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Lyrics to Here We Go Again

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1967 song by Ray Charles

"Here We Go 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 Get Again" 7-inch single cover art
Single by Ray Charles
from the anthology Ray Charles Invites Y'all to Listen
B-side "Somebody Ought to Write a Book About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Cherry Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here Nosotros Get Again"
(1967) 		"In the Rut of the Night"
(1967)

"Here We Go Over again" is a country music standard written past Don Lanier and Red Steagall that commencement became notable equally a rhythm and blues single past Ray Charles from his 1967 album Ray Charles Invites Yous to Listen. It was tape producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the vocal has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number 15.

The most notable encompass version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Visitor. This version has been the biggest critical success. Afterwards Genius Loves Company was released, "Hither We Become Once again" earned Grammy Awards for Record of the Yr and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died earlier the album's release. Another notable version past Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did then for seven weeks in 1982.

The vocal has been covered in a wide diverseness of musical genres. In total, five different versions take been listed on the music charts. Although its two most successful versions have been rhythm and dejection recordings, many of its other notable covers were featured on country music albums. "Here We Go Once more" was beginning covered in an instrumental jazz format, and many of the more than 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 Hither We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall'due south 2007 album also. Cover versions have appeared on compilation albums past a number of artists, even some who did not release "Here We Go Again" as a single.

Original version [edit]

In November 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] Co-ordinate to Will Friedwald in A Biographical Guide to the Dandy Jazz and Popular Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was up for its iii-year renewal before experimenting with country music, although he wanted to do then sooner. With the assistance of ABC executive Sid Feller, he gathered a set of state songs to record, despite the wishes of ABC.[three] The release of his 1962 country albums Modern Sounds in Land and Western Music and its follow-up Mod Sounds in Country and Western Music, Vol. ii broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[iv] In 1962 he founded his ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Again" was recorded during a phase in Charles' career when he was focused on performing land music.[7] Thus, "Hither We Go Again" was a land music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection manner. However, his works did non acquit the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to adapt Charles' 1967 anthology, Ray Charles Invites You to Listen.[ten] Joe Adams produced and engineered the album, which included "Here We Go Once again".[10]

Beginning released past Charles in 1967, "Here We Become Again" was written past 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 song was listed as the 6th of ten tracks on Ray Charles Invites You to Listen.[14] [15] [xvi] 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 every bit a bonus track.[12] [13] Information technology was also included on the 1988 anthology Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activity helped him regain the use of his left arm and paw.[20] When he enrolled at Due west Texas Land Academy, he formed his starting time country ring.[19] Don Lanier formed a group by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist merely played weekends at state dances. Afterward he quit his professional function, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, 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 break came when Charles covered "Hither We Go Once again".[nineteen] Steagall says that the song "came virtually in a very unusual manner and very rapidly".[21] One source fifty-fifty claims that Steagall did not come to Hollywood until after Charles recorded the vocal.[24]

According to the sail music published by Dirk Music, "Here We Get Again" is set in 12/8 fourth dimension with a slow shuffle tempo of sixty-nine beats per minute. The song is written in the fundamental of B ♭ major.[25] It is primarily a state song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Hither Nosotros Become Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, only, what it is. The recording has a elementary and sterling gospel arrangement 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 Heed is not readily bachelor, merely "Hither We Get Again" was the best-charting song on the anthology (and probable 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' offset since 1964, connected to Europe in mid-April where it visited the Purple Festival Hall, London and Salle Pleyel, Paris, as well every bit Vienna. In May, the ring played back in the United States at New York Metropolis's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Later on that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his offset lucrative Nevada casino performances, which started with a iii-week run at Harrah's Reno that was praised in Variety. The bout too had an extended fall run at New York'south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" as "Some other excellent case of how Ray Charles was able to fuse blues and country".[28] In a review for the unmarried, a writer for Billboard mag 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 twenty, 1967, event and number 48 on the US Billboard Hot Rhythm & Blues Singles top 50 chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent 3 weeks at its peak position of number 15 on the Hot 100 nautical chart.[32] [33] Information technology spent July 22 and 29 at its top position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] Past August 12, it savage out the Hot 100 nautical chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Here Nosotros Become Again" was Charles' last single to enter the height twenty of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the US Billboard Twelvemonth-End Hot 100 chart and 33 on the Twelvemonth-Cease Hot Rhythm & Blues Singles chart.[40]

Away, 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 the netherlands, "Here We Become Once more" appeared on the singles chart at number ten on July xv, 1967, and later peaked at number 3.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would usually be a generally extraneous manner for dramatic effect by using a different voice 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, but making it the centre of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track list [edit]

  • 7-inch single [45]
  1. "Here We Go Again" – iii:14
  2. "Somebody Ought to Write a Volume Virtually Information technology" – 3:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having bundled and conducted the recording. This is one of 2 songs on the album ("Yesterday" being the other) that in improver to being listed equally ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" likewise had a Dunhill credit but a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither We Go Once 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 iii:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Reddish Steagall
Producer(s) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here Nosotros Go Over again"
(1969) 		"Drummer Homo"
(1969)

Nancy Sinatra recorded a encompass of the vocal for her 1969 anthology Nancy, which was her first album after catastrophe her business concern relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an like shooting fish in a barrel listening and country music appeal,[50] was produced past Billy Foreign.[51] [52] The B-side to the unmarried, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the embrace was a "shine sing-a-long pop style".[52] They as well commended Sinatra's singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was subsequently remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal as a country music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the song was listed among U.s. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Like shooting fish in a barrel Listening Top 40 nautical chart at number 30.[55] [56] The following week it debuted on the The states Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar 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 consecutive week at its height position of number 19 on the Easy Listening nautical chart.[sixty] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Go Once more" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Chart) on June two, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 nautical chart (with "Here We Go Once again", "God Knows I Love You" and "Drummer Man").[67]

Track listing [edit]

  • seven-inch vinyl unmarried [53]
  1. "Here Nosotros Go Once more" – three:07
  2. "Memories" – iii:40

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

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 album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Go Again"
Unmarried by Ray Charles and Norah Jones
from the album Genius Loves Visitor
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(south) Don Lanier, Ruby Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here Nosotros Go Again"
(2005) 		"Yous Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking About You lot"
(2006)

In 2004, Charles re-recorded "Here We Go Again" as a duet with American vocaliser-songwriter Norah Jones, who grew upwards listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Hither We Go Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets 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 correct next to Ray, watching his oral fissure for the phrasing. He was very sugariness and put me at ease, which was bang-up considering I was petrified walking in there."[72] She noted in one ...Featuring interview that the simply part 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 as a duet and felt that this i provided the all-time opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at once been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Honour for Album of the Yr-winning Genius Loves Visitor, the song proved to be the well-nigh popular and critically acclaimed on the anthology. Although the song had its early detractors,[77] [78] it received generally favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'south 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" operation.[80] The vocal was described by the Orlando Spotter 's Jim Abbott as a recreation of i of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] Every bit opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to correspond his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky system".[71] Writer Mike Evans wrote that "there's a common 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 as soulful, that finely combines Charles' "deep, honeyed growl with Jones'southward lighter timber", while noting Preston for his "sweeping" organ work.[81]

The song received other specific forms of praise. Robert Christgau notes that Jones carried the vocal burden every bit did many of Charles'southward duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'south performance was favorably described by The Washington Mail service 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that office of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included iii of her collaborations from Albums of the Year and several from albums that were nominees,[84] the vocal did not stand up 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 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 Dec 2004, the Jones–Charles version of the vocal was nominated in two categories at the 47th Grammy Awards.[89] At the Feb thirteen, 2005 awards ceremony, the duet earned the award for Tape of the Yr and Best Pop Collaboration with Vocals.[ninety] It was the second Tape of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, but not Vocal of the Year. Tape of the Twelvemonth is awarded to the creative person(southward), producer(due south), recording engineer(s) and/or mixer(s), if other than artist for newly recorded cloth. Vocal of the Year is awarded to the songwriter(s) of a new song or a song start achieving prominence during the eligibility twelvemonth.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new vocal.

Chart operation [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 Visitor sold 202,000 copies, ranking 2nd on the United states of america Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the thirteen tracks on the album make the U.s.a. Billboard Hot Digital Tracks Top 50 nautical chart. "Here We Go Again" 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 U.s.a. Billboard Hot Digital Tracks chart at number 26.[96] "Here We Get Again" fell out of the acme 50 two weeks later on.[97] It was released equally a single for digital download on Jan 31, 2005.[98] On May 22, 2019, the song was certified gilded by the Recording Industry Clan of America for shipments exceeding 500,000 units in the United States.

Subsequently the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked upward and the anthology was re-promoted.[99] "Here Nosotros Go Again" entered the US Billboard Bubbling Under Hot 100 chart at number 5 in the issue dated (for the week ending) February 26, 2005.[100] The vocal charted for a week on both the Us Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, only withal did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number ii for the calendar week ending March 5, 2005.[102] A meaty disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Height 40 chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Hither We Get Again" entered the French Singles Nautical chart at number 54 on Apr 2, 2005 and peaked one week later at number 51. It lasted ten weeks on the top 100 nautical chart.[105]

Track listing [edit]

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

Co-ordinate to Allmusic, the duet version was between 3:56 and 3:59 on various albums.[17]

Credits [edit]

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

Country chart versions [edit]

Johnny Duncan charted a version of the vocal for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a total of v weeks on the chart.[107] The song likewise spent five weeks on the Cashbox Country Singles Nautical chart, debuting on October 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 anthology for Churchill Records that he performed on the Nov 6, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but it entered the Hot Country Songs chart for the week ending October 30, 1982, at 88.[111] The song was one of but 2 mentioned in the Oct 30, 1982, Billboard album 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 seven weeks on the Cashbox State Singles Chart, debuting on Nov 6, 1982, and peaking at number 61 for 2 weeks (December 4 and 11).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here Nosotros Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 anthology My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait'due south on his 1992 album Holding My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here Nosotros Go Again album, simply she did non include it on her 2007 duets anthology Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this land standard past Nathalie Baret of ABQ Journal.[123] Martin'due south version was 3:07, and information technology afterwards appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was merely 2:26.[118] Strait'due south version is two:53 and appears later on his 2004 Greatest Drove at a two:55 length.[120] Steagall'southward version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and vocaliser Fiddling Willie Littlefield recorded a version for his 1997 album 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 unmarried of the vocal[129] that he included on his 1976 anthology Golden Hour Of Joe Dolan Vol. two and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along 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 Hither We Get 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 rail entitled "Hither We Become Again".[132] [133] The vocals on "Here We Go Again" were performed past Jones and Nelson, while instrumental support was provided past Marsalis (trumpet), Dan Nimmer (pianoforte), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this functioning.[134] At ane concert functioning, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Will 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 condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the anthology Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's country music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Young (electrical guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait'south "most hard-core land anthology" upwardly to that point in his career.[138] Allmusic staff noted that the anthology held its ain at the time of release against virtually of its competitors and has aged better than most country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the about straightforward mode 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 dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 moving picture Ray nor the express 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 Cracking Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (Baronial 31, 2004). "Distinctive Audio Of Genius: Music Review: The Terminal Album From Ray Charles Isn't Stellar, But Information technology'due south A Pleasant Listening Experience 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 Nosotros Get Again (Legal Championship)". 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 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 v, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Heed -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Become Again". Allmusic. Rovi Corporation. Retrieved May viii, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Record Enquiry. 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 Land: The Experts' Guide to the Best 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 Press. 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 Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May nine, 2011.
  26. ^ a b "Top sixty Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. 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 Once again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29

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