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Here We Go Again Girl Song

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1967 song by Ray Charles

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

"Here Nosotros Go Again" 7-inch unmarried cover art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
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
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Cherry Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say You're Fooling"
(1966) 		"Hither We Become Once again"
(1967) 		"In the Heat of the Dark"
(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 You to Heed. It was record producer past Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the song has been the biggest commercial success, spending twelve sequent weeks on the U.s. Billboard Hot 100 chart, peaking at number 15.

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

The song has been covered in a wide variety of musical genres. In total, five different versions have been listed on the music charts. Although its two most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Go Again" was outset covered in an instrumental jazz format, and many of the more contempo covers accept been sung as 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 Go Again: Jubilant the Genius of Ray Charles. The vocal lent its name to Blood-red Steagall's 2007 anthology as well. Comprehend versions have appeared on compilation albums past a number of artists, even some who did not release "Here We Go Again" as a unmarried.

Original version [edit]

In November 1959, afterward twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[i] 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..."[ii] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to wait until his contract was upward for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of state songs to record, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Land and Western Music and its follow-upward Modern Sounds in Land and Western Music, Vol. 2 broadened the entreatment 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.[5] [6]

"Here Nosotros Go Again" was recorded during a phase in Charles' career when he was focused on performing state music.[7] Thus, "Here We Go Again" was a country music vocal released by the Tangerine label ABC-Paramount, only performed in Charles' rhythm and blues fashion. Withal, his works did not bear the Tangerine label until 1968.[eight] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 anthology, Ray Charles Invites You lot to Listen.[10] Joe Adams produced and engineered the album, which included "Hither We Go Again".[x]

First released by Charles in 1967, "Here We Become Again" was written by Lanier and Steagall and published by the Dirk Music Company.[11] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the vocal was listed as the sixth 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 Modernistic Sounds in Country and Western Music was reissued in 1988, the song was added equally a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activeness helped him regain the employ of his left arm and hand.[xx] When he enrolled at Due west Texas State Academy, he formed his kickoff land band.[19] Don Lanier formed a group by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist just played weekends at country dances. Later on 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 social club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Become Again".[21] Steagall's first intermission came when Charles covered "Hither We Get Again".[19] Steagall says that the song "came about in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come up to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Here We Go Once more" is set in 12/8 time with a dull shuffle tempo of 60-9 beats per infinitesimal. The vocal is written in the key of B ♭ major.[25] It is primarily a land song,[26] merely contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Go Once more' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what it is. The recording has a simple and sterling gospel arrangement and, in hindsight, is one of Charles' finer attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites You to Heed is non readily available, but "Here Nosotros Go Again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam 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 band played back in the United states at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Post. Afterward that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a 3-calendar week run at Harrah's Reno that was praised in Diversity. The tour likewise had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Go Again" every bit "Another excellent example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a author for Billboard magazine wrote that the song could easily exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the U.s. Billboard Hot Rhythm & Blues Singles meridian 50 chart on June 10, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the song spent iii weeks at its peak position of number xv on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its acme position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, ending a 12-calendar week run.[36] Information technology remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September two.[37] [38] "Hither We Go Again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 nautical chart and 33 on the Year-Finish Hot Rhythm & Dejection Singles chart.[40]

Abroad, information technology debuted on the U.k. Singles Nautical chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles nautical chart at number 10 on July 15, 1967, and after peaked at number three.[44]

According to Will Friedwald, this vocal is an example of Charles vocalizing in what would commonly be a generally extraneous mode for dramatic issue by using a different voice than he had always previously exhibited. He sang "... not but 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 background singers).[2]

Runway list [edit]

  • 7-inch single [45]
  1. "Here We Become Once more" – 3:14
  2. "Somebody Ought to Write a Volume About It" – 3:02

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

Credits [edit]

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

Nancy Sinatra version [edit]

"Here Nosotros 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 three:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Scarlet Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Hither We Get Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a embrace of the song for her 1969 anthology Nancy, which was her outset anthology afterwards catastrophe her business concern relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music entreatment,[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 comprehend was a "polish sing-a-long pop style".[52] They besides commended Sinatra'south singing, calling information technology 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]

Nautical chart performance [edit]

Although CD Universe describes the song as a land music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the song was listed among U.s.a. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Elevation 40 nautical chart at number thirty.[55] [56] The post-obit week it debuted on the Us Billboard Hot 100 nautical chart at number 98,[57] its apex for its 2-week stay.[58] The song and so spent a full of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second sequent calendar week at its peak position of number nineteen on the Easy Listening chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Get Once again" debuted at number 38 on the RPM Adult Contemporary nautical chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June 16, 1969.[64] The vocal spent a total of five weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Become Once again", "God Knows I Honey You" and "Drummer Man").[67]

Rails listing [edit]

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

According to Allmusic the original track was three:09, just when information technology appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-exclusive 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.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Go Once more"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length three:59
Label Hold/Hear Music
Songwriter(s) Don Lanier, Cherry Steagall
Producer(due south) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Again"
(2005) 		"Y'all Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Become Again"
(2004) 		"Thinking Nearly You lot"
(2006)

In 2004, Charles re-recorded "Hither We Go Over again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Hither We Go Again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets record. I got on the next plane and I brought my mom. We went to his studio and did it live with the band. I sang information technology right next to Ray, watching his oral cavity for the phrasing. He was very sweet and put me at ease, which was corking because I was petrified walking in there."[72] She noted in one ...Featuring interview that the merely part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the ii singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Twelvemonth-winning Genius Loves Company, the song proved to be the most 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 's Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones notation for notation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described by the Orlando Lookout man 's Jim Abbott every bit a recreation of one of the gems from Charles' state music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[seven] As opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to correspond his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky arrangement".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song equally soulful, that finely combines Charles' "deep, honeyed growl with Jones'south 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 every bit did many of Charles'southward duet partners on the album.[82] USA Today 's Steve Jones said the vocal "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'southward performance was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal's "countrified ache" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more staid and less compelling recording" on the anthology.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in ii 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 Popular Collaboration with Vocals.[ninety] It was the second Record of the Year winner non to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, but non Song of the Twelvemonth. Record of the Yr is awarded to the artist(s), producer(due south), recording engineer(south) and/or mixer(s), if other than artist for newly recorded cloth. Song of the Year is awarded to the songwriter(s) of a new song or a vocal first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their piece of work on its original version in 1967.[93] Thus, the vocal was not a new vocal.

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 eighteen, 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 make the US Billboard Hot Digital Tracks Top 50 nautical chart. "Here We Go Once more" was the download sales leader among the anthology'due south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Once again" cruel out of the summit l two weeks later on.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Clan of America for shipments exceeding 500,000 units in the United States.

Afterward the album earned eight Grammy Awards and the song won Record of the Year, sales picked upwards and the album was re-promoted.[99] "Hither We Become Once again" entered the Us Billboard Bubbles Under Hot 100 chart at number five in the effect dated (for the calendar week ending) Feb 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs acme 75 at number 73 and the U.s.a. Billboard Pop 100 at number 74 for the week catastrophe March 5, 2005, but still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] Nonetheless, it ascended to its Bubbles Under Hot 100 chart peak position of number ii for the week ending March 5, 2005.[102] A compact disc single 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 6, 2005, and peaked the following week at number 52. Information technology logged six weeks on the chart.[104] "Here Nosotros Go Again" entered the French Singles Chart at number 54 on Apr ii, 2005 and peaked 1 week subsequently at number 51. It lasted ten weeks on the acme 100 nautical chart.[105]

Track listing [edit]

  • CD single [103]
  1. "Here We Go Over 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 between iii:56 and 3:59 on various albums.[17]

Credits [edit]

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

Country chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. Information technology debuted on the Hot Land Songs chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the nautical chart.[107] The song also spent five weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks afterward.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November vi, 1982 (flavour 15, episode nine), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs chart for the week catastrophe Oct 30, 1982, at 88.[111] The song was i of simply two mentioned in the October 30, 1982, Billboard anthology review and was described as "a solid country number".[112] The song peaked at number 65 in the week ending November 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song also spent vii 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 Become Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 anthology My Woman, My Woman, My Married woman.[117] Glen Campbell'south version appeared on his 1971 anthology The Last Time I Saw Her,[118] Eddy Arnold'southward on his 1972 anthology Lonely People,[119] and George Strait'south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither Nosotros Go Again album, simply she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Journal.[123] Martin'due south version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gilt, Vol. 2. It has appeared on a scattering of other Martin compilation albums.[117] Campbell's version was only 2:26.[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 iii:ten.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Crimson One.[126] [127] Peters and Lee made a version of the vocal on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the song[129] that he included on his 1976 album Gilt 60 minutes Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Center'south Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Become 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 We Go Again".[132] [133] The vocals on "Here We Get 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 song, which had a length of 5:10, was arranged past Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Pecker Tilland noted that Jones added her usual "style and panache" to this operation.[134] At ane concert operation, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this runway is thin, Pop Matters 'due south 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 condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the anthology Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'due south state music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Immature (electric guitar). The album was produced past Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'south Alanna Nash regarded the anthology as Strait's "most hard-cadre land anthology" upward 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 anile better than nearly country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the virtually straightforward style of singing.[140] The iTunes Store describes the album as the result of a transition in eras of country music.[141]

The song plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 picture Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 movie Ray nor the express edition additional soundtrack anthology More than 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 Dandy Jazz and Pop Singers. Pantheon Books. pp. 78–lxxx. 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Last Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Just The Aforementioned". Orlando Lookout. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here Nosotros Become 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 Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Amusement Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Anthology Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May eight, 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 Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Lexicon. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to State: The Experts' Guide to the All-time Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Due west. C. (2008). Notes from Texas: on writing in the Lone Star Country. Texas Christian University Printing. pp. 208–nine. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of land music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Again Sail Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Elevation threescore Spotlights". Billboard. Nielsen Business organisation Media, Inc. 79 (18): twenty. 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 "Here We Go 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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