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Guy in Here We Go Again Muic Video

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1967 song past Ray Charles

"Here We Become Once 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 Become Again" 7-inch single cover art
Single past Ray Charles
from the anthology Ray Charles Invites You to Mind
B-side "Somebody Ought to Write a Volume Almost It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say You're Fooling"
(1966) 		"Hither We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Get Again" is a country music standard written past Don Lanier and Red Steagall that start became notable every bit a rhythm and blues unmarried by Ray Charles from his 1967 anthology Ray Charles Invites You to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the vocal has been the biggest commercial success, spending twelve sequent weeks on the U.s.a. Billboard Hot 100 chart, peaking at number 15.

The most notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest critical success. Subsequently Genius Loves Company was released, "Hither We Go Once again" earned Grammy Awards for Record of the Year and Best Popular Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died earlier the album's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did so for vii weeks in 1982.

The song has been covered in a wide multifariousness of musical genres. In full, v different versions have been listed on the music charts. Although its two near successful versions take been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here We Get Again" was beginning covered in an instrumental jazz format, and many of the more recent covers have 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 Get Again: Jubilant the Genius of Ray Charles. The vocal lent its name to Red Steagall'south 2007 anthology besides. Cover versions have appeared on compilation albums by a number of artists, even some who did not release "Here We Go Again" as a single.

Original version [edit]

In November 1959, afterwards twelve years equally a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Corking Jazz and Pop Singers, "His showtime four ABC albums were all primarily devoted to standards..."[ii] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Considering Charles was signed to ABC as a rhythm and blues vocalizer, he decided to look until his contract was up for its three-year renewal before experimenting with land music, although he wanted to do and then sooner. With the aid of ABC executive Sid Feller, he gathered a set of land songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in Land and Western Music and its follow-upwards Modernistic Sounds in Country and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [half dozen]

"Here Nosotros Get Once again" was recorded during a phase in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Over again" was a state music song released past the Tangerine label ABC-Paramount, just performed in Charles' rhythm and dejection style. Nonetheless, his works did not acquit the Tangerine label until 1968.[8] Feller left ABC in 1965,[ix] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Heed.[10] Joe Adams produced and engineered the album, which included "Hither We Become Again".[10]

First released by Charles in 1967, "Here Nosotros Go Again" was written past Lanier and Steagall and published by the Dirk Music Company.[eleven] Charles recorded it 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 Mind.[14] [xv] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Album.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activeness helped him regain the utilize of his left arm and hand.[20] When he enrolled at W Texas State University, he formed his first land 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 every bit a soil pharmacist simply played weekends at country dances. After he quit his professional role, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk lodge performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Somewhen, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Get Again".[21] Steagall's beginning break came when Charles covered "Here We Become Over again".[nineteen] Steagall says that the song "came nearly in a very unusual way and very rapidly".[21] I source fifty-fifty claims that Steagall did not come to Hollywood until later Charles recorded the vocal.[24]

According to the sheet music published by Dirk Music, "Hither We Go Over again" is set in 12/8 time with a slow shuffle tempo of 60-ix beats per minute. The song is written in the key of B ♭ major.[25] Information technology is primarily a country vocal,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We 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 information technology is. The recording has a simple and sterling gospel arrangement and, in hindsight, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You lot to Listen is not readily bachelor, just "Here We 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' start since 1964, continued to Europe in mid-April where information technology visited the Majestic Festival Hall, London and Salle Pleyel, Paris, too as Vienna. In May, the band played back in the Usa at New York Metropolis'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. Later on that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his showtime lucrative Nevada casino performances, which started with a 3-calendar week run at Harrah'south Reno that was praised in Variety. 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 Again" as "Some other first-class example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer for Billboard magazine wrote that the song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles top 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] Information technology spent July 22 and 29 at its peak position of number v on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, information technology fell out the Hot 100 chart, catastrophe a 12-week run.[36] Information technology remained on the Hot Rhythm & Dejection Singles chart for 13 weeks ending on September two.[37] [38] "Hither We Go Once more" was Charles' concluding single to enter the height twenty of the Hot 100.[39] For the year 1967 the song finished at number fourscore on the US Billboard Year-Cease Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the UK Singles Chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled iii non-consecutive weeks on the chart.[42] [43] In kingdom of the netherlands, "Hither We Go Once more" appeared on the singles chart at number 10 on July 15, 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 mostly extraneous fashion for dramatic effect by using a different vocalisation than he had ever previously exhibited. He sang "... not but using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, simply making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Rail listing [edit]

  • 7-inch single [45]
  1. "Here We Get Again" – 3:14
  2. "Somebody Ought to Write a Volume Most It" – iii:02

According to Allmusic, the solo version is listed at lengths between three:14 and 3:20 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" beingness the other) that in addition to existence listed every bit ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private vocal had a label number ABC/TRC 10938.[47] [48] "In the Estrus of the Dark" also had a Dunhill credit but a unlike 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 past Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You lot"
(1968) 		"Here We Become Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a comprehend of the song for her 1969 anthology Nancy, which was her offset album after catastrophe her business human relationship with producer Lee Hazlewood.[49] The embrace, which according to programming guides had an like shooting fish in a barrel listening and country music appeal,[50] was produced past Baton 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 cover was a "smoothen sing-a-long pop fashion".[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'south version was later remastered and reissued in 1996.[54]

Nautical chart performance [edit]

Although CD Universe describes the song as a country music song,[49] information technology never charted on state music charts. For the week ending May 17, 1969, the song was listed amongst US Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Piece of cake Listening Height xl chart at number 30.[55] [56] The following week it debuted on the Us Billboard Hot 100 nautical chart at number 98,[57] its noon for its two-week stay.[58] The vocal then spent a total of two weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a second consecutive week at its acme position of number 19 on the Easy Listening nautical chart.[60] The song remained on the chart for 5 weeks until June 14, 1969.[61] [62] In Canada "Hither We Go Again" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Chart) on June 2, 1969.[63] Information technology peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a full of five weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Become Again", "God Knows I Dearest You" and "Drummer Man").[67]

Track listing [edit]

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

According to Allmusic the original rails was iii:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The unmarried was initially released through Reprise Records. In a non-sectional licensing agreement, Reprise (role 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. Bakery Singers (backup vocals)
  • The Blossoms (backup vocals)

The post-obit 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)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here We Go Over again" equally a duet with American vocalizer-songwriter Norah Jones, who grew upwardly listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Hither We Get Once 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 it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was groovy because I was petrified walking in there."[72] She noted in ane ...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 vocal from Charles' songbook to perform as a duet and felt that this one provided the all-time opportunity to harmonize rather than alternating song verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at i fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

As office of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the most popular 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 's Jason Warburg described the song as 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 's Jim Abbott as a recreation of i of the gems from Charles' state music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying function on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vocalism was understated, this song was said to represent his "dogged spirit", while Jones performed every bit "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organization".[71] Author Mike Evans wrote that "there'southward a mutual warmth of purpose in every breath [Charles and Jones] take" on the vocal.[75] Music Calendar week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song as 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'due south 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 track".[27] Preston'due south operation was favorably described by The Washington Mail service 's Richard Harrington every bit "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified anguish" represented that function 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 non stand out. Few of the reviews at Metacritic had noun comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Mag wrote that the duet was a "more than staid and less compelling recording" on the album.[86] Nevertheless, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the honour for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the second Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, but not Song of the Twelvemonth. Tape of the Year is awarded to the artist(southward), producer(due south), recording engineer(southward) and/or mixer(s), if other than artist for newly recorded material. Vocal of the Year is awarded to the songwriter(s) of a new vocal or a song showtime 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 song was non a new song.

Chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than 11 months earlier his 2004 expiry

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the Us Billboard 200 nautical 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 Top 50 chart. "Hither Nosotros Get Once more" was the download sales leader amid the album'southward 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 nautical chart at number 26.[96] "Here We Go Again" barbarous out of the top 50 two weeks later.[97] Information technology 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 Association of America for shipments exceeding 500,000 units in the United States.

After the album earned eight Grammy Awards and the song won Record of the Year, sales picked upwardly and the album was re-promoted.[99] "Here We Go Once again" entered the The states Billboard Bubbling Under Hot 100 chart at number 5 in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the Usa Billboard Hot Digital Songs top 75 at number 73 and the Usa Billboard Pop 100 at number 74 for the week ending March 5, 2005, just still did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, information technology ascended to its Bubbling Nether Hot 100 chart peak position of number two for the week catastrophe March v, 2005.[102] A compact disc single of the song was released on Apr nineteen, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Top forty chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April ii, 2005 and peaked ane week afterwards at number 51. It lasted 10 weeks on the top 100 nautical chart.[105]

Track listing [edit]

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

Co-ordinate 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. It debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the nautical chart.[107] The vocal also spent 5 weeks on the Cashbox Country Singles Chart, debuting on Oct 7, 1972, and peaking at number 61 three 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 November 6, 1982 (flavour 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 nautical chart, but it entered the Hot Country Songs chart for the week catastrophe October 30, 1982, at 88.[111] The song was ane of only two mentioned in the October xxx, 1982, Billboard album review and was described equally "a solid country number".[112] The song peaked at number 65 in the week ending November 27 and remained in the nautical chart for two more than weeks, making the total run seven weeks.[113] [114] The vocal also spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Again" on his 1967 Ode to Baton Joe instrumental anthology,[116] every bit did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Concluding Time I Saw Her,[118] Eddy Arnold's 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 Here We Go Again anthology, 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 by Nathalie Baret of ABQ Periodical.[123] Martin's version was 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gilt, Vol. ii. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is ii:53 and appears afterwards 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 3:10.[125] R&B and boogie-woogie pianist and vocalist Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the vocal[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, along with Norah Jones, performed ii concerts at Lincoln Center'south Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Become Again: Celebrating the Genius of Ray Charles was recorded on these 2 live dates. The album, which was released on March 29, 2011, included a rails entitled "Here Nosotros Go Once again".[132] [133] The vocals on "Hither We Go Once more" 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 5:x, was arranged past Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "style and panache" to this performance.[134] At one concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is thin, Pop Matters 's Volition Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland too notes that on the album Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's country 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 (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 past Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'south Alanna Nash regarded the album as Strait'southward "most difficult-cadre country anthology" upwards to that indicate in his career.[138] Allmusic staff noted that the anthology held its own at the fourth dimension of release against most of its competitors and has aged better than about state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward fashion of singing.[140] The iTunes Store describes the album every bit the result of a transition in eras of country music.[141]

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

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the 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 (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Last Album From Ray Charles Isn't Stellar, Just It'southward A Pleasant Listening Feel Just The Same". Orlando Lookout man. 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 Get Once again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July xix, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May eight, 2011.
  13. ^ a b Modern Sounds in State and Western Music (Compact 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You lot to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Once more". 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). Land Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Land: The Experts' Guide to the All-time Land 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 Printing. pp. 208–9. 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 Printing. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Again Canvas Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (xviii): xx. May half dozen, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Hither We Go Over again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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