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Here We Go Again Ray Charles & Norah Jones

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1967 song past Ray Charles

"Here Nosotros Become 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 Over again" vii-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Volume 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, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You lot're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Again" is a country music standard written by Don Lanier and Reddish Steagall that kickoff became notable as a rhythm and blues unmarried past Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was record producer past Joe Adams for ABC Records/Tangerine Records. To engagement, this version of the song 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 album Genius Loves Company. This version has been the biggest critical success. After Genius Loves Visitor was released, "Here We Go Again" earned Grammy Awards for Tape of the Year and All-time Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a wide variety of musical genres. In total, 5 unlike versions have been listed on the music charts. Although its ii most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Go Once more" was start covered in an instrumental jazz format, and many of the more contempo covers have been sung as duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Get Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album equally well. Cover versions have appeared on compilation albums past a number of artists, even some who did not release "Here We Go Once again" as a unmarried.

Original version [edit]

In Nov 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[i] According to Will Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His offset four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Because Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was upward for its three-year renewal earlier experimenting with land music, although he wanted to practise so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of land songs to record, despite the wishes of ABC.[three] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Modern Sounds in Land and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [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 past the Tangerine characterization ABC-Paramount, but performed in Charles' rhythm and blues mode. However, his works did not carry the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] just he returned to arrange Charles' 1967 anthology, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the album, which included "Here We Go Over again".[x]

First released by Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Visitor.[eleven] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [13] and the song was listed equally the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [xv] [sixteen] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Land and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was too included on the 1988 anthology Ray Charles Anthology.[18]

Limerick [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the use of his left arm and mitt.[20] When he enrolled at Westward Texas Country University, he formed his first country band.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil pharmacist but played weekends at country dances. After he quit his professional office, he formed a band that became popular in the Rocky Mount ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk social club performing and songwriting.[23] He wrote for 2 music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Go Over again".[21] Steagall'south first break came when Charles covered "Here We Go Again".[19] Steagall says that the song "came well-nigh in a very unusual way and very quickly".[21] One source fifty-fifty claims that Steagall did non come up to Hollywood until subsequently Charles recorded the song.[24]

According to the sheet music published by Dirk Music, "Here We Become Again" is gear up in 12/8 time with a tedious shuffle tempo of sixty-nine beats per infinitesimal. The song is written in the cardinal of B ♭ major.[25] It is primarily a country vocal,[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, information technology has a resignation and hurting that makes the blues, simply, what it is. The recording has a simple and sterling gospel system and, in retrospect, is 1 of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites You lot to Listen is not readily available, only "Here We Become Again" was the best-charting vocal on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam State of war from San Diego Harbor. The bout, Charles' first since 1964, connected to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played back in the U.s. 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 that summer, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-calendar week run at Harrah'due south Reno that was praised in Variety. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Get Over again" as "Some other excellent example of how Ray Charles was able to fuse dejection and land".[28] In a review for the single, a writer for Billboard magazine wrote that the song could hands exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May 20, 1967, issue and number 48 on the Usa Billboard Hot Rhythm & Blues Singles top 50 chart on June 10, 1967.[30] [31] For the weeks catastrophe July 15, 22 and 29, the song spent iii weeks at its top position of number 15 on the Hot 100 nautical chart.[32] [33] Information technology spent July 22 and 29 at its peak position of number five 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] Information technology remained on the Hot Rhythm & Dejection Singles chart for 13 weeks catastrophe on September ii.[37] [38] "Here Nosotros Get Again" was Charles' concluding single to enter the tiptop twenty of the Hot 100.[39] For the year 1967 the song finished at number fourscore on the U.s. Billboard Year-End Hot 100 nautical chart and 33 on the Yr-End Hot Rhythm & Blues Singles chart.[twoscore]

Abroad, it debuted on the UK Singles Chart top 40 at number 38 on July 8, 1967, which would exist its peak.[41] Information technology totalled 3 non-consecutive weeks on the nautical 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 three.[44]

According to Will Friedwald, this song is an case of Charles vocalizing in what would ordinarily exist a more often than not extraneous manner for dramatic outcome past using a unlike vocalisation than he had e'er previously exhibited. He sang "... non just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, simply making it the eye of the affair, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

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

Co-ordinate to Allmusic, the solo version is listed at lengths between 3:fourteen and 3:xx on various albums.[17]

Credits [edit]

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

Nancy Sinatra version [edit]

"Here We Go Once more"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single past Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Land
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dear You lot"
(1968) 		"Here We Become Over again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a encompass of the song for her 1969 album Nancy, which was her first album later on ending her business relationship with producer Lee Hazlewood.[49] The encompass, which according to programming guides had an easy listening and country music appeal,[fifty] was produced by Billy Foreign.[51] [52] The B-side to the single, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the comprehend was a "polish sing-a-long pop style".[52] They also commended Sinatra'due south singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra'south version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal every bit a country music vocal,[49] it never charted on state music charts. For the calendar week ending May 17, 1969, the song was listed amidst Us Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the Usa Billboard Piece of cake Listening Elevation twoscore nautical chart at number xxx.[55] [56] The following week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song so spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2d consecutive week at its peak position of number nineteen on the Easy Listening nautical chart.[sixty] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Hither We Go Over again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a total of five weeks on the nautical chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Get Again", "God Knows I Honey Yous" and "Drummer Man").[67]

Track listing [edit]

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

According to Allmusic the original track was 3:09, merely when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, information technology was iii:11.[68] The single was initially released through Reprise Records. In a non-sectional 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, and so she signed a long-term contract with RCA Records.[lxx]

Credits [edit]

The following musicians performed on this runway:[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 Sharp (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (piano)
  • Jerry Scheff (bass guitar)
  • Ballad Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Here We Go Once more"
Unmarried by Ray Charles and Norah Jones
from the album Genius Loves Visitor
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length iii:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(due south) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here Nosotros Get Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sugariness Words"
(2004) 		"Here We Go Once again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Hither We Go Over 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 album ...Featuring, which included her "Here Nosotros Go Again" duet, she said "I got a phone call from Ray asking if I'd be interested in singing on this duets record. I got on the next plane and I brought my mom. We went to his studio and did information technology alive with the band. I sang it correct next to Ray, watching his oral fissure for the phrasing. He was very sweet and put me at ease, which was groovy because I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the only function that was non done alive 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 equally a duet and felt that this i provided the best opportunity to harmonize rather than alternating vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

Equally role of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the vocal had its early detractors,[77] [78] information technology received by and large favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the vocal 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 Sentinel 's Jim Abbott as a recreation of ane 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.[seven] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare just funky arrangement".[71] Author Mike Evans wrote that "there'south a mutual warmth of purpose in every jiff [Charles and Jones] accept" on the song.[75] Music Calendar week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song as soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ piece of 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 anthology.[82] The states Today 's Steve Jones said the vocal "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening rails".[27] Preston's functioning was favorably described by The Washington Postal service 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'due south "countrified ache" represented that part 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 not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included amidst her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Camber Magazine wrote that the duet was a "more staid and less compelling recording" on the album.[86] Nevertheless, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than 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 accolade for Record of the Twelvemonth and Best Popular Collaboration with Vocals.[90] It was the second Record of the Year winner not to brand the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Tape of the Year, merely non Song of the Yr. Record of the Yr is awarded to the creative person(s), producer(south), recording engineer(south) and/or mixer(due south), if other than artist for newly recorded fabric. Song of the Year is awarded to the songwriter(s) of a new song or a vocal first achieving prominence during the eligibility twelvemonth.[92] Steagall and Lanier are credited every bit 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 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 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2d on the U.s.a. Billboard 200 chart and becoming Charles' highest-charting anthology in over 40 years. Digital singles sales saw 12 of the 13 tracks on the album brand the Us Billboard Hot Digital Tracks Tiptop 50 nautical chart. "Here Nosotros Get Again" was the download sales leader amid 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 chart at number 26.[96] "Here We Go Again" fell out of the peak 50 two weeks later.[97] Information technology was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified golden by the Recording Industry Association of America for shipments exceeding 500,000 units in the U.s..

Afterwards the album earned eight Grammy Awards and the song won Record of the Twelvemonth, sales picked up and the album was re-promoted.[99] "Here Nosotros Get Again" entered the U.s. Billboard Bubbles Under Hot 100 chart at number five in the outcome dated (for the week catastrophe) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs acme 75 at number 73 and the The states Billboard Pop 100 at number 74 for the calendar week ending March 5, 2005, but withal did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] However, it ascended to its Bubbles Under Hot 100 nautical chart top position of number two for the calendar week ending March 5, 2005.[102] A compact disc single of the song was released on Apr 19, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Meridian 40 chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the nautical chart.[104] "Here We Go Again" entered the French Singles Nautical chart at number 54 on April two, 2005 and peaked ane calendar week later at number 51. It lasted 10 weeks on the pinnacle 100 chart.[105]

Rails listing [edit]

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

Co-ordinate 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]

Land nautical chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. Information technology debuted on the Hot Country Songs chart on September xxx, 1972, peaking at number 66 and spending a full of v weeks on the nautical chart.[107] The vocal also 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 vocal on his Turned Loose anthology for Churchill Records that he performed on the November 6, 1982 (flavour 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, only information technology entered the Hot Country Songs nautical chart for the calendar week ending Oct thirty, 1982, at 88.[111] The song was one of only 2 mentioned in the October 30, 1982, Billboard anthology review and was described equally "a solid land 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 besides spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for ii weeks (December iv and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither Nosotros Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] every bit 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] Boil Arnold'southward on his 1972 album Alone People,[119] and George Strait's on his 1992 anthology Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Over again anthology, merely she did not include it on her 2007 duets anthology Reba: Duets, which was released four weeks afterward.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this state standard by Nathalie Baret of ABQ Journal.[123] Martin's version was three:07, and it afterward appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell'due south version was but 2:26.[118] Strait'due south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'due south 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 Little Willie Littlefield recorded a version for his 1997 anthology The Cherry 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 song[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Middle'southward Rose Theatre on February ix and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Get Over 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 track entitled "Hither We Go Again".[132] [133] The vocals on "Here We Become Again" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:x, was arranged by Andy Farber and performed in a rhythm and dejection 12/viii shuffle.[93] BBC music reviewer Pecker Tilland noted that Jones added her usual "style and panache" to this functioning.[134] At one concert operation, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is thin, Popular 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 likewise notes that on the album Marsalis' band "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait's 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 Immature (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album every bit Strait's "most difficult-core country album" up to that bespeak in his career.[138] Allmusic staff noted that the album held its own at the fourth dimension of release against most of its competitors and has aged meliorate than nearly country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the anthology represents the most straightforward style of singing.[140] The iTunes Store describes the album every bit the effect of a transition in eras of land music.[141]

The vocal plays during the opening credit dance by 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 pic Ray nor the limited edition boosted soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Terminal Anthology From Ray Charles Isn't Stellar, But It'due south A Pleasant Listening Experience Just The Same". Orlando Sentinel. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May eight, 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 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May viii, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Record Research. pp. 191–192. ISBN0-89820-166-seven.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Westward. C. (2008). Notes from Texas: on writing in the Alone Star State. Texas Christian University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-seven.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford Academy Printing. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once more Canvas Music". Musicnotes.com. Dirk Music. February xiv, 2005. Retrieved May nine, 2011.
  26. ^ a b "Top 60 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.
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Bibliography [edit]

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

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