10]

First released by Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Visitor.[xi] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the vocal was listed equally the sixth of ten tracks on Ray Charles Invites You lot to Listen.[14] [xv] [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 equally a bonus rail.[12] [thirteen] Information technology was also included on the 1988 album Ray Charles Anthology.[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 utilize of his left arm and hand.[20] When he enrolled at Due west Texas State University, he formed his first country band.[nineteen] Don Lanier formed a group by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist but played weekends at country dances. Later he quit his professional role, he formed a band that became popular in the Rocky Mount ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club 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 Nosotros Go Again".[21] Steagall'south first suspension came when Charles covered "Hither We Go Again".[19] Steagall says that the song "came near in a very unusual way and very rapidly".[21] One source even claims that Steagall did not come to Hollywood until later Charles recorded the song.[24]

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

Performance history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites You to Listen is non readily available, simply "Here We Go Again" was the best-charting vocal on the album (and likely on the playlist). Charles' bout began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played back in the United States at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Afterwards 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'southward Reno that was praised in Variety. The bout as well had an extended fall run at New York'due south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" as "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 mag wrote that the vocal could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the Usa Billboard Hot Rhythm & Blues Singles top l chart on June 10, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the vocal spent three weeks at its tiptop position of number fifteen on the Hot 100 nautical chart.[32] [33] Information technology spent July 22 and 29 at its peak position of number v on the Hot Rhythm & Blues Singles nautical chart.[34] [35] By August 12, it savage out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for 13 weeks catastrophe on September two.[37] [38] "Here Nosotros Go Again" was Charles' last single to enter the top xx of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Yr-End Hot 100 chart and 33 on the Year-End Hot Rhythm & Dejection Singles chart.[40]

Abroad, information technology debuted on the Britain Singles Chart top 40 at number 38 on July 8, 1967, which would be its acme.[41] It totalled 3 not-consecutive weeks on the chart.[42] [43] In the netherlands, "Hither We Go Again" 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 effect past using a different vocalization than he had ever previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, just making it the heart of the thing, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Runway listing [edit]

  • 7-inch single [45]
  1. "Here We Become Once more" – 3:14
  2. "Somebody Ought to Write a Book About Information technology" – 3:02

According to Allmusic, the solo version is listed at lengths betwixt three:fourteen and 3:20 on diverse albums.[17]

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having bundled and conducted the recording. This is i of two songs on the album ("Yesterday" being the other) that in add-on to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Estrus of the Night" also had a Dunhill credit but a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here We Become 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 anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(southward) Don Lanier, Red Steagall
Producer(south) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dearest You"
(1968) 		"Here We Go Over again"
(1969) 		"Drummer Human"
(1969)

Nancy Sinatra recorded a encompass of the song for her 1969 album Nancy, which was her first album after ending her business human relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music appeal,[50] was produced by Baton Strange.[51] [52] The B-side to the single, "Memories", was written past Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long pop style".[52] They as well commended Sinatra's singing, calling it a "fine" operation, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Nautical chart performance [edit]

Although CD Universe describes the song every bit a country music song,[49] information technology never charted on country music charts. For the week catastrophe May 17, 1969, the song was listed among US Billboard Bubbling Nether Hot 100 Singles chart at number 106 and debuted on the United states Billboard Easy Listening Pinnacle 40 nautical chart at number thirty.[55] [56] The following calendar week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar week stay.[58] The vocal then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second consecutive week at its top position of number xix on the Piece of cake Listening chart.[threescore] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros 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 week of June 16, 1969.[64] The song spent a total of 5 weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 nautical chart (with "Hither Nosotros Become Once again", "God Knows I Dear You" and "Drummer Man").[67]

Track listing [edit]

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

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

Credits [edit]

The post-obit 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)
  • Ruby 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"
Unmarried past Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length 3:59
Label Concord/Hear Music
Songwriter(southward) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here Nosotros Go Again"
(2005) 		"You lot Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Virtually You"
(2006)

In 2004, Charles re-recorded "Here We Go Again" as a duet with American singer-songwriter Norah Jones, who grew upwards listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets tape. I got on the next aeroplane and I brought my mom. We went to his studio and did information technology alive 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 great because I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the just part that was not done live was a piano overlay that she added afterwards 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 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' band.[71]

Reception [edit]

As part of Charles' Grammy Laurels for Album of the Year-winning Genius Loves Company, the vocal proved to be the most popular and critically acclaimed on the anthology. 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 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 Watch 'south Jim Abbott every bit 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'southward accompanying office on Hammond B3.[vii] As opposed to other tracks on the album, when Charles' voice 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 merely funky arrangement".[71] Author Mike Evans wrote that "there'south a mutual warmth of purpose in every breath [Charles and Jones] accept" on the vocal.[75] Music Week staff noted the timeliness of the release with the biographical movie Ray in theaters and described the vocal as soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the song burden equally did many of Charles's duet partners on the anthology.[82] USA Today 'southward Steve Jones said the vocal "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rail".[27] Preston's performance was favorably described by The Washington Post 'southward Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that function 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 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] All the same, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more simply filler.[87] [88]

Awards and nominations [edit]

In Dec 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the award for Record of the Year and Best Popular Collaboration with Vocals.[xc] It was the 2nd Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, but not Vocal of the Year. Record of the Yr is awarded to the creative person(due south), producer(s), recording engineer(due south) and/or mixer(south), if other than artist for newly recorded material. Song of the Yr is awarded to the songwriter(southward) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the Usa Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the anthology brand the US Billboard Hot Digital Tracks Top 50 nautical chart. "Here We Get Again" was the download sales leader among the anthology's songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Become Once again" fell out of the top l two weeks afterward.[97] It was released as a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Manufacture Association of America for shipments exceeding 500,000 units in the United States.

Afterwards the album earned eight Grammy Awards and the vocal won Tape of the Twelvemonth, sales picked upwards and the album was re-promoted.[99] "Hither Nosotros Go Again" entered the US Billboard Bubbling Nether Hot 100 chart at number five in the effect dated (for the calendar week ending) February 26, 2005.[100] The vocal charted for a week on both the United states Billboard Hot Digital Songs pinnacle 75 at number 73 and the Us Billboard Pop 100 at number 74 for the week ending March 5, 2005, simply withal did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Nether Hot 100 chart acme position of number two for the week ending March 5, 2005.[102] A compact disc single of the song was released on April nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March half dozen, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Hither We Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week later at number 51. Information technology lasted 10 weeks on the top 100 chart.[105]

Track 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" – ane:35

According to Allmusic, the duet version was between iii: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]

State 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 thirty, 1972, peaking at number 66 and spending a total of 5 weeks on the chart.[107] The song too spent five weeks on the Cashbox Country Singles Chart, debuting on Oct vii, 1972, and peaking at number 61 3 weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the November half-dozen, 1982 (season xv, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, just it entered the Hot State Songs chart for the week ending October 30, 1982, at 88.[111] The song was i of but two mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The vocal peaked at number 65 in the week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song too spent vii weeks on the Cashbox Land Singles Chart, debuting on Nov 6, 1982, and peaking at number 61 for two weeks (December iv and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Become Once more" on his 1967 Ode to Billy Joe instrumental album,[116] every bit did Dean Martin on his 1970 album My Adult female, My Woman, My Married woman.[117] Glen Campbell'south version appeared on his 1971 anthology The Last Time I Saw Her,[118] Boil Arnold's on his 1972 album Lonely People,[119] and George Strait'due south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Get Once more album, but she did not include it on her 2007 duets album Reba: Duets, which was released 4 weeks afterward.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Journal.[123] Martin's version was three:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a scattering of other Martin compilation albums.[117] Campbell's version was only ii:26.[118] Strait's 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 3:x.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 anthology The Red 1.[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 song[129] that he included on his 1976 anthology 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 Heart's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here Nosotros Go Once again: Jubilant the Genius of Ray Charles was recorded on these two alive dates. The anthology, which was released on March 29, 2011, included a runway entitled "Here We Get Again".[132] [133] The vocals on "Hither We Go Again" were performed past Jones and Nelson, while instrumental back up 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 5:10, was bundled past Andy Farber and performed in a rhythm and dejection 12/eight shuffle.[93] BBC music reviewer Bill 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 vocal sounded unrehearsed.[135] Although critique of this rail is thin, Pop Matters 'south 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 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 (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Immature (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album every bit Strait's "near hard-cadre country album" up to that signal in his career.[138] Allmusic staff noted that the anthology held its own at the fourth dimension of release against most of its competitors and has aged better than most state 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 anthology equally 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'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 additional soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Swell 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 Audio Of Genius: Music Review: The Last Anthology From Ray Charles Isn't Stellar, Just It'southward A Pleasant Listening Experience Simply The Same". Orlando Scout. 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. ^ "Hither We Go 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 Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Mod Sounds in Land 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 Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You lot to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May eight, 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 Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country 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 Lone Star Land. Texas Christian University 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-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of state music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford Academy Printing. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Once again Canvass Music". Musicnotes.com. Dirk Music. February xiv, 2005. Retrieved May 9, 2011.
  26. ^ a b "Peak 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May six, 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 Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May ten, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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