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Here We Go Again Lyrics Ray Charles

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1967 song by Ray Charles

"Hither 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

"Here We Become Again" seven-inch single embrace fine art
Unmarried by Ray Charles
from the album Ray Charles Invites You lot 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 3:18
Label ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Reddish Steagall
Producer(due south) Joe Adams
Ray Charles singles chronology
"Please Say Y'all're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Dark"
(1967)

"Here We Get Once again" is a state music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and dejection unmarried by Ray Charles from his 1967 album Ray Charles Invites You lot to Listen. It was tape producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number 15.

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

The song has been covered in a broad variety of musical genres. In full, v unlike versions have been listed on the music charts. Although its two most successful versions have been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Go Again" was first covered in an instrumental jazz format, and many of the more than recent covers have been sung every bit 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 Get Again: Celebrating the Genius of Ray Charles. The vocal lent its proper name to Ruby-red Steagall's 2007 album as well. Comprehend versions have appeared on compilation albums by a number of artists, even some who did not release "Here We Go Once again" as a single.

Original version [edit]

In November 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] Co-ordinate to Will Friedwald in A Biographical Guide to the Neat Jazz and Popular Singers, "His first iv ABC albums were all primarily devoted to standards..."[ii] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC every bit a rhythm and blues vocalizer, he decided to wait until his contract was up for its three-year renewal before experimenting with country music, although he wanted to practice so sooner. With the aid of ABC executive Sid Feller, he gathered a fix of state songs to record, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in State and Western Music and its follow-up Modernistic Sounds in Country and Western Music, Vol. ii broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[4] In 1962 he founded his own tape characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [6]

"Here We Go Again" was recorded during a phase in Charles' career when he was focused on performing country music.[seven] Thus, "Here We Go Once again" was a state music song released by the Tangerine label ABC-Paramount, merely performed in Charles' rhythm and blues style. However, his works did not behave the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] but he returned to conform Charles' 1967 album, Ray Charles Invites You to Heed.[10] Joe Adams produced and engineered the album, which included "Here We Go Again".[x]

First released by Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published past the Dirk Music Company.[11] Charles recorded information technology 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 Mind.[14] [15] [16] 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 song was added as a bonus track.[12] [13] Information technology was also included on the 1988 anthology 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 use of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his commencement country band.[19] Don Lanier formed a grouping by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist only played weekends at land dances. Subsequently 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 society performing and songwriting.[23] He wrote for ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Go Again".[21] Steagall'south starting time break came when Charles covered "Here Nosotros Go Again".[19] Steagall says that the song "came about in a very unusual manner and very chop-chop".[21] One source even claims that Steagall did not come to Hollywood until later Charles recorded the vocal.[24]

According to the sail music published by Dirk Music, "Hither We Get Again" is set in 12/viii time with a slow shuffle tempo of lx-nine beats per minute. The song is written in the key of B ♭ major.[25] It is primarily a country vocal,[26] but contains gospel influences.[27] Co-ordinate 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 it is. The recording has a uncomplicated 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 bout promoting Ray Charles Invites You to Listen is not readily available, simply "Here Nosotros Go Once again" was the best-charting song 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 State of war from San Diego Harbor. The bout, Charles' first since 1964, continued to Europe in mid-Apr where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, also every bit Vienna. In May, the band played back in the The states at New York City's Carnegie Hall earlier returning to California. The bout received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Post. Later that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his commencement lucrative Nevada casino performances, which started with a 3-week run at Harrah's Reno that was praised in Diversity. The tour also had an extended fall run at New York'southward Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Over again" as "Another splendid case of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer for Billboard magazine wrote that the 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 xx, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles acme l chart on June x, 1967.[xxx] [31] For the weeks ending July 15, 22 and 29, the vocal spent iii weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its top position of number 5 on the Hot Rhythm & Dejection Singles nautical chart.[34] [35] Past August 12, it cruel out the Hot 100 nautical chart, catastrophe a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles chart for xiii weeks ending on September 2.[37] [38] "Hither Nosotros Become Again" was Charles' last single to enter the meridian twenty of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the U.s.a. Billboard Year-End Hot 100 chart and 33 on the Year-Cease Hot Rhythm & Blues Singles chart.[twoscore]

Away, it debuted on the UK Singles Chart top xl at number 38 on July 8, 1967, which would be its peak.[41] It totalled three not-sequent weeks on the chart.[42] [43] In the Netherlands, "Hither Nosotros Go Again" appeared on the singles chart at number 10 on July xv, 1967, and later on peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a mostly inapplicable manner for dramatic effect past using a different voice 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, but making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Track listing [edit]

  • seven-inch single [45]
  1. "Here We Become Again" – three:14
  2. "Somebody Ought to Write a Book Virtually It" – 3:02

According to Allmusic, the solo version is listed at lengths between 3:14 and 3:20 on various albums.[17]

Credits [edit]

Charles is credited every bit vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is 1 of two songs on the anthology ("Yesterday" existence the other) that in addition to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private vocal had a label number ABC/TRC 10938.[47] [48] "In the Estrus of the Night" besides had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

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

Chart functioning [edit]

Although CD Universe describes the song as a country music song,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among U.s. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top 40 nautical chart at number 30.[55] [56] The following week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a total of 2 weeks on the Hot 100.[59] For the week ending June seven, the vocal spent a second consecutive week at its peak position of number 19 on the Easy Listening chart.[threescore] The song remained on the chart for v weeks until June 14, 1969.[61] [62] In Canada "Hither Nosotros Go Again" debuted at number 38 on the RPM Adult 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 five 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 "Here Nosotros Become Once more", "God Knows I Love You" and "Drummer Man").[67]

Track list [edit]

  • 7-inch vinyl unmarried [53]
  1. "Here Nosotros Go Again" – 3:07
  2. "Memories" – 3:40

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

Credits [edit]

The post-obit musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Hither We Go Again"
Unmarried by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, 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 Sugariness Words"
(2004) 		"Here Nosotros Go Again"
(2004) 		"Thinking Most You"
(2006)

In 2004, Charles re-recorded "Here Nosotros 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 album ...Featuring, which included her "Here We Become Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets record. I got on the next airplane and I brought my mom. Nosotros went to his studio and did information technology alive with the band. I sang it correct next to Ray, watching his oral cavity for the phrasing. He was very sweet and put me at ease, which was great 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 afterwards 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 every bit a duet and felt that this one provided the best opportunity to harmonize rather than alternating vocal verses.[73] On the record, the two singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

Every bit function of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Company, the song proved to be the virtually popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'due south Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones note for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" operation.[lxxx] The vocal was described by the Orlando Scout 's Jim Abbott every bit a recreation of i of the gems from Charles' land music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[seven] 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 empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organisation".[71] Author Mike Evans wrote that "there's a common warmth of purpose in every breath [Charles and Jones] take" on the vocal.[75] Music 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's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The vocal received other specific forms of praise. Robert Christgau notes that Jones carried the vocal burden as did many of Charles's duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described by The Washington Mail service 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand 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 staid and less compelling recording" on the anthology.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the Feb thirteen, 2005 awards ceremony, the duet earned the award for Tape of the Yr and Best Pop Collaboration with Vocals.[ninety] It was the second Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Tape of the Yr, merely not Vocal of the Year. Record of the Year is awarded to the artist(s), producer(s), recording engineer(due south) 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 vocal or a vocal starting time achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited equally the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new vocal.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the week catastrophe September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the U.s.a. Billboard 200 chart and becoming Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the 13 tracks on the anthology make the Us Billboard Hot Digital Tracks Summit 50 nautical chart. "Here We Go Again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the United states Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Become Again" fell out of the top l ii weeks later.[97] Information technology was released equally 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 Usa.

Afterward the album earned eight Grammy Awards and the song won Tape of the Year, sales picked up and the anthology was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbles Under Hot 100 chart at number v in the event dated (for the calendar week catastrophe) Feb 26, 2005.[100] The song charted for a week on both the United states Billboard Hot Digital Songs superlative 75 at number 73 and the Us Billboard Popular 100 at number 74 for the week ending March 5, 2005, just still did non brand the Hot 100,[101] ranking 113th before falling out of the chart.[48] Yet, it ascended to its Bubbling Under Hot 100 chart peak position of number ii for the week catastrophe March 5, 2005.[102] A compact disc unmarried of the song was released on Apr 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top xl nautical chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the nautical chart.[104] "Here Nosotros Become Once more" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one week later on at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

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

Land chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. Information technology debuted on the Hot Country Songs chart on September thirty, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song likewise spent five weeks on the Cashbox Land Singles Chart, debuting on October 7, 1972, and peaking at number 61 3 weeks later.[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 vi, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but it entered the Hot Land Songs chart for the calendar week ending Oct 30, 1982, at 88.[111] The vocal was i of only two mentioned in the October 30, 1982, Billboard anthology review and was described as "a solid land 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 total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (Dec iv and xi).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here Nosotros Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 anthology My Adult female, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Concluding Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 anthology Lonely People,[119] and George Strait'southward on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Again album, merely she did not include it on her 2007 duets anthology Reba: Duets, which was released four weeks later on.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin's version was 3:07, and information technology later appeared on compilation albums, starting with the 1996 Dean Martin Gilt, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell'southward version was only ii:26.[118] Strait'south version is 2:53 and appears afterward on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'southward version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is iii:10.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee made a version of the vocal on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February 9 and ten, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Become 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 Become Again".[132] [133] The vocals on "Here We Go Once 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 5:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At one concert functioning, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this runway is sparse, Pop Matters 'south Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional person mastery of Marsalis' quintet.[136] Tilland too notes that on the anthology Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'southward state music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'due south Alanna Nash regarded the anthology as Strait'southward "virtually difficult-core country anthology" up to that point in his career.[138] Allmusic staff noted that the anthology held its own at the fourth dimension of release against virtually 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 anthology represents the most straightforward style of singing.[140] The iTunes Store describes the anthology as the upshot of a transition in eras of country music.[141]

The vocal plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'south 1970 film Gods of the Plague.[142] [143] Yet, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack anthology 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 Great Jazz and Popular 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–sixteen.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Last Album From Ray Charles Isn't Stellar, But It'due south A Pleasant Listening Feel Just The Aforementioned". Orlando Lookout. 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 more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhinoceros Amusement 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 (August v, 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 Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May eight, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Once more". Allmusic. Rovi Corporation. Retrieved May viii, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Enquiry. pp. 191–192. ISBN0-89820-166-seven.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Lexicon. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to 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 Land. Texas Christian Academy Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of land 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 Nosotros Get Again Sail Music". Musicnotes.com. Dirk Music. Feb fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Height lx Spotlights". Billboard. Nielsen Concern Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Hither We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May ten, 2011.
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Bibliography [edit]

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