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Here We Go Again Liquerd Up and Then Singing Propaghandi

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1967 vocal by Ray Charles

"Here Nosotros Become Once 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" 7-inch unmarried cover art
Single by Ray Charles
from the anthology Ray Charles Invites You lot to Heed
B-side "Somebody Ought to Write a Book Almost It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:eighteen
Characterization ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Cherry-red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Become Over again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither We Go Once more" is a country music standard written by Don Lanier and Reddish Steagall that kickoff became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology 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 The states Billboard Hot 100 chart, peaking at number 15.

The most notable comprehend 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 Visitor was released, "Here Nosotros Go Once more" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album'south release. Another notable version by Nancy Sinatra charted for v weeks in 1969. Johnny Duncan charted the song on Billboard 'due south Hot Country Songs chart for 5 weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The vocal has been covered in a wide variety of musical genres. In full, five different versions have been listed on the music charts. Although its ii well-nigh successful versions have been rhythm and blues recordings, many of its other notable covers were featured on land music albums. "Here We Get Again" was first covered in an instrumental jazz format, and many of the more recent covers take been sung every bit duets, such every bit one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Hither We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Cover versions have appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Here 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, post-obit the expiration of his Atlantic Records contract.[i] Co-ordinate to Will Friedwald in A Biographical Guide to the Neat Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and dejection and state music. Because Charles was signed to ABC as a rhythm and blues vocalist, he decided to wait until his contract was up for its three-year renewal before experimenting with state music, although he wanted to practise 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 state albums Modern Sounds in State and Western Music and its follow-upwardly Modern Sounds in Country and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[five] [6]

"Hither We Go Once again" was recorded during a phase in Charles' career when he was focused on performing country music.[vii] Thus, "Here We Go Once again" was a land music vocal released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues way. However, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[ix] but he returned to arrange Charles' 1967 album, Ray Charles Invites Yous to Mind.[10] Joe Adams produced and engineered the anthology, which included "Here We Go Again".[ten]

First released by Charles in 1967, "Hither We Go Once more" was written by Lanier and Steagall and published by 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 x tracks on Ray Charles Invites Y'all to Heed.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] Information technology was also 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 utilize of his left arm and paw.[20] When he enrolled at W Texas Land University, he formed his start state band.[19] Don Lanier formed a grouping by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at country dances. After he quit his professional person 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 society 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 Go Again".[21] Steagall'south beginning suspension came when Charles covered "Hither We Get Once again".[19] Steagall says that the song "came well-nigh in a very unusual mode and very quickly".[21] One source even claims that Steagall did not come up to Hollywood until after Charles recorded the vocal.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither We Go Once more" is set in 12/eight time with a wearisome shuffle tempo of sixty-nine beats per minute. The vocal is written in the key of B ♭ major.[25] It is primarily a land song,[26] just contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Go Again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the blues, merely, what it is. The recording has a simple and sterling gospel organisation and, in retrospect, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Yous to Heed is not readily available, simply "Here We Go Over again" was the best-charting vocal on the anthology (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 War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where information technology visited the Imperial Festival Hall, London and Salle Pleyel, Paris, also every bit Vienna. In May, the ring played back in the The states at New York City'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 ring played Constitution Hall, Washington, D.C. In the fall, Charles had his showtime lucrative Nevada casino performances, which started with a iii-week run at Harrah'due south Reno that was praised in Variety. The bout also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither Nosotros Become Again" as "Another first-class example of how Ray Charles was able to fuse blues and country".[28] In a review for the unmarried, a writer for Billboard mag wrote that the song could hands be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May 20, 1967, effect and number 48 on the United states Billboard Hot Rhythm & Blues Singles top 50 nautical chart on June 10, 1967.[30] [31] For the weeks catastrophe July 15, 22 and 29, the vocal spent three weeks at its height position of number xv on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Dejection Singles chart.[34] [35] By August 12, it brutal out the Hot 100 nautical chart, ending a 12-week run.[36] Information technology remained on the Hot Rhythm & Dejection Singles chart for thirteen weeks catastrophe on September two.[37] [38] "Hither Nosotros Become Once more" was Charles' terminal unmarried to enter the top twenty of the Hot 100.[39] For the yr 1967 the vocal finished at number 80 on the United states Billboard Twelvemonth-Terminate Hot 100 chart and 33 on the Twelvemonth-End Hot Rhythm & Dejection Singles chart.[40]

Abroad, information technology debuted on the Britain Singles Chart superlative forty at number 38 on July 8, 1967, which would be its superlative.[41] It totalled iii not-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 later peaked at number 3.[44]

According to Volition Friedwald, this song is an example of Charles vocalizing in what would ordinarily exist a generally extraneous manner for dramatic effect by using a unlike voice than he had always previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, but making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Track listing [edit]

  • 7-inch unmarried [45]
  1. "Here We Go Again" – 3:fourteen
  2. "Somebody Ought to Write a Book About It" – 3:02

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

Credits [edit]

Charles is credited as vocaliser and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is one of 2 songs on the anthology ("Yesterday" being the other) that in add-on to being listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Oestrus of the Night" too had a Dunhill credit simply a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros Get Again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single by Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(south) Don Lanier, Crimson Steagall
Producer(due south) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You lot"
(1968) 		"Hither We Get Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a comprehend of the vocal for her 1969 album Nancy, which was her first album afterward ending her business organization relationship with producer Lee Hazlewood.[49] The embrace, which co-ordinate to programming guides had an like shooting fish in a barrel listening and country music appeal,[l] was produced by Baton Strange.[51] [52] The B-side to the single, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the vocal favorably, stating that the cover was a "shine sing-a-long pop manner".[52] They too commended Sinatra's singing, calling information technology a "fine" operation, noting that it would likely render her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the vocal as a country music vocal,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top xl chart at number 30.[55] [56] The following week it debuted on the U.s. Billboard Hot 100 chart at number 98,[57] its apex for its 2-calendar 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 2d consecutive week at its superlative position of number nineteen on the Piece of cake Listening chart.[60] The song remained on the chart for v weeks until June xiv, 1969.[61] [62] In Canada "Here We Go 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 vocal spent a full of v weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 nautical chart (with "Here We Go Again", "God Knows I Love Y'all" and "Drummer Human").[67]

Track list [edit]

  • vii-inch vinyl single [53]
  1. "Hither We Become Over again" – three:07
  2. "Memories" – 3:40

According to Allmusic the original track was iii:09, just when it appeared on the 2006 compilation album Essential Nancy Sinatra, information technology was 3:11.[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, so she signed a long-term contract with RCA Records.[seventy]

Credits [edit]

The post-obit musicians performed on this runway:[51]

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

The following musicians performed on this anthology:[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)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Here We Go Again"
Unmarried by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length iii:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Ruby Steagall
Producer(s) 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) 		"Hither We Become Again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Hither We Get Once more" 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 "Hither 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 next plane and I brought my mom. We went to his studio and did it live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was not bad because I was petrified walking in there."[72] She noted in 1 ...Featuring interview that the but part that was not done live was a pianoforte overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the best opportunity to harmonize rather than alternating vocal verses.[73] On the record, the two singers vocalize,[74] accompanied past Baton Preston on Hammond organ,[75] [76] who had at 1 fourth dimension been the regular organist in Charles' band.[71]

Reception [edit]

Every bit part of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Company, the song proved to exist the nigh popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received more often than not favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'southward Jason Warburg described the song every bit 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 vocal was described past the Orlando Sentinel 'due south Jim Abbott as a recreation of one of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying part on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vocalism was understated, this vocal was said to represent his "indomitable spirit", while Jones performed equally "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare just funky organization".[71] Author Mike Evans wrote that "there'south 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 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 work.[81]

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

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Yr 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 group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more staid and less compelling recording" on the anthology.[86] All the same, 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 Feb 13, 2005 awards ceremony, the duet earned the award for Record of the Twelvemonth and All-time Pop Collaboration with Vocals.[90] It was the second Record of the Yr winner not to brand the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Tape of the Year, simply non Vocal of the Twelvemonth. Record of the Year is awarded to the artist(s), producer(southward), recording engineer(s) and/or mixer(due south), if other than artist for newly recorded material. Vocal of the Year is awarded to the songwriter(due south) of a new song or a song kickoff achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their piece of work on its original version in 1967.[93] Thus, the song was not a new song.

Nautical chart functioning [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the Usa Billboard 200 chart and becoming Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the 13 tracks on the anthology make the US Billboard Hot Digital Tracks Top 50 chart. "Here We Become Once again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Get Again" savage out of the pinnacle 50 two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gilt by the Recording Manufacture Clan of America for shipments exceeding 500,000 units in the U.s.a..

After the album earned eight Grammy Awards and the song won Tape of the Year, sales picked upwards and the album was re-promoted.[99] "Here We Get Once again" entered the US Billboard Bubbling Nether Hot 100 chart at number 5 in the result dated (for the week ending) February 26, 2005.[100] The song charted for a calendar week on both the US Billboard Hot Digital Songs tiptop 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March v, 2005, just still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbles Nether Hot 100 chart tiptop position of number two for the calendar week ending March v, 2005.[102] A compact disc unmarried of the vocal was released on April xix, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Austria Meridian forty chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. It logged half dozen weeks on the nautical chart.[104] "Here We Get Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked one week later at number 51. It lasted 10 weeks on the summit 100 nautical chart.[105]

Rails list [edit]

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

According to Allmusic, the duet version was betwixt 3:56 and iii:59 on various albums.[17]

Credits [edit]

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

State chart versions [edit]

Johnny Duncan charted a version of the vocal for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Country Songs nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the nautical chart.[107] The vocal besides spent 5 weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later on.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the Nov 6, 1982 (season 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs nautical chart for the week catastrophe October 30, 1982, at 88.[111] The vocal was 1 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 week ending November 27 and remained in the chart for two more weeks, making the full run vii weeks.[113] [114] The vocal likewise spent seven weeks on the Cashbox Country Singles Nautical chart, debuting on November half-dozen, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither We Get Once more" on his 1967 Ode to Baton Joe instrumental album,[116] equally did Dean Martin on his 1970 album My Woman, My Woman, My Married woman.[117] Glen Campbell'due south version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold'due south 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 Over again anthology, but she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Journal.[123] Martin'due south version was 3:07, and it after appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. ii. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell'south version was only 2:26.[118] Strait'south version is ii:53 and appears subsequently on his 2004 Greatest Collection at a 2:55 length.[120] Steagall'due south version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is 3:x.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade anthology.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 anthology 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 9 and ten, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go 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 "Here We Get Again".[132] [133] The vocals on "Here We Go Once again" were performed past Jones and Nelson, while instrumental support was provided past Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and brio" 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 rail is sparse, Pop Matters 's Will Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland too notes that on the anthology Marsalis' ring "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'south 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 (background vocals), and Reggie Immature (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Amusement Weekly 'south Alanna Nash regarded the anthology equally Strait's "most hard-core state album" up to that signal 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 almost land music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward manner of singing.[140] The iTunes Store describes the album every bit the result of a transition in eras of land 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 film Ray nor the limited edition additional soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Great Jazz and 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Feel 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 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 v, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To 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 (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Lexicon. 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, Due west. C. (2008). Notes from Texas: on writing in the Alone Star Land. Texas Christian University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Get Again Sail Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May six, 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.
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Bibliography [edit]

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