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1967 vocal by Ray Charles

"Hither Nosotros 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

"Here We Go Again" seven-inch single encompass art
Unmarried by Ray Charles
from the album Ray Charles Invites You to Heed
B-side "Somebody Ought to Write a Book About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:18
Characterization ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Cherry Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say Y'all're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Once more" is a country music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Y'all to Listen. Information technology was record producer by Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the United states Billboard Hot 100 nautical chart, peaking at number 15.

The virtually notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Go Again" earned Grammy Awards for Record of the Year and All-time Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'due south release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 'south Hot Country Songs nautical chart for v weeks in 1972, while Roy Clark did so for 7 weeks in 1982.

The song has been covered in a wide diverseness of musical genres. In total, v different versions have been listed on the music charts. Although its two about successful versions take been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Get Again" was get-go covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such as 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Get Once again: Jubilant the Genius of Ray Charles. The vocal lent its name to Cherry Steagall'due south 2007 album likewise. Cover versions take appeared on compilation albums past a number of artists, even some who did not release "Hither Nosotros Go Over again" as a single.

Original version [edit]

In November 1959, later twelve years every bit a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[one] Co-ordinate to Will Friedwald in A Biographical Guide to the Groovy Jazz and Pop Singers, "His first iv ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC equally a rhythm and blues singer, he decided to wait until his contract was upwards for its three-year renewal before experimenting with country music, although he wanted to practice and so sooner. With the aid of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[iii] The release of his 1962 country albums Mod Sounds in Country and Western Music and its follow-up 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 audition.[iv] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [half dozen]

"Hither Nosotros Get Once again" was recorded during a phase in Charles' career when he was focused on performing state music.[7] Thus, "Hither We Go Again" was a country music song released by the Tangerine label ABC-Paramount, just performed in Charles' rhythm and blues way. Even so, his works did not bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] merely he returned to arrange Charles' 1967 album, Ray Charles Invites Y'all to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Get Again".[10]

First released by Charles in 1967, "Hither We Go Over again" was written by Lanier and Steagall and published past the Dirk Music Company.[xi] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed as the sixth of x tracks on Ray Charles Invites You lot to Listen.[xiv] [fifteen] [sixteen] 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 rails.[12] [13] It was besides included on the 1988 anthology Ray Charles Album.[xviii]

Composition [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 utilise of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his first country band.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist but played weekends at country dances. After he quit his professional office, he formed a ring 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 2 music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Hither Nosotros Go Again".[21] Steagall's first break came when Charles covered "Here Nosotros Go Again".[nineteen] Steagall says that the song "came about in a very unusual style and very quickly".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the vocal.[24]

According to the sheet music published by Dirk Music, "Here We Become Again" is set up in 12/8 fourth dimension with a slow shuffle tempo of sixty-nine beats per minute. The vocal is written in the primal of B ♭ major.[25] It is primarily a country song,[26] just contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful carol in the Southern dejection tradition. Lyrically, information technology has a resignation and pain that makes the blues, simply, what it is. The recording has a simple and sterling gospel organization and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily bachelor, simply "Here We Become Once again" was the all-time-charting song on the anthology (and likely on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where information technology visited the Purple Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played back in the U.s.a. at New York Urban center's Carnegie Hall before returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Mag and the New York Mail service. Afterward that summertime, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his first lucrative Nevada casino performances, which started with a iii-week run at Harrah's Reno that was praised in Diverseness. The tour also had an extended fall run at New York'southward Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Become Again" as "Some other excellent example of how Ray Charles was able to fuse dejection 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 nautical chart in the May twenty, 1967, issue and number 48 on the The states Billboard Hot Rhythm & Dejection Singles top 50 chart on June 10, 1967.[30] [31] For the weeks ending July fifteen, 22 and 29, the song 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 peak position of number five on the Hot Rhythm & Blues Singles nautical chart.[34] [35] By August 12, it fell out the Hot 100 nautical chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for thirteen weeks catastrophe on September two.[37] [38] "Here We Go Once again" was Charles' last unmarried to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number eighty on the The states Billboard Twelvemonth-End Hot 100 chart and 33 on the Twelvemonth-End Hot Rhythm & Blues Singles chart.[40]

Away, it debuted on the Uk Singles Nautical chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] Information technology totalled three not-sequent weeks on the chart.[42] [43] In the Netherlands, "Here We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and afterward peaked at number 3.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a more often than not extraneous manner for dramatic result by 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 groundwork singers).[2]

Track list [edit]

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

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

Credits [edit]

Charles is credited as vocalist 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 add-on to being 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 Oestrus of the Dark" also had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album later on ending her account with producer Lee Hazlewood.[49] The cover, which according to programming guides had an piece of cake listening and state music appeal,[50] was produced by Billy Strange.[51] [52] The B-side to the unmarried, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the encompass was a "smoothen sing-a-long popular style".[52] They also 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 week ending May 17, 1969, the song was listed amongst US Billboard Bubbling Under Hot 100 Singles nautical chart at number 106 and debuted on the US Billboard Piece of cake Listening Height 40 chart at number xxx.[55] [56] The following week it debuted on the Us Billboard Hot 100 chart at number 98,[57] its noon for its two-week stay.[58] The song so spent a total of two weeks on the Hot 100.[59] For the week ending June vii, the vocal spent a second 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 14, 1969.[61] [62] In Canada "Here Nosotros Become 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 twelvemonth in her career that Sinatra reached the Hot 100 chart (with "Here We Get Again", "God Knows I Love You lot" and "Drummer Man").[67]

Runway listing [edit]

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

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

Credits [edit]

The following musicians performed on this rails:[51]

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

The post-obit musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Go Over again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length 3:59
Label Concord/Hear Music
Songwriter(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 Sweet Words"
(2004) 		"Here Nosotros Go Over again"
(2004) 		"Thinking About You"
(2006)

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

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the about pop and critically acclaimed on the album. Although the song had its early on detractors,[77] [78] information technology received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'southward Jason Warburg described the song equally 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" operation.[80] The vocal was described by the Orlando Lookout 's Jim Abbott as a recreation of one of the gems from Charles' land music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying function on Hammond B3.[vii] Every bit opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed equally "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare only funky arrangement".[71] Author Mike Evans wrote that "there'southward a mutual warmth of purpose in every breath [Charles and Jones] have" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song every bit soulful, that finely combines Charles' "deep, honeyed growl with Jones'southward 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 equally did many of Charles'southward duet partners on the album.[82] USA Today 's Steve Jones said the vocal "strikes an like shooting fish in a barrel groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described past The Washington Postal 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 iii of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand up out. Few of the reviews at Metacritic had 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] All the same, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than than merely 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 February 13, 2005 awards ceremony, the duet earned the award for Record of the Yr and Best Pop Collaboration with Vocals.[90] It was the second Record of the Yr winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, merely not Song of the Twelvemonth. Record of the Year is awarded to the artist(due south), producer(south), recording engineer(s) and/or mixer(s), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited as the writers of this vocal from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the Us Billboard 200 chart and condign Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album make the US Billboard Hot Digital Tracks Acme 50 chart. "Here We Go Again" was the download sales leader among the anthology's songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the vocal debuted on the United states of america Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Go Over again" fell out of the acme l two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified aureate past the Recording Industry Clan of America for shipments exceeding 500,000 units in the United States.

After the album earned 8 Grammy Awards and the song won Record of the Year, sales picked upward and the anthology was re-promoted.[99] "Here We Go Once more" entered the U.s. Billboard Bubbling Under Hot 100 chart at number five in the event dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the Us Billboard Hot Digital Songs elevation 75 at number 73 and the US Billboard Pop 100 at number 74 for the calendar week ending March v, 2005, but still did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbles Under Hot 100 chart pinnacle position of number 2 for the week catastrophe March five, 2005.[102] A compact disc unmarried of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top 40 chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. Information technology logged six weeks on the chart.[104] "Here We Get Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked i week later at number 51. It lasted 10 weeks on the summit 100 nautical chart.[105]

Track list [edit]

  • CD single [103]
  1. "Here Nosotros Go Again" (Ray Charles and Norah Jones) – iii:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – 1:35

According to Allmusic, the duet version was betwixt 3:56 and 3:59 on various albums.[17]

Credits [edit]

The vocal 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 xxx, 1972, peaking at number 66 and spending a total of v weeks on the chart.[107] The song also spent five weeks on the Cashbox Country Singles Chart, debuting on Oct vii, 1972, and peaking at number 61 iii 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 Nov 6, 1982 (season 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, just it entered the Hot State Songs chart for the week ending October thirty, 1982, at 88.[111] The song was one of but two mentioned in the October xxx, 1982, Billboard anthology review and was described as "a solid land number".[112] The song peaked at number 65 in the calendar week ending November 27 and remained in the chart for two more than weeks, making the full run vii weeks.[113] [114] The vocal likewise spent 7 weeks on the Cashbox Land Singles Chart, debuting on November six, 1982, and peaking at number 61 for two weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Once again" on his 1967 Ode to Billy Joe instrumental album,[116] every bit did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell'south version appeared on his 1971 album The Last Fourth dimension I Saw Her,[118] Boil Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Over again album, simply 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 by Nathalie Baret of ABQ Journal.[123] Martin's version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. two. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only ii:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Drove at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Petty Willie Littlefield recorded a version for his 1997 album The Red I.[126] [127] Peters and Lee made 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. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed ii concerts at Lincoln Center'due south Rose Theatre on February 9 and 10, 2009. A 2011 alive tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Once again: Celebrating the Genius of Ray Charles was recorded on these two live dates. The album, which was released on March 29, 2011, included a track entitled "Here Nosotros Get Again".[132] [133] The vocals on "Here We Go Again" were performed past Jones and Nelson, while instrumental support was provided past Marsalis (trumpet), Dan Nimmer (pianoforte), 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:10, was arranged past Andy Farber and performed in a rhythm and dejection 12/eight shuffle.[93] BBC music reviewer Beak Tilland noted that Jones added her usual "mode and panache" to this performance.[134] At i concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's 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 cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' ring "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait's 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 (background vocals), and Reggie Young (electrical guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Amusement Weekly 's Alanna Nash regarded the anthology as Strait's "about hard-cadre 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 most of its competitors and has anile better than most 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 as the event of a transition in eras of country music.[141]

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

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Only The Same". Orlando Sentinel. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Hither We Go Once again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhinoceros 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You lot to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May viii, 2011.
  17. ^ a b c "Here We Get Once again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. 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 Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Westward. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian Academy Press. pp. 208–ix. 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 University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Summit 60 Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): 20. May six, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29

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