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Song Lyrics Here We Go Again Ray Charles

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1967 song by Ray Charles

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

"Hither We Become Once more" seven-inch unmarried cover art
Single past Ray Charles
from the album Ray Charles Invites You to Mind
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:eighteen
Label ABC Records/Tangerine Records
Songwriter(south) Don Lanier, Crimson Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say Y'all're Fooling"
(1966) 		"Here Nosotros Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here Nosotros Get Once again" is a state music standard written by Don Lanier and Ruddy Steagall that outset became notable as a rhythm and dejection 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 Usa 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 on Genius Loves Visitor was released, "Hither We Become Once again" earned Grammy Awards for Tape of the Yr and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album's release. Some other notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a wide variety of musical genres. In full, five different versions have been listed on the music charts. Although its 2 most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Get Once more" was first covered in an instrumental jazz format, and many of the more than recent covers have been sung equally duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute anthology Hither We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Ruby Steagall's 2007 album as well. Cover versions take appeared on compilation albums by a number of artists, even some who did not release "Here We Go Again" as a single.

Original version [edit]

In Nov 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Groovy Jazz and Pop Singers, "His commencement 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. Considering Charles was signed to ABC as a rhythm and blues singer, he decided to await until his contract was up for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Modernistic Sounds in State and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[iv] In 1962 he founded his ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

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

First released by Charles in 1967, "Here We Get Once more" was written by Lanier and Steagall and published by the Dirk Music Company.[xi] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed as the 6th of 10 tracks on Ray Charles Invites You to Listen.[14] [fifteen] [xvi] Starting in 1987, information technology 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] [xiii] Information technology was also included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activity helped him regain the employ of his left arm and paw.[xx] When he enrolled at West Texas State University, he formed his first country band.[19] Don Lanier formed a grouping by the proper name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil chemist but played weekends at country dances. Later he quit his professional office, 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 club 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 Become Again".[21] Steagall'due south first break came when Charles covered "Hither We Go Again".[19] Steagall says that the vocal "came about in a very unusual manner and very quickly".[21] I source fifty-fifty claims that Steagall did non come to Hollywood until later on Charles recorded the vocal.[24]

According to the canvas music published by Dirk Music, "Here We Go Again" is set in 12/8 time with a dull shuffle tempo of sixty-nine beats per minute. The vocal is written in the key of B ♭ major.[25] It is primarily a country song,[26] only contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Go Once more' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and hurting that makes the blues, just, what it is. The recording has a simple and sterling gospel system and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites You to Listen is not readily available, but "Here We Go Once again" was the all-time-charting vocal on the album (and likely on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' showtime since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, equally well as Vienna. In May, the band played back in the United States at New York City's Carnegie Hall earlier returning to California. The bout received bad reviews from publications such every bit Jazz Journal, Jazz Mag 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 3-calendar week run at Harrah's Reno that was praised in Variety. The bout also had an extended autumn run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Go Once more" as "Another excellent instance of how Ray Charles was able to fuse blues and state".[28] In a review for the single, a writer for Billboard mag 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 twenty, 1967, consequence and number 48 on the US Billboard Hot Rhythm & Blues Singles tiptop l chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the vocal 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 height position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] Past August 12, it barbarous out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles nautical chart for 13 weeks catastrophe on September two.[37] [38] "Here Nosotros Get Again" was Charles' concluding unmarried to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Year-Finish Hot 100 chart and 33 on the Twelvemonth-End Hot Rhythm & Blues Singles nautical chart.[40]

Away, it debuted on the U.k. Singles Chart elevation 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 not-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Here Nosotros Go Over again" appeared on the singles chart at number x on July 15, 1967, and later peaked at number three.[44]

Co-ordinate to Will Friedwald, this song is an case of Charles vocalizing in what would usually exist a by and large inapplicable manner for dramatic effect past using a different voice than he had ever previously exhibited. He sang "... non but using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, only making information technology the centre of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track listing [edit]

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

According to Allmusic, the solo version is listed at lengths between iii:14 and iii:20 on various albums.[17]

Credits [edit]

Charles is credited as vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is one of two songs on the album ("Yesterday" beingness the other) that in addition to beingness listed as ABC-Par ABC595 is credited equally Dunhill DZS036 [CD].[46] The individual song had a characterization number ABC/TRC 10938.[47] [48] "In the Rut of the Night" too had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here We Go Again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Land
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Baton Strange
Nancy Sinatra singles chronology
"God Knows I Love You lot"
(1968) 		"Here Nosotros Go Again"
(1969) 		"Drummer Homo"
(1969)

Nancy Sinatra recorded a embrace of the vocal for her 1969 album Nancy, which was her kickoff anthology afterward ending her business relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an piece of cake listening and country music entreatment,[fifty] was produced past 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 vocal favorably, stating that the comprehend was a "smooth sing-a-long pop mode".[52] They also commended Sinatra's singing, calling it a "fine" performance, noting that it would probable render her to the Billboard charts.[52] Sinatra's version was after remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the song as a state music song,[49] it never charted on country music charts. For the calendar week catastrophe May 17, 1969, the song was listed amidst United states Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Meridian forty nautical chart at number 30.[55] [56] The following calendar week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The vocal and then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a 2d consecutive week at its meridian position of number 19 on the Piece of cake Listening chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Hither We Get Over again" debuted at number 38 on the RPM Adult Contemporary chart (previously Immature Developed Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The vocal 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 chart (with "Hither We Go Again", "God Knows I Love You lot" and "Drummer Man").[67]

Rail listing [edit]

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

According to Allmusic the original track was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-sectional 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 means, then she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Blood-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"
Single by Ray Charles and Norah Jones
from the anthology Genius Loves Company
Released Jan 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length three:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Get Once more"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweetness Words"
(2004) 		"Here We Become Again"
(2004) 		"Thinking Virtually Yous"
(2006)

In 2004, Charles re-recorded "Here Nosotros Go Again" as a duet with American vocaliser-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 We Become Over again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets record. I got on the next plane and I brought my mom. Nosotros went to his studio and did it live with the ring. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was neat considering I was petrified walking in there."[72] She noted in one ...Featuring interview that the only part that was not washed alive was a piano overlay that she added afterward to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a vocal from Charles' songbook to perform as a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at ane time been the regular organist in Charles' ring.[71]

Reception [edit]

As role of Charles' Grammy Accolade for Album of the Twelvemonth-winning Genius Loves Company, the vocal proved to be the well-nigh popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] information technology received more often than not favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'south 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 by the Orlando Watch 'southward Jim Abbott equally a recreation of one of the gems from Charles' land music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying office on Hammond B3.[seven] As opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to stand for his "dogged spirit", while Jones performed as "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky system".[71] Author Mike Evans wrote that "there'south a mutual warmth of purpose in every jiff [Charles and Jones] take" on the vocal.[75] Music Week staff noted the timeliness of the release with the biographical motion picture Ray in theaters and described the song every bit soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the song brunt every bit did many of Charles's duet partners on the album.[82] U.s. Today 's 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'due south functioning was favorably described by The Washington Post 'due south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'southward "countrified ache" represented that role of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Yr and several from albums that were nominees,[84] the song did not stand up 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 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 rails was more than simply 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 Year and All-time Pop Collaboration with Vocals.[90] It was the 2d Record of the Yr winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Twelvemonth, only not Song of the Year. Record of the Year is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(s) of a new song or a song kickoff achieving prominence during the eligibility year.[92] Steagall and Lanier are credited every bit the writers of this vocal from their piece of work on its original version in 1967.[93] Thus, the song was non a new song.

Chart performance [edit]

Ray Charles performing

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

For the week ending September eighteen, 2004, Genius Loves Company sold 202,000 copies, ranking second on the The states Billboard 200 chart and becoming Charles' highest-charting anthology in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album brand the US Billboard Hot Digital Tracks Pinnacle fifty chart. "Hither We Go Again" was the download sales leader amidst the album's songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the vocal debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Hither Nosotros Go Once again" fell out of the acme l two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the The states.

After the album earned viii Grammy Awards and the song won Record of the Year, sales picked up and the anthology was re-promoted.[99] "Here We Get Again" entered the United states of america Billboard Bubbling Under Hot 100 chart at number 5 in the event dated (for the calendar week ending) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs summit 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March five, 2005, but however did not brand the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] Withal, it ascended to its Bubbling Under Hot 100 chart acme position of number two for the week ending March five, 2005.[102] A compact disc single of the vocal was released on Apr 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top 40 nautical chart at number 53 on March 6, 2005, and peaked the post-obit week at number 52. It logged six weeks on the chart.[104] "Here We Go Once again" entered the French Singles Chart at number 54 on April two, 2005 and peaked one calendar week afterwards at number 51. It lasted 10 weeks on the height 100 chart.[105]

Track listing [edit]

  • CD unmarried [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" – 1:35

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 vocal 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 total of five weeks on the chart.[107] The song also spent v weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks after.[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 six, 1982 (flavour xv, episode nine), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, but it entered the Hot State Songs chart for the week ending October xxx, 1982, at 88.[111] The song was one of only two mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The song peaked at number 65 in the week ending November 27 and remained in the chart for two more weeks, making the full run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Land Singles Nautical chart, debuting on November 6, 1982, and peaking at number 61 for ii weeks (Dec 4 and eleven).[115]

Other versions and uses [edit]

Baton Vaughn covered "Hither We Get Again" on his 1967 Ode to Baton Joe instrumental album,[116] every bit did Dean Martin on his 1970 album My Adult female, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Final Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 album Solitary People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither Nosotros Get Again album, but she did non include it on her 2007 duets album Reba: Duets, which was released four weeks later.[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 3:07, and it afterwards appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. two. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is 2:53 and appears later on on his 2004 Greatest Drove at a two:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is iii:x.[125] R&B and boogie-woogie pianist and vocalist Little Willie Littlefield recorded a version for his 1997 album The Ruby-red 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 song[129] that he included on his 1976 album Golden 60 minutes Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed ii concerts at Lincoln Center'due south Rose Theatre on February nine and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: Celebrating the Genius of Ray Charles was recorded on these two alive dates. The album, which was released on March 29, 2011, included a track entitled "Here We Go Once more".[132] [133] The vocals on "Here We Become Again" were performed by 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:ten, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "style and panache" to this performance.[134] At 1 concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rails is thin, Pop Matters 's Will Layman notes that the album reveals "how decisive and potent Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland besides notes that on the anthology Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's country music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Immature (background 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 as Strait'southward "almost hard-core country album" up to that point in his career.[138] Allmusic staff noted that the album held its ain at the fourth dimension of release confronting about of its competitors and has anile 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 mode of singing.[140] The iTunes Store describes the album as the consequence of a transition in eras of country music.[141]

The vocal plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 motion-picture show Ray nor the limited edition boosted soundtrack album More than 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 Groovy 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. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Last Album From Ray Charles Isn't Stellar, Merely It's A Pleasant Listening Experience Just The Same". Orlando Sentinel. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Hither We Go Once again (Legal Championship)". 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 Modernistic Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Amusement Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite spider web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites You lot to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). 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 Country: The Experts' Guide to the All-time State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian Academy Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-7.
  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 University Press. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Hither Nosotros Go Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top lx Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 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 10, 2011.
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Bibliography [edit]

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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29

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