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Here We Go Again Adam Gibbons

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1967 song by Ray Charles

"Here We Go Over 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 Again" 7-inch unmarried cover art
Single by Ray Charles
from the album Ray Charles Invites You lot to Heed
B-side "Somebody Ought to Write a Book Well-nigh Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length iii:18
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(southward) Joe Adams
Ray Charles singles chronology
"Please Say Yous're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Estrus of the Nighttime"
(1967)

"Here Nosotros Go Again" is a country music standard written by Don Lanier and Red Steagall that showtime became notable equally a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Yous to Mind. 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 Us Billboard Hot 100 nautical chart, peaking at number fifteen.

The well-nigh notable embrace version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest disquisitional success. Later Genius Loves Company was released, "Here We Become Over again" earned Grammy Awards for Tape of the Year and Best Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album's release. Another 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 and so for seven weeks in 1982.

The vocal has been covered in a wide diversity of musical genres. In full, 5 dissimilar versions have been listed on the music charts. Although its ii most successful versions accept been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Go Once more" was first covered in an instrumental jazz format, and many of the more recent covers have been sung every bit duets, such every bit one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute anthology Here We Get Again: Celebrating the Genius of Ray Charles. The song lent its proper noun to Red Steagall'due south 2007 album as well. Embrace versions have appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Here We Go Again" equally a single.

Original version [edit]

In November 1959, after twelve years equally 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 Peachy Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Because Charles was signed to ABC every bit a rhythm and blues vocaliser, he decided to await until his contract was upwardly for its three-year renewal before experimenting with country music, although he wanted to practice so sooner. With the assistance of ABC executive Sid Feller, he gathered a ready of country songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in State and Western Music and its follow-upwards Modern Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [vi]

"Here We Go Again" was recorded during a stage in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Once again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues way. Withal, his works did not acquit the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to accommodate Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Hither We Go Again".[10]

First released past Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the song was listed every bit the 6th of ten tracks on Ray Charles Invites You to Listen.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[xviii]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activity helped him regain the utilize of his left arm and paw.[xx] When he enrolled at West Texas Land University, he formed his first country ring.[19] Don Lanier formed a group by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist merely played weekends at land dances. After he quit his professional role, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk 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'southward starting time intermission came when Charles covered "Here We Go Again".[19] Steagall says that the vocal "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]

Co-ordinate to the sail music published by Dirk Music, "Here We Become Again" is set in 12/eight fourth dimension with a slow shuffle tempo of lx-nine beats per minute. The vocal is written in the key of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Become Again' is a soulful carol in the Southern blues tradition. Lyrically, it has a resignation and hurting that makes the dejection, simply, what it is. The recording has a simple and sterling gospel system 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, but "Hither We Go Over again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam State of war from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played dorsum in the The states at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Mag and the New York Post. Later that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his start lucrative Nevada casino performances, which started with a iii-week run at Harrah's Reno that was praised in Diversity. The tour also had an extended fall run at New York'due south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Once more" equally "Another splendid example of how Ray Charles was able to fuse dejection and country".[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 20, 1967, effect and number 48 on the US Billboard Hot Rhythm & Dejection Singles top 50 nautical chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent 3 weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By Baronial 12, it fell out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for 13 weeks ending on September ii.[37] [38] "Here We Go Again" 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 Us Billboard Twelvemonth-End Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the United kingdom of great britain and northern ireland Singles Chart top forty at number 38 on July eight, 1967, which would be its acme.[41] It totalled 3 not-consecutive weeks on the nautical chart.[42] [43] In kingdom of the netherlands, "Hither We Go Again" appeared on the singles chart at number 10 on July fifteen, 1967, and later peaked at number three.[44]

According to Will Friedwald, this song is an instance of Charles vocalizing in what would ordinarily be a generally extraneous way for dramatic effect past using a different voice than he had always previously exhibited. He sang "... not simply using the squeak—using a whole new kind of squeak, in fact—for boosted 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 groundwork singers).[ii]

Track listing [edit]

  • 7-inch single [45]
  1. "Here Nosotros Get Again" – three:14
  2. "Somebody Ought to Write a Book About Information technology" – iii:02

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

Credits [edit]

Charles is credited as singer and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is one of two songs on the album ("Yesterday" being the other) that in addition to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Nighttime" besides 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".
Unmarried past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length iii:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(southward) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dear You lot"
(1968) 		"Here We Get Again"
(1969) 		"Drummer Homo"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album afterwards catastrophe 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 Foreign.[51] [52] The B-side to the single, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "polish sing-a-long pop mode".[52] They also commended Sinatra's singing, calling it a "fine" performance, noting that it would likely render her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart operation [edit]

Although CD Universe describes the song as a country music song,[49] information technology never charted on state music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbles Under Hot 100 Singles nautical chart at number 106 and debuted on the Us Billboard Easy Listening Top twoscore chart at number 30.[55] [56] The following week information technology debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its noon for its two-week stay.[58] The song then spent a total of two weeks on the Hot 100.[59] For the calendar week ending June 7, the song spent a second sequent week at its peak position of number nineteen on the Easy Listening chart.[sixty] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Hither We Get Once again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of v weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the concluding year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Once more", "God Knows I Love Y'all" and "Drummer Man").[67]

Rail listing [edit]

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

According to Allmusic the original runway was 3:09, just when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was three:11.[68] The single 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 ways, and so she signed a long-term contract with RCA Records.[lxx]

Credits [edit]

The following musicians performed on this rail:[51]

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

The following musicians performed on this anthology:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Red Rhodes (steel guitar)
  • Sid Sharp (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (piano)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Go Again" equally a duet with American singer-songwriter Norah Jones, who grew upwardly listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Hither We Go Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets tape. I got on the next plane and I brought my mom. We went to his studio and did it alive with the band. I sang information technology right adjacent to Ray, watching his oral fissure for the phrasing. He was very sweetness and put me at ease, which was corking because I was petrified walking in there."[72] She noted in one ...Featuring interview that the only part that was not done alive was a pianoforte 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 as a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at once been the regular organist in Charles' band.[71]

Reception [edit]

As role of Charles' Grammy Honor for Anthology of the Year-winning Genius Loves Company, the song proved to exist the near popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received more often than not favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'due south Jason Warburg described the vocal 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.[80] The song was described by the Orlando Picket 'southward Jim Abbott equally a recreation of one of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] Every bit opposed to other tracks on the album, when Charles' voice was understated, this song was said to stand for his "indomitable spirit", while Jones performed every bit "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare merely funky arrangement".[71] Author Mike Evans wrote that "in that location's a mutual warmth of purpose in every jiff [Charles and Jones] accept" on the song.[75] Music Calendar week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal as soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ piece of work.[81]

The vocal received other specific forms of praise. Robert Christgau notes that Jones carried the vocal brunt as did many of Charles's duet partners on the anthology.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening track".[27] Preston'south performance was favorably described by The Washington Post 'due south Richard Harrington every bit "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'southward "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 Twelvemonth and several from albums that were nominees,[84] the vocal did non stand out. Few of the reviews at Metacritic had substantive comments on the duet when included amid 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 than just filler.[87] [88]

Awards and nominations [edit]

In Dec 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 award for Record of the Year and Best Pop Collaboration with Vocals.[90] Information technology was the second Record of the Year winner not to brand the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, just not Song of the Year. Record of the Year is awarded to the creative person(s), producer(south), recording engineer(south) and/or mixer(due south), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(south) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited every bit 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 xi months before his 2004 death

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the U.s.a. Billboard 200 chart and condign Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the 13 tracks on the album make the US Billboard Hot Digital Tracks Meridian 50 chart. "Here We Go Once again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the The states Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Again" barbarous out of the top 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 aureate by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

Later on 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 Over again" entered the US Billboard Bubbling Under Hot 100 chart at number v in the effect dated (for the week ending) Feb 26, 2005.[100] The vocal charted for a week on both the Usa Billboard Hot Digital Songs height 75 at number 73 and the US Billboard Pop 100 at number 74 for the calendar week ending March 5, 2005, but nonetheless did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number two for the week ending March 5, 2005.[102] A meaty disc single of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top 40 nautical chart at number 53 on March half-dozen, 2005, and peaked the following week at number 52. It logged six weeks on the nautical chart.[104] "Here We Get Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one week later at number 51. Information technology lasted x weeks on the elevation 100 chart.[105]

Track listing [edit]

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

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

Credits [edit]

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

State chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical 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 as well spent v weeks on the Cashbox Country Singles Chart, debuting on Oct seven, 1972, and peaking at number 61 three weeks afterwards.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs chart for the calendar week catastrophe October xxx, 1982, at 88.[111] The song was ane of but two mentioned in the October 30, 1982, Billboard album review and was described as "a solid state number".[112] The vocal peaked at number 65 in the week catastrophe November 27 and remained in the chart for two more weeks, making the total run vii 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 (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Go Once again" on his 1967 Ode to Billy Joe instrumental anthology,[116] every bit did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 anthology The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait'due south on his 1992 album Property My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Once again anthology, just she did not include it on her 2007 duets album Reba: Duets, which was released 4 weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Periodical.[123] Martin's version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell'due south version was only 2:26.[118] Strait'due south version is ii:53 and appears later on his 2004 Greatest Collection at a two:55 length.[120] Steagall'south version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:ten.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Cherry One.[126] [127] Peters and Lee fabricated a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the song[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 Feb 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Once more: Jubilant the Genius of Ray Charles was recorded on these ii alive dates. The album, which was released on March 29, 2011, included a track entitled "Here Nosotros Go Again".[132] [133] The vocals on "Here Nosotros Go Again" were performed past Jones and Nelson, while instrumental support 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 vocal, which had a length of 5:x, 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 "mode 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 thin, Pop Matters 's Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland too notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's state music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), 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 (groundwork vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait's "almost hard-core country anthology" up to that point in his career.[138] Allmusic staff noted that the album held its own at the fourth dimension of release against about of its competitors and has aged better than nigh country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Store describes the album as the result of a transition in eras of country music.[141]

The vocal plays during the opening credit trip the light fantastic past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 pic Gods of the Plague.[142] [143] Withal, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Nifty Jazz and Pop Singers. Pantheon Books. pp. 78–eighty. 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 Terminal Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience But The Same". Orlando Sentry. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Once again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country 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 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 Anthology Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Hither We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-vii.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to State: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star Country. Texas Christian University Press. pp. 208–ix. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State 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 Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–six. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Concern Media, Inc. 79 (18): 20. May half dozen, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Hither We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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