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Ten Ten Here We Go Again

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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

"Here We Get Again" vii-inch single cover art
Unmarried by Ray Charles
from the album Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Volume About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length three:18
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Heat of the Nighttime"
(1967)

"Here We Get Again" is a country music standard written past Don Lanier and Cherry Steagall that showtime became notable as a rhythm and blues unmarried by Ray Charles from his 1967 album Ray Charles Invites You to Heed. Information technology was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the vocal has been the biggest commercial success, spending twelve consecutive weeks on the Usa Billboard Hot 100 chart, peaking at number 15.

The most notable encompass version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Get Once more" earned Grammy Awards for Record of the Year and Best Popular Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died earlier the album'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 v weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The vocal has been covered in a wide multifariousness of musical genres. In total, five different versions accept been listed on the music charts. Although its 2 almost successful versions take been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Get Again" was get-go covered in an instrumental jazz format, and many of the more recent covers accept 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 album Here We Get Again: Celebrating the Genius of Ray Charles. The song lent its name to Blood-red Steagall's 2007 album as well. Encompass versions take appeared on compilation albums by a number of artists, even some who did not release "Here We Go Once more" as a unmarried.

Original version [edit]

In November 1959, after twelve years every bit a professional 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 Great Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and dejection and land music. Because Charles was signed to ABC every bit a rhythm and blues singer, he decided to await until his contract was upwards for its three-year renewal earlier experimenting with country music, although he wanted to do so sooner. With the assist of ABC executive Sid Feller, he gathered a set of state songs to record, despite the wishes of ABC.[three] The release of his 1962 country albums Modernistic Sounds in Country and Western Music and its follow-up Modern Sounds in State and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audition.[4] In 1962 he founded his ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [six]

"Here We Go Once again" was recorded during a stage in Charles' career when he was focused on performing country music.[vii] Thus, "Hither Nosotros Go Again" was a land music song released by the Tangerine label ABC-Paramount, merely performed in Charles' rhythm and dejection style. However, his works did not acquit the Tangerine characterization until 1968.[eight] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Go Again".[10]

Kickoff released by Charles in 1967, "Here Nosotros Go Over again" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded it at RPM International Studios, Los Angeles,[12] [thirteen] and the song was listed as the sixth of ten tracks on Ray Charles Invites You to Heed.[14] [15] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in State and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Album.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This action helped him regain the utilise of his left arm and hand.[20] When he enrolled at Due west Texas Country Academy, he formed his get-go land band.[19] Don Lanier formed a group past the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil pharmacist but played weekends at country dances. After he quit his professional role, he formed a band that became pop 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, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Get Again".[21] Steagall's first break came when Charles covered "Here We Go Again".[19] Steagall says that the song "came about in a very unusual mode and very quickly".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

According to the sail music published by Dirk Music, "Here We Go Once again" is set in 12/8 time with a wearisome shuffle tempo of sixty-ix beats per minute. The song is written in the central of B ♭ major.[25] It is primarily a land song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Hither We Go Once again' is a soulful ballad in the Southern blues tradition. Lyrically, information technology has a resignation and pain that makes the dejection, simply, what information technology is. The recording has a simple and sterling gospel arrangement and, in hindsight, is one of Charles' effectively 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 bachelor, but "Here We Become Again" was the best-charting song 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' kickoff since 1964, continued to Europe in mid-April where it visited the Imperial Festival Hall, London and Salle Pleyel, Paris, as well equally Vienna. In May, the band played back in the U.s.a. at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Magazine and the New York Post. Later on that summer, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his beginning lucrative Nevada casino performances, which started with a 3-week run at Harrah's Reno that was praised in Multifariousness. The tour likewise had an extended autumn run at New York's 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 dejection and country".[28] In a review for the unmarried, a author for Billboard magazine wrote that the song could hands exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May 20, 1967, result and number 48 on the US Billboard Hot Rhythm & Blues Singles pinnacle l nautical chart on June 10, 1967.[30] [31] For the weeks catastrophe July 15, 22 and 29, the song spent three weeks at its peak position of number fifteen on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its superlative position of number v on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it savage out the Hot 100 chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for 13 weeks ending on September 2.[37] [38] "Here We Go Once more" was Charles' last single to enter the top 20 of the Hot 100.[39] For the yr 1967 the song finished at number 80 on the United states Billboard Yr-Stop Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles chart.[forty]

Abroad, information technology debuted on the UK Singles Chart superlative twoscore at number 38 on July 8, 1967, which would be its meridian.[41] It totalled three non-consecutive weeks on the chart.[42] [43] In the netherlands, "Hither We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and afterward peaked at number three.[44]

Co-ordinate to Volition Friedwald, this vocal is an example of Charles vocalizing in what would ordinarily be a generally extraneous manner for dramatic result by using a different voice than he had always previously exhibited. He sang "... non but using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, merely making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[ii]

Rail list [edit]

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

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

Credits [edit]

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

Nancy Sinatra version [edit]

"Here We Get Once 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 past Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(due south) Don Lanier, Reddish Steagall
Producer(south) Baton Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Human being"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her commencement anthology later ending her business relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an like shooting fish in a barrel listening and country music entreatment,[50] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "polish sing-a-long pop fashion".[52] They also 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 afterward remastered and reissued in 1996.[54]

Chart operation [edit]

Although CD Universe describes the song as a state music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the vocal was listed amongst U.s.a. Billboard Bubbles Under Hot 100 Singles nautical chart at number 106 and debuted on the Us Billboard Easy Listening Top 40 chart at number 30.[55] [56] The following week it debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song and so spent a total of two weeks on the Hot 100.[59] For the week catastrophe June 7, the vocal spent a 2d consecutive week at its peak position of number 19 on the Easy Listening chart.[60] The song remained on the chart for five weeks until June fourteen, 1969.[61] [62] In Canada "Here We Get Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Immature Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June xvi, 1969.[64] The vocal spent a total of 5 weeks on the nautical chart.[65] [66] According to Allmusic databases, 1969 was the terminal year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Love You" and "Drummer Homo").[67]

Rail listing [edit]

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

According to Allmusic the original track was 3:09, but when information technology appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was iii:xi.[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, then she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this rails:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Reddish Rhodes (steel guitar)
  • Sid Sharp (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]

"Here We Go Over again"
Single by Ray Charles and Norah Jones
from the anthology Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length three:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here We Go Again"
(2005) 		"Yous Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sugariness Words"
(2004) 		"Here We Go Over again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here We Become Once more" equally a duet with American vocaliser-songwriter Norah Jones, who grew upward listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Once more" duet, she said "I got a phone call from Ray request if I'd be interested in singing on this duets tape. I got on the side by side airplane and I brought my mom. We went to his studio and did information technology live with the band. I sang it correct next to Ray, watching his mouth for the phrasing. He was very sugariness and put me at ease, which was neat because I was petrified walking in there."[72] She noted in ane ...Featuring interview that the only part that was not washed alive was a piano overlay that she added later to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this ane provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at in one case been the regular organist in Charles' band.[71]

Reception [edit]

Equally function of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Company, the vocal proved to be the near pop and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones notation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[fourscore] The vocal was described past the Orlando Sentinel 'south Jim Abbott every bit a recreation of ane of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'southward accompanying function on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vox was understated, this song was said to represent his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky system".[71] Author Mike Evans wrote that "in that location's 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 film Ray in theaters and described the vocal 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 vocal burden as did many of Charles's duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rail".[27] Preston's operation was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that function of Charles' career.[83]

When the vocal 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 only 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 February 13, 2005 awards ceremony, the duet earned the award for Record of the Year and All-time 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 song won Record of the Year, but non Vocal 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 Twelvemonth is awarded to the songwriter(south) of a new vocal 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 non a new vocal.

Nautical chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the US Billboard 200 nautical chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album brand the US Billboard Hot Digital Tracks Meridian 50 nautical chart. "Here Nosotros Go Over again" was the download sales leader among the album'southward songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the United states of america Billboard Hot Digital Tracks chart at number 26.[96] "Here We Become Again" fell out of the pinnacle fifty 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 past the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

Later the album earned 8 Grammy Awards and the song won Record of the Year, sales picked upwards and the album was re-promoted.[99] "Here We Get Once again" entered the Us Billboard Bubbling Under Hot 100 chart at number 5 in the outcome dated (for the week ending) Feb 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs meridian 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, but nevertheless did not make the Hot 100,[101] ranking 113th earlier falling out of the nautical chart.[48] However, information technology ascended to its Bubbles Under Hot 100 chart tiptop position of number two for the calendar week catastrophe March 5, 2005.[102] A compact disc unmarried of the song was released on April 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March six, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Here Nosotros Go Over again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week afterward at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

  • CD unmarried [103]
  1. "Hither Nosotros Go Once more" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – one:35

According to Allmusic, the duet version was between iii:56 and three:59 on diverse albums.[17]

Credits [edit]

The song was recorded at RPM International Studio (Los Angeles), mixed at Capitol Studios and mastered at the Mastering Lab.[106]

Country 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 thirty, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal as well spent five weeks on the Cashbox State Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks afterwards.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the Nov 6, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but information technology entered the Hot Country Songs chart for the week catastrophe October 30, 1982, at 88.[111] The song was ane of but two mentioned in the Oct 30, 1982, Billboard album review and was described as "a solid land number".[112] The song peaked at number 65 in the week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song besides spent seven weeks on the Cashbox State Singles Nautical chart, debuting on Nov half dozen, 1982, and peaking at number 61 for two weeks (December 4 and eleven).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here We Go Again" on his 1967 Ode to Billy Joe instrumental anthology,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Married woman.[117] Glen Campbell's version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Property My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again album, just she did not include it on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Journal.[123] Martin'due south version was iii:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is two: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 off-white)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Lilliputian Willie Littlefield recorded a version for his 1997 album The Cerise One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 album Aureate Hour Of Joe Dolan Vol. two and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Middle's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: Jubilant the Genius of Ray Charles was recorded on these two live dates. The anthology, which was released on March 29, 2011, included a track entitled "Here We Go Again".[132] [133] The vocals on "Here Nosotros Go 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 five:ten, was arranged by Andy Farber and performed in a rhythm and dejection 12/viii shuffle.[93] BBC music reviewer Beak Tilland noted that Jones added her usual "manner and panache" to this operation.[134] At i concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this runway is sparse, Pop Matters 'due south Volition Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland as well notes that on the anthology Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'south 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 (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (groundwork vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'southward Alanna Nash regarded the album equally Strait'south "well-nigh hard-core country album" up to that point in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against nearly of its competitors and has aged meliorate than almost country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Shop describes the album equally the result of a transition in eras of land music.[141]

The vocal plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 flick Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition additional soundtrack anthology More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Great 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–sixteen.
  7. ^ a b Abbott, Jim (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Anthology From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Just The Same". Orlando Lookout. Tribune Visitor. 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 Get Again (Legal Title)". Circulate Music Incorporated. Archived from the original on July 19, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May eight, 2011.
  13. ^ a b Mod Sounds in Land and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment Visitor. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May eight, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May 8, 2011.
  17. ^ a b c "Here We Become Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). State 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 Best Land 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–nine. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford Academy Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Become Once more Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business 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 Get 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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