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Here We Go Again Comcast Commercial

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1967 song past Ray Charles

"Here We Get 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 Nosotros Go Again" 7-inch single cover art
Unmarried past 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
Label ABC Records/Tangerine Records
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither Nosotros Go Again" is a state music standard written by Don Lanier and Cherry Steagall that first became notable every bit a rhythm and blues single past Ray Charles from his 1967 album Ray Charles Invites You lot to Mind. 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 US Billboard Hot 100 nautical chart, peaking at number fifteen.

The most 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. Later on Genius Loves Company was released, "Hither We Go Once more" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the anthology'due south release. Some other notable version by Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The vocal 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. "Hither We Get Again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung equally 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 Go Once again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall'southward 2007 album equally well. Encompass versions have appeared on compilation albums by a number of artists, even some who did not release "Here Nosotros Get Once more" every bit a single.

Original version [edit]

In November 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His beginning four ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Considering Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was upward for its three-twelvemonth renewal before experimenting with country music, although he wanted to do and then sooner. With the assistance of ABC executive Sid Feller, he gathered a set of state songs to tape, despite the wishes of ABC.[iii] The release of his 1962 country albums Modern Sounds in Land 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 bespeak, Charles began to entreatment more to a white audience.[4] In 1962 he founded his ain record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [vi]

"Here Nosotros Go Again" was recorded during a phase in Charles' career when he was focused on performing country music.[seven] Thus, "Here We Go Once more" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues mode. However, his works did non acquit the Tangerine label until 1968.[eight] Feller left ABC in 1965,[ix] but he returned to arrange Charles' 1967 album, Ray Charles Invites Yous to Listen.[x] Joe Adams produced and engineered the album, which included "Hither Nosotros Go Once more".[10]

First released by Charles in 1967, "Here Nosotros Go Again" was written by Lanier and Steagall and published past the Dirk Music Visitor.[eleven] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the vocal was listed every bit the sixth of x 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 State and Western Music was reissued in 1988, the song was added as a bonus rails.[12] [xiii] It was also included on the 1988 album Ray Charles Anthology.[18]

Limerick [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This action helped him regain the use of his left arm and hand.[20] When he enrolled at West Texas State Academy, he formed his kickoff country band.[xix] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil chemist but played weekends at country dances. Afterwards he quit his professional role, 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 guild 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 "Hither We Become Again".[21] Steagall's first break came when Charles covered "Here We Become Again".[19] Steagall says that the song "came virtually in a very unusual manner and very apace".[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 Become Again" is prepare in 12/viii time with a slow shuffle tempo of 60-nine beats per infinitesimal. The song is written in the central of B ♭ major.[25] It is primarily a country vocal,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Hither Nosotros Go Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the dejection, simply, what it is. The recording has a simple and sterling gospel organisation and, in retrospect, is 1 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 Mind is not readily bachelor, but "Here We Go Again" was the all-time-charting vocal 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' kickoff since 1964, continued to Europe in mid-April where information technology visited the Purple Festival Hall, London and Salle Pleyel, Paris, also as Vienna. In May, the band played dorsum in the Usa at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. After that summer, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a 3-week run at Harrah'south Reno that was praised in Multifariousness. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither We Go Over again" equally "Another fantabulous case of how Ray Charles was able to fuse blues and state".[28] In a review for the single, a writer for Billboard magazine wrote that the song could hands be 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 US Billboard Hot Rhythm & Blues Singles top 50 chart on June ten, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the song spent 3 weeks at its meridian position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its superlative position of number five on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it roughshod out the Hot 100 nautical chart, ending a 12-week run.[36] Information technology remained on the Hot Rhythm & Blues Singles nautical chart for 13 weeks catastrophe on September 2.[37] [38] "Here We Become Once again" was Charles' last single to enter the meridian twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 chart and 33 on the Year-End Hot Rhythm & Dejection Singles chart.[40]

Abroad, it debuted on the United kingdom 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 holland, "Hither We Go Again" appeared on the singles nautical chart at number x on July xv, 1967, and later peaked at number three.[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 outcome by using a different vox than he had always previously exhibited. He sang "... not just 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]

Track listing [edit]

  • seven-inch single [45]
  1. "Here Nosotros Go Over again" – three:14
  2. "Somebody Ought to Write a Book About It" – three:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is one of ii songs on the anthology ("Yesterday" being 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 label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" likewise had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither 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".
Single by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Hither Nosotros Go Once more"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the vocal for her 1969 album Nancy, which was her first album after catastrophe her business relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music appeal,[l] was produced by Billy Strange.[51] [52] The B-side to the unmarried, "Memories", was written by Foreign forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the vocal favorably, stating that the cover was a "smooth sing-a-long pop style".[52] They as well commended Sinatra'due 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]

Chart operation [edit]

Although CD Universe describes the song every bit a country music song,[49] information technology never charted on country music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the U.s. Billboard Piece of cake Listening Tiptop 40 chart at number 30.[55] [56] The following week it debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song and so spent a total of ii weeks on the Hot 100.[59] For the week ending June 7, the song spent a second sequent week at its peak position of number 19 on the Piece of cake Listening chart.[60] The vocal remained on the chart for five weeks until June xiv, 1969.[61] [62] In Canada "Here We Become Again" debuted at number 38 on the RPM Developed Contemporary chart (previously Young Developed Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a full of v weeks on the nautical chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Hither We Go Again", "God Knows I Love You" and "Drummer Man").[67]

Runway listing [edit]

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

According to Allmusic the original track 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 not-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.[lxx]

Credits [edit]

The following musicians performed on this track:[51]

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

The post-obit 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 Go Once again"
Single by Ray Charles and Norah Jones
from the anthology Genius Loves Company
Released Jan 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Once more"
(2005) 		"Y'all Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sugariness Words"
(2004) 		"Here Nosotros Go Again"
(2004) 		"Thinking Near Yous"
(2006)

In 2004, Charles re-recorded "Hither We Get Again" every bit a duet with American vocaliser-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 phone call from Ray asking if I'd be interested in singing on this duets record. I got on the side by side plane and I brought my mom. We went to his studio and did it live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was great because I was petrified walking in in that location."[72] She noted in i ...Featuring interview that the but office that was non 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 every bit a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the 2 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]

Equally part of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Company, the song proved to be the well-nigh pop and critically acclaimed on the album. Although the song had its early on detractors,[77] [78] it received by and large favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song equally a "jazzy, slinky pas de deux" in which Charles matches Jones note for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described by the Orlando Sentinel 'south Jim Abbott every bit a recreation of one of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying role on Hammond B3.[7] As opposed to other tracks on the anthology, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed every bit "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organization".[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 Calendar week staff noted the timeliness of the release with the biographical picture show Ray in theaters and described the song equally soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the song burden as did many of Charles's duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening rails".[27] Preston's operation was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that 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 song did non stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her grouping 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 album.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more 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 xiii, 2005 awards anniversary, the duet earned the accolade for Record of the Twelvemonth and Best Pop Collaboration with Vocals.[90] Information technology was the second Record of the Yr winner not to make the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Record of the Year, simply not Song of the Year. Record of the Yr is awarded to the artist(s), producer(south), recording engineer(s) and/or mixer(s), if other than artist for newly recorded textile. Song of the Twelvemonth is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their work on its original version in 1967.[93] Thus, the vocal was not a new song.

Nautical chart functioning [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than eleven months earlier 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 forty years. Digital singles sales saw 12 of the 13 tracks on the album make the The states Billboard Hot Digital Tracks Height l chart. "Here We Go Once more" was the download sales leader amongst the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the Usa Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" vicious out of the top l two weeks after.[97] It was released equally a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the Us.

After the anthology earned viii Grammy Awards and the song won Record of the Year, sales picked up and the album was re-promoted.[99] "Hither We Go Over again" entered the The states Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week catastrophe) February 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs height 75 at number 73 and the U.s. Billboard Pop 100 at number 74 for the week ending March 5, 2005, just all the same did non brand the Hot 100,[101] ranking 113th before falling out of the chart.[48] Withal, it ascended to its Bubbling Under Hot 100 nautical chart meridian position of number two for the week ending March 5, 2005.[102] A compact disc unmarried of the song was released on April xix, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Height 40 chart at number 53 on March vi, 2005, and peaked the post-obit calendar week at number 52. It logged 6 weeks on the chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one week later at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

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

Co-ordinate to Allmusic, the duet version was between three: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]

State 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 chart.[107] The song also spent five weeks on the Cashbox Country Singles Nautical chart, debuting on October seven, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the November 6, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but information technology entered the Hot Country Songs chart for the calendar week ending October 30, 1982, at 88.[111] The vocal was one of only 2 mentioned in the October xxx, 1982, Billboard album review and was described equally "a solid land number".[112] The vocal peaked at number 65 in the week ending Nov 27 and remained in the chart for two more weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox State Singles Chart, debuting on Nov half-dozen, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Once again" on his 1967 Ode to Billy Joe instrumental album,[116] equally 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 Time I Saw Her,[118] Eddy Arnold's on his 1972 album Alone People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again anthology, but she did not include information technology on her 2007 duets anthology Reba: Duets, which was released four weeks later on.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past 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. ii. Information technology has appeared on a scattering of other Martin compilation albums.[117] Campbell'due south version was but 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is iii:ten.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 anthology The Red 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 single of the vocal[129] that he included on his 1976 album Golden Hr Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed 2 concerts at Lincoln Centre'due south Rose Theatre on February 9 and 10, 2009. A 2011 live tribute anthology past Nelson and Marsalis featuring Jones entitled Here We Go Again: Jubilant the Genius of Ray Charles was recorded on these 2 live dates. The anthology, which was released on March 29, 2011, included a rail entitled "Here We Go Again".[132] [133] The vocals on "Hither Nosotros Become Again" were performed by 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 v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "style and panache" to this performance.[134] At ane concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this rails is thin, Pop Matters 'south Volition Layman notes that the album 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 adequately for occasional lacklustre vocals."[134]

George Strait'due south country 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 Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Amusement Weekly 's Alanna Nash regarded the album every bit Strait's "almost difficult-core country album" upwards to that indicate in his career.[138] Allmusic staff noted that the album held its own at the time of release against most 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 virtually straightforward fashion of singing.[140] The iTunes Store describes the album as the effect 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's 1970 film Gods of the Plague.[142] [143] Yet, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack anthology More 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 Bully Jazz and Popular 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. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Concluding Anthology From Ray Charles Isn't Stellar, But Information technology'southward A Pleasant Listening Experience Just The Same". Orlando Watch. 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 Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July nineteen, 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 Mod Sounds in Country and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhinoceros Entertainment 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 Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Get Once more". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth 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 Land Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lonely 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-seven.
  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–vi. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top sixty Spotlights". Billboard. Nielsen Business organisation 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 "Here We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Bibliography [edit]

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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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