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Here We Go Again Goldfish and Blink

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1967 vocal 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 Once again" 7-inch single cover art
Single by Ray Charles
from the album Ray Charles Invites You lot 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 iii:18
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Get Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Again" is a country music standard written past Don Lanier and Red Steagall that first became notable as a rhythm and dejection single past Ray Charles from his 1967 anthology Ray Charles Invites You to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the 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 Company was released, "Hither We Go Again" earned Grammy Awards for Record of the Year and All-time Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died earlier the album'due south release. Some other notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for v weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a broad variety of musical genres. In full, 5 different versions have been listed on the music charts. Although its two near successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither We Go Again" was offset covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such every bit one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album also. Encompass versions accept appeared on compilation albums by a number of artists, even some who did not release "Hither We Go Again" as 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.[i] According to Will Friedwald in A Biographical Guide to the Bully Jazz and Pop Singers, "His get-go four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Considering Charles was signed to ABC equally a rhythm and blues vocalizer, he decided to wait until his contract was up for its 3-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance 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 State 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 than to a white audience.[4] In 1962 he founded his ain record 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 state music.[vii] Thus, "Hither We Go Again" was a state music song released by the Tangerine label ABC-Paramount, merely performed in Charles' rhythm and dejection manner. However, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[nine] but he returned to adapt Charles' 1967 anthology, Ray Charles Invites You to Heed.[10] Joe Adams produced and engineered the album, which included "Here We Get Again".[10]

Showtime released by Charles in 1967, "Here We Go Again" was written by 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 as the sixth of ten tracks on Ray Charles Invites You lot to Listen.[14] [fifteen] [16] 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 equally a bonus track.[12] [13] It was too included on the 1988 anthology Ray Charles Anthology.[xviii]

Composition [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.[xx] When he enrolled at West Texas State University, he formed his offset country ring.[19] Don Lanier formed a group by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil chemist merely played weekends at country dances. After he quit his professional person part, he formed a ring that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Become Over again".[21] Steagall'south first break came when Charles covered "Here Nosotros Get Again".[19] Steagall says that the song "came almost in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Here We Go Again" is prepare in 12/8 time with a tiresome shuffle tempo of sixty-ix beats per minute. The song is written in the key of B ♭ major.[25] It is primarily a land 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 pain that makes the blues, simply, what information technology is. The recording has a unproblematic and sterling gospel arrangement and, in retrospect, is i of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Y'all to Heed is not readily available, only "Here Nosotros Get Again" was the best-charting song on the album (and likely on the playlist). Charles' bout 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 tour, Charles' first since 1964, connected to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, likewise as Vienna. In May, the ring played dorsum in the U.s.a. 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 Mail. Later that summertime, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Variety. The tour likewise had an extended fall run at New York'south Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Again" as "Another excellent instance of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer for Billboard magazine wrote that the vocal could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, issue and number 48 on the US Billboard Hot Rhythm & Blues Singles peak 50 chart on June x, 1967.[xxx] [31] For the weeks ending July fifteen, 22 and 29, the song spent three weeks at its superlative position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its meridian position of number 5 on the Hot Rhythm & Dejection Singles nautical chart.[34] [35] By Baronial 12, it fell out the Hot 100 chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for 13 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 eighty on the Usa Billboard Year-End Hot 100 nautical chart and 33 on the Year-End Hot Rhythm & Blues Singles chart.[xl]

Abroad, it debuted on the UK Singles Chart top twoscore at number 38 on July 8, 1967, which would be its peak.[41] It totalled three non-sequent weeks on the chart.[42] [43] In holland, "Here We Go Again" appeared on the singles chart at number ten 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 ordinarily be a generally extraneous manner for dramatic outcome by using a unlike 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, but making it the center of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track listing [edit]

  • seven-inch unmarried [45]
  1. "Here Nosotros Become Again" – 3:14
  2. "Somebody Ought to Write a Volume Most It" – 3:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is ane of two songs on the album ("Yesterday" existence the other) that in addition 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 Heat 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 again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(southward) Don Lanier, Scarlet Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Beloved You"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album after ending her business relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music appeal,[50] was produced past Baton Strange.[51] [52] The B-side to the unmarried, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "shine sing-a-long pop style".[52] They also commended Sinatra'due south singing, calling information technology a "fine" performance, noting that it would likely render her to the Billboard charts.[52] Sinatra's version was after remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal every bit a land music song,[49] information technology never charted on country music charts. For the week ending May 17, 1969, the song was listed among Usa Billboard Bubbling Under Hot 100 Singles nautical chart at number 106 and debuted on the US Billboard Like shooting fish in a barrel Listening Top 40 chart at number 30.[55] [56] The following calendar week information technology debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its ii-week stay.[58] The song then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a second consecutive week at its meridian position of number nineteen on the Piece of cake Listening nautical chart.[60] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Go Once again" debuted at number 38 on the RPM Developed Contemporary nautical chart (previously Young Developed Chart) on June two, 1969.[63] It peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a full of v weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the concluding yr in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Beloved Yous" and "Drummer Man").[67]

Track listing [edit]

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

Co-ordinate to Allmusic the original rail was 3:09, only when information technology appeared on the 2006 compilation album Essential Nancy Sinatra, it was iii:11.[68] The unmarried 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, and so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Get 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 3:59
Label Concord/Hear Music
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Once again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking About You"
(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 album ...Featuring, which included her "Here Nosotros Get 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 airplane and I brought my mom. We went to his studio and did information technology live with the ring. I sang it correct side by side to Ray, watching his oral cavity for the phrasing. He was very sweet and put me at ease, which was nifty considering I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the only function that was not done live 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 every bit a duet and felt that this one provided the best opportunity to harmonize rather than alternate song verses.[73] On the record, the two singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

As role of Charles' Grammy Award for Album of the Yr-winning Genius Loves Company, the song proved to be the about popular and critically acclaimed on the anthology. Although the song had its early detractors,[77] [78] information technology received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'due south 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" performance.[80] The song was described past the Orlando Sentry 'south 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'south accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' phonation was understated, this vocal was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky organisation".[71] Author Mike Evans wrote that "there'southward a mutual warmth of purpose in every breath [Charles and Jones] have" 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 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 vocal brunt every bit did many of Charles's duet partners on the anthology.[82] Usa Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described past The Washington Postal service 'southward Richard Harrington every bit "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that role of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included 3 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 noun comments on the duet when included among her grouping 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 than simply 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 ceremony, the duet earned the honor for Record of the Twelvemonth and Best Pop Collaboration with Vocals.[90] Information technology was the second Record of the Yr winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, but not Song of the Year. Tape of the Year is awarded to the creative person(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded material. Vocal of the Yr is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the vocal was not a new song.

Nautical chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the US Billboard 200 chart and becoming Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the xiii tracks on the album make the US Billboard Hot Digital Tracks Height 50 nautical chart. "Here 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 United states of america Billboard Hot Digital Tracks chart at number 26.[96] "Hither Nosotros Go Again" fell out of the meridian 50 ii weeks afterwards.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the Usa.

Afterwards the album earned eight Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Hither We Become Once more" entered the U.s. Billboard Bubbling Nether Hot 100 chart at number five in the issue dated (for the week catastrophe) Feb 26, 2005.[100] The vocal charted for a calendar week on both the U.s. Billboard Hot Digital Songs acme 75 at number 73 and the US Billboard Pop 100 at number 74 for the calendar week ending March 5, 2005, but yet did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 nautical chart peak position of number ii for the week ending March five, 2005.[102] A compact disc single of the song was released on April nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Height 40 chart at number 53 on March half-dozen, 2005, and peaked the following week at number 52. It logged 6 weeks on the chart.[104] "Hither We Go Once again" entered the French Singles Chart at number 54 on Apr two, 2005 and peaked one week later at number 51. It lasted x weeks on the elevation 100 chart.[105]

Track listing [edit]

  • CD single [103]
  1. "Hither We Get Over 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 3:56 and 3:59 on diverse albums.[17]

Credits [edit]

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

State nautical chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical chart. It debuted on the Hot Country Songs nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the nautical chart.[107] The song also spent five weeks on the Cashbox Country Singles Chart, debuting on Oct 7, 1972, and peaking at number 61 3 weeks later on.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the Nov half dozen, 1982 (flavor fifteen, 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 ending October 30, 1982, at 88.[111] The song was 1 of only 2 mentioned in the October 30, 1982, Billboard album review and was described as "a solid state number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the nautical chart for ii more weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox State Singles Nautical chart, debuting on November half-dozen, 1982, and peaking at number 61 for ii weeks (December four and eleven).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Become Once more" on his 1967 Ode to Billy Joe instrumental anthology,[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 Concluding Time I Saw Her,[118] Eddy Arnold's on his 1972 anthology 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 Go Again album, just she did not include it on her 2007 duets anthology Reba: Duets, which was released four weeks later on.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this land standard by Nathalie Baret of ABQ Journal.[123] Martin's version was three:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gilt, Vol. two. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only ii:26.[118] Strait's version is 2:53 and appears subsequently on his 2004 Greatest Collection at a two:55 length.[120] Steagall'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 singer Little Willie Littlefield recorded a version for his 1997 album The Carmine One.[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 anthology Aureate 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 Heart'due south Rose Theatre on Feb 9 and 10, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Become Again: Celebrating the Genius of Ray Charles was recorded on these two live dates. The anthology, which was released on March 29, 2011, included a runway entitled "Here We Become Again".[132] [133] The vocals on "Here We Get Again" were performed by Jones and Nelson, while instrumental back up 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:ten, was bundled by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At one concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 'south Volition Layman notes that the anthology reveals "how decisive and strong 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 also notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's country music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (piano), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Immature (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 "most difficult-core country album" up to that indicate in his career.[138] Allmusic staff noted that the anthology held its ain at the time of release confronting near of its competitors and has aged amend than most land music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Store describes the album as the effect of a transition in eras of country music.[141]

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

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Bully Jazz and Pop Singers. Pantheon Books. pp. 78–lxxx. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Only It's A Pleasant Listening Experience Just The Same". Orlando Watch. 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 Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Land and Western Music (Compact 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 Now Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You lot to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May viii, 2011.
  17. ^ a b c "Hither We Go Again". Allmusic. Rovi Corporation. Retrieved May eight, 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 Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to State: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, West. 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 Land Music Encyclopedia . Thomas Y. Crowell Company. 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 Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): twenty. May half-dozen, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Go Once more: Ray Charles". Allmusic. Rovi Corporation. Retrieved May x, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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