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Here We Go Again Country Song

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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

"Hither We Go Again" 7-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Book Well-nigh It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length three:18
Label ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Red Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here Nosotros Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither We Become Again" is a state music standard written by Don Lanier and Carmine Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve sequent weeks on the Usa 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 album Genius Loves Company. This version has been the biggest disquisitional success. Afterwards Genius Loves Visitor 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 album'due south release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 'due south Hot Country Songs chart for five weeks in 1972, while Roy Clark did and so for seven weeks in 1982.

The vocal has been covered in a broad diverseness of musical genres. In total, five different versions have been listed on the music charts. Although its ii about successful versions accept been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Go Again" was start covered in an instrumental jazz format, and many of the more contempo covers accept been sung as duets, such as i with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Go Over again: Jubilant the Genius of Ray Charles. The song lent its proper noun to Cherry-red Steagall's 2007 album equally well. Cover versions have appeared on compilation albums by a number of artists, even some who did not release "Hither Nosotros Become Again" equally 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] Co-ordinate to Will Friedwald in A Biographical Guide to the Not bad Jazz and Pop Singers, "His kickoff four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and dejection and state music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to expect until his contract was up for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the help of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in Country and Western Music and its follow-up Modern 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 ain tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [vi]

"Hither We Get Again" was recorded during a phase in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Again" was a country music song released by the Tangerine characterization ABC-Paramount, but performed in Charles' rhythm and dejection style. Notwithstanding, his works did non bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 anthology, Ray Charles Invites You lot to Mind.[x] Joe Adams produced and engineered the album, which included "Here We Go Over again".[x]

First released by Charles in 1967, "Hither Nosotros Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [xiii] and the vocal was listed as the sixth of ten tracks on Ray Charles Invites Yous to Listen.[xiv] [15] [xvi] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Mod 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 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the utilize of his left arm and hand.[20] When he enrolled at W Texas State Academy, he formed his first country ring.[19] Don Lanier formed a group past the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil pharmacist only played weekends at country dances. After he quit his professional person part, 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 ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Go Again".[21] Steagall'southward get-go interruption came when Charles covered "Here We Get Again".[19] Steagall says that the song "came about in a very unusual manner and very quickly".[21] 1 source even claims that Steagall did non come to Hollywood until later on Charles recorded the song.[24]

Co-ordinate to the canvass music published by Dirk Music, "Hither Nosotros Go Once more" is set in 12/8 time with a slow shuffle tempo of lx-ix beats per infinitesimal. The song is written in the key of B ♭ major.[25] It is primarily a state song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and hurting that makes the blues, simply, what it is. The recording has a uncomplicated and sterling gospel system and, in retrospect, 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 to Heed is not readily available, merely "Hither We Go Once more" was the all-time-charting song on the album (and likely on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Purple Festival Hall, London and Salle Pleyel, Paris, as well every bit Vienna. In May, the band played dorsum in the United States at New York City's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Periodical, Jazz Mag and the New York Mail. Later that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah'south Reno that was praised in Diverseness. 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" as "Another excellent example 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 United states Billboard Hot Rhythm & Blues Singles pinnacle 50 nautical chart on June x, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its peak position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] Past August 12, information technology vicious out the Hot 100 chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for thirteen weeks ending on September 2.[37] [38] "Here We Go Again" was Charles' final unmarried to enter the top 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 & Blues Singles chart.[40]

Abroad, it debuted on the Britain Singles Chart top 40 at number 38 on July 8, 1967, which would be its meridian.[41] It totalled 3 not-consecutive weeks on the chart.[42] [43] In the netherlands, "Here We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number iii.[44]

According to Will Friedwald, this song is an instance of Charles vocalizing in what would unremarkably be a generally extraneous style for dramatic event by using a different voice than he had ever previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, simply making information technology the middle of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Track listing [edit]

  • 7-inch single [45]
  1. "Hither We Go Again" – 3:xiv
  2. "Somebody Ought to Write a Volume About Information technology" – 3:02

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

Credits [edit]

Charles is credited as singer 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" existence the other) that in add-on to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Rut of the Dark" also had a Dunhill credit only a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither Nosotros 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 past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Blood-red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love Y'all"
(1968) 		"Here We Become Again"
(1969) 		"Drummer Human being"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her starting time album later on ending her account with producer Lee Hazlewood.[49] The cover, which according to programming guides had an piece of cake listening and country music appeal,[50] was produced by Billy Foreign.[51] [52] The B-side to the single, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the comprehend was a "smooth sing-a-long popular manner".[52] They too commended Sinatra'due south singing, calling it a "fine" functioning, noting that it would probable return her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the song as a country music vocal,[49] it never charted on land music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbling Nether Hot 100 Singles chart at number 106 and debuted on the US Billboard Like shooting fish in a barrel Listening Top forty chart at number 30.[55] [56] The following week it debuted on the Usa Billboard Hot 100 nautical chart at number 98,[57] its apex for its two-calendar week stay.[58] The song and so spent a full of ii weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a second sequent calendar week at its peak position of number xix on the Easy Listening nautical chart.[sixty] The vocal remained on the nautical chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Get Once again" debuted at number 38 on the RPM Adult Gimmicky nautical chart (previously Young Adult Chart) on June two, 1969.[63] Information technology peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of five weeks on the nautical chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the last year in her career that Sinatra reached the Hot 100 nautical chart (with "Hither We Go Once again", "God Knows I Love You" and "Drummer Man").[67]

Track listing [edit]

  • 7-inch vinyl single [53]
  1. "Here We Go Again" – 3:07
  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:eleven.[68] The single was initially released through Reprise Records. In a non-exclusive licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[seventy]

Credits [edit]

The post-obit musicians performed on this rail:[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 Precipitous (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (pianoforte)
  • Jerry Scheff (bass guitar)
  • Ballad Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Hither We Become Again" as a duet with American singer-songwriter Norah Jones, who grew upward listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets record. I got on the side by side plane and I brought my mom. We went to his studio and did it alive with the ring. 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 considering I was petrified walking in there."[72] She noted in ane ...Featuring interview that the but 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 every bit a duet and felt that this one provided the best opportunity to harmonize rather than alternate song verses.[73] On the tape, the two singers vocalize,[74] accompanied past Baton Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

As office of Charles' Grammy Award for Anthology 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 detractors,[77] [78] it 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.[eighty] The song was described by the Orlando Sentinel 'southward Jim Abbott as a recreation of one of the gems from Charles' state music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vocalism was understated, this song was said to represent his "indomitable spirit", while Jones performed equally "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky arrangement".[71] Writer Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] accept" 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 every bit 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] United states 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 operation was favorably described by The Washington Post 'due south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal's "countrified ache" represented that role of Charles' career.[83]

When the vocal was included on Jones' ...Featuring, which included 3 of her collaborations from Albums of the Twelvemonth 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 anthology.[86] Even so, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the vocal was nominated in two categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards anniversary, the duet earned the laurels for Tape of the Year and Best Pop Collaboration with Vocals.[90] Information technology was the second Record of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 past U2).[91] The vocal won Tape of the Year, but not Song of the Year. Tape of the Year is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(due south), if other than artist for newly recorded cloth. Vocal of the Year is awarded to the songwriter(s) of a new vocal or a song first achieving prominence during the eligibility twelvemonth.[92] Steagall and Lanier are credited equally the writers of this song from their piece of work on its original version in 1967.[93] Thus, the vocal was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than 11 months before his 2004 death

For the calendar week ending September eighteen, 2004, Genius Loves Company sold 202,000 copies, ranking second on the US 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 United states of america Billboard Hot Digital Tracks Top fifty chart. "Here Nosotros Go Over again" was the download sales leader amongst the album'due south songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the The states Billboard Hot Digital Tracks chart at number 26.[96] "Here We Become Once more" fell out of the superlative 50 two weeks after.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified golden past the Recording Industry Association of America for shipments exceeding 500,000 units in the U.s..

After the album earned eight Grammy Awards and the song won Record of the Twelvemonth, sales picked upwards and the anthology was re-promoted.[99] "Here We Become Again" entered the The states Billboard Bubbling Under Hot 100 chart at number v in the outcome dated (for the calendar week ending) February 26, 2005.[100] The vocal charted for a week on both the U.s. Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Pop 100 at number 74 for the week catastrophe March 5, 2005, simply yet did not brand the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number two for the week ending March 5, 2005.[102] A meaty disc unmarried of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Elevation twoscore nautical chart at number 53 on March 6, 2005, and peaked the post-obit calendar week at number 52. It logged vi weeks on the chart.[104] "Hither Nosotros Go Once again" entered the French Singles Nautical 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 single [103]
  1. "Here We Become Again" (Ray Charles and Norah Jones) – 3:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – 1:35

According to Allmusic, the duet version was betwixt iii:56 and iii: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 v weeks on the chart.[107] The song likewise 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 vocal on his Turned Loose album for Churchill Records that he performed on the Nov 6, 1982 (flavour 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, merely it entered the Hot Land Songs chart for the calendar week ending October thirty, 1982, at 88.[111] The vocal was one of but two mentioned in the Oct 30, 1982, Billboard anthology review and was described every bit "a solid state number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the nautical chart for 2 more weeks, making the total run 7 weeks.[113] [114] The song also spent seven weeks on the Cashbox Land Singles Nautical chart, debuting on Nov vi, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Go Over again" on his 1967 Ode to Baton 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] Boil Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Property My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Again anthology, but she did non include it on her 2007 duets album Reba: Duets, which was released iv weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin'south version was three:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell's version was merely two:26.[118] Strait's version is ii:53 and appears afterwards his 2004 Greatest Drove at a two:55 length.[120] Steagall'due south version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and vocalizer Picayune 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 single of the vocal[129] that he included on his 1976 album Gilt 60 minutes Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February nine and 10, 2009. A 2011 alive tribute album past Nelson and Marsalis featuring Jones entitled Here We Become Once again: Celebrating the Genius of Ray Charles was recorded on these two alive dates. The anthology, which was released on March 29, 2011, included a track entitled "Here We Get Once again".[132] [133] The vocals on "Here 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 v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Nib Tilland noted that Jones added her usual "way and brio" to this operation.[134] At ane concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is thin, Pop Matters 's Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with 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'southward country music version was performed with the instrumental support 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 (background vocals), Curtis Young (groundwork vocals), and Reggie Young (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'southward Alanna Nash regarded the album as Strait'due south "most difficult-core country album" up to that signal in his career.[138] Allmusic staff noted that the album held its ain at the time of release against most of its competitors and has aged better than virtually country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward mode of singing.[140] The iTunes Store describes the album every bit the issue of a transition in eras of land 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 flick Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 picture show 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 Popular 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Merely It'south A Pleasant Listening Feel 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. ^ "Hither We Go Again (Legal Title)". Circulate Music Incorporated. Archived from the original on July 19, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in State 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: Rhino 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 eight, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May 8, 2011.
  17. ^ a b c "Hither We Go Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Lexicon. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Land Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Due west. C. (2008). Notes from Texas: on writing in the Lone Star Land. 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-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of state 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. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Again Canvas Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 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.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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