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Song That Starts With Here We Go Again

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1967 vocal by Ray Charles

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

"Hither We Go Again" is a country music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Y'all to Listen. It was record 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 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. After Genius Loves Company was released, "Here Nosotros Go Again" earned Grammy Awards for Record of the Twelvemonth and Best Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album'southward release. Another notable version by Nancy Sinatra charted for 5 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 vii weeks in 1982.

The song has been covered in a broad diversity of musical genres. In total, five different versions take been listed on the music charts. Although its two almost successful versions accept been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither We Go Over again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung every bit 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 Once again: Celebrating the Genius of Ray Charles. The song lent its proper noun to Red Steagall's 2007 album every bit well. Cover versions accept appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Hither We Go Again" as a single.

Original version [edit]

In November 1959, afterwards 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 Great Jazz and Popular Singers, "His beginning 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 blues vocaliser, he decided to await until his contract was up for its three-twelvemonth renewal before experimenting with country music, although he wanted to do then sooner. With the assistance of ABC executive Sid Feller, he gathered a fix of country songs to tape, despite the wishes of ABC.[three] The release of his 1962 state albums Modern Sounds in Country and Western Music and its follow-upward Modern Sounds in Land and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this indicate, Charles began to appeal more than to a white audience.[four] In 1962 he founded his own 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 country music.[7] Thus, "Here Nosotros Go Again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection way. Nonetheless, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[ten] Joe Adams produced and engineered the album, which included "Hither We Go Once again".[10]

Kickoff released by Charles in 1967, "Hither We Go Again" was written past Lanier and Steagall and published past the Dirk Music Company.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed every bit the sixth of ten tracks on Ray Charles Invites You to Listen.[fourteen] [xv] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in State and Western Music was reissued in 1988, the vocal was added as a bonus rails.[12] [thirteen] It was also included on the 1988 anthology Ray Charles Album.[18]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activeness helped him regain the use of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his first state band.[xix] 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 pharmacist but played weekends at land dances. Later on he quit his professional role, he formed a ring that became pop in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk order performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Hither We Go Once again".[21] Steagall's showtime break came when Charles covered "Here We Go Once again".[19] Steagall says that the song "came virtually in a very unusual fashion and very quickly".[21] Ane source fifty-fifty claims that Steagall did non come to Hollywood until after Charles recorded the vocal.[24]

According to the canvas music published by Dirk Music, "Here We Get Once more" is fix in 12/8 fourth dimension with a slow shuffle tempo of sixty-nine beats per minute. 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 Once again' is a soulful carol in the Southern dejection tradition. Lyrically, information technology has a resignation and pain that makes the blues, only, what it is. The recording has a uncomplicated and sterling gospel arrangement and, in retrospect, is ane of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Yous to Listen is non readily available, only "Here We Get Once again" was the best-charting song on the album (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' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, also every bit Vienna. In May, the ring played back in the Us at New York City'due south Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Periodical, Jazz Magazine and the New York Mail service. Afterward that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his starting time lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Variety. The tour also had an extended fall run at New York'due south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" as "Another excellent example of how Ray Charles was able to fuse blues and state".[28] In a review for the single, a author 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 20, 1967, event and number 48 on the Usa Billboard Hot Rhythm & Blues Singles top 50 chart on June ten, 1967.[xxx] [31] For the weeks ending July fifteen, 22 and 29, the song spent 3 weeks at its height position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its summit position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks catastrophe on September 2.[37] [38] "Here We Go Over again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the Usa Billboard Year-End Hot 100 nautical chart and 33 on the Twelvemonth-End Hot Rhythm & Blues Singles chart.[40]

Abroad, it debuted on the UK Singles Chart top forty at number 38 on July eight, 1967, which would be its pinnacle.[41] It totalled 3 non-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Go Once more" appeared on the singles chart at number 10 on July 15, 1967, and after peaked at number three.[44]

According to Volition Friedwald, this song is an example of Charles vocalizing in what would unremarkably exist a generally extraneous manner for dramatic outcome by using a dissimilar phonation than he had ever previously exhibited. He sang "... non simply using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, just making it the heart of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • seven-inch single [45]
  1. "Here We Go Again" – 3:14
  2. "Somebody Ought to Write a Volume About It" – 3:02

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

Credits [edit]

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

Nancy Sinatra version [edit]

"Here We Go Over 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 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here We Become Again"
(1969) 		"Drummer Human"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first anthology later on ending her business human relationship 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 Baton Foreign.[51] [52] The B-side to the single, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard mag staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long pop manner".[52] They also commended Sinatra's singing, calling it a "fine" performance, noting that it would likely render her to the Billboard charts.[52] Sinatra's version was afterwards remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal equally a country music vocal,[49] it never charted on country music charts. For the week ending May 17, 1969, the vocal was listed amidst Usa Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the United states of america Billboard Piece of cake Listening Top 40 chart at number 30.[55] [56] The post-obit week information technology debuted on the United states of america Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar week stay.[58] The song then spent a full of 2 weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second sequent week at its elevation position of number 19 on the Easy Listening nautical chart.[lx] The song remained on the chart for v weeks until June 14, 1969.[61] [62] In Canada "Here We Become Once more" debuted at number 38 on the RPM Developed Gimmicky chart (previously Young Adult Chart) on June ii, 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 terminal year in her career that Sinatra reached the Hot 100 nautical chart (with "Here We Get Again", "God Knows I Love You lot" and "Drummer Human").[67]

Rails listing [edit]

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

Co-ordinate to Allmusic the original rail was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-exclusive licensing understanding, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, and then she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this rail:[51]

  • B.J. Bakery Singers (backup vocals)
  • The Blossoms (fill-in vocals)

The post-obit musicians performed on this anthology:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Ruby-red Rhodes (steel guitar)
  • Sid Sharp (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (piano)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

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

In 2004, Charles re-recorded "Here Nosotros Go Again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here We Go Once again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets tape. I got on the next airplane and I brought my mom. We went to his studio and did it alive with the band. I sang information technology correct 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 one ...Featuring interview that the merely office that was not done alive was a piano overlay that she added later to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform equally a duet and felt that this ane provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at ane time been the regular organist in Charles' band.[71]

Reception [edit]

As role of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the vocal proved to exist the most popular and critically acclaimed on the anthology. Although the song had its early on detractors,[77] [78] it received by and large favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'south Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones notation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" functioning.[80] The vocal was described by the Orlando Sentinel 's Jim Abbott as a recreation of i of the gems from Charles' land music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'southward accompanying role on Hammond B3.[7] Every bit opposed to other tracks on the album, when Charles' voice was understated, this song 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 only funky arrangement".[71] Author Mike Evans wrote that "in that location's a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical movie 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 vocal brunt equally did many of Charles'southward duet partners on the anthology.[82] USA Today 's Steve Jones said the vocal "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening runway".[27] Preston's performance 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 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 song did non stand out. Few of the reviews at Metacritic had noun comments on the duet when included amid her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more than staid and less compelling recording" on the album.[86] Notwithstanding, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rail was more 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 February 13, 2005 awards anniversary, the duet earned the laurels for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the 2nd Record of the Twelvemonth winner not to make the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Record of the Year, but not Song of the Yr. Record of the Yr is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(south), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(south) of a new song or a song first 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 song.

Nautical chart functioning [edit]

Ray Charles performing

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the United states Billboard 200 chart and condign 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 chart. "Hither We Go Again" was the download sales leader among the anthology's 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 Nosotros Become Again" fell out of the top fifty two weeks later.[97] It was released every bit a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified golden by the Recording Industry Association of America for shipments exceeding 500,000 units in the The states.

Afterward the album earned 8 Grammy Awards and the song won Record of the Twelvemonth, sales picked upwardly and the anthology was re-promoted.[99] "Here Nosotros Go Over again" entered the Us Billboard Bubbles Under Hot 100 chart at number five in the issue dated (for the week catastrophe) February 26, 2005.[100] The vocal charted for a week on both the The states Billboard Hot Digital Songs top 75 at number 73 and the Usa Billboard Pop 100 at number 74 for the calendar week catastrophe March 5, 2005, but still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbles Under Hot 100 chart superlative position of number ii for the calendar week ending March 5, 2005.[102] A compact disc single of the song was released on April 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Republic of austria Height 40 chart at number 53 on March 6, 2005, and peaked the following calendar 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 Apr 2, 2005 and peaked 1 week later at number 51. It lasted ten weeks on the summit 100 chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was between 3:56 and 3:59 on diverse 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 nautical 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 State Songs nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song also spent five weeks on the Cashbox Land Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks subsequently.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November vi, 1982 (season xv, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs chart for the calendar week catastrophe October thirty, 1982, at 88.[111] The vocal was one of only two mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The song peaked at number 65 in the calendar week catastrophe November 27 and remained in the chart for two more than weeks, making the total run vii weeks.[113] [114] The song too spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for ii weeks (Dec 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Become Once again" on his 1967 Ode to Billy Joe instrumental anthology,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell'southward 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'southward on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Once again album, merely she did not include information technology on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin's version was iii:07, and it subsequently 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'southward version was only 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'southward version with McEntire (who Steagall discovered at a 1974 canton off-white)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Fiddling Willie Littlefield recorded a version for his 1997 album The Red Ane.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade anthology.[128] Joe Dolan produced a 1972 unmarried of the vocal[129] that he included on his 1976 album Aureate Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Heart'southward Rose Theatre on Feb 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Become Again: Celebrating the Genius of Ray Charles was recorded on these 2 live dates. The anthology, which was released on March 29, 2011, included a rails entitled "Here We Go Over again".[132] [133] The vocals on "Here We Go Again" were performed by Jones and Nelson, while instrumental support was provided by 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 bundled by Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Pecker Tilland noted that Jones added her usual "style and panache" to this operation.[134] At one concert operation, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 'southward Volition Layman notes that the anthology 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 as well notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'southward land 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 's Alanna Nash regarded the album as Strait's "almost difficult-core country anthology" up to that point in his career.[138] Allmusic staff noted that the album held its own at the time of release against most of its competitors and has aged better than nearly country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the nearly straightforward style of singing.[140] The iTunes Store describes the album as the result of a transition in eras of land music.[141]

The song plays during the opening credit dance past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'southward 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition boosted soundtrack anthology 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–fourscore. 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 Last Anthology From Ray Charles Isn't Stellar, Merely It's A Pleasant Listening Experience Just The Aforementioned". Orlando Sentinel. Tribune Company. Retrieved May xiii, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July nineteen, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Mod Sounds in State 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 (August 5, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May eight, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Mind -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites Y'all To Heed". 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 (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). State 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 All-time Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University 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 state 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 Become Once again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Summit 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (eighteen): xx. 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.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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