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Song Lyrics Here We Go Again Ray Charles

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1967 vocal past Ray Charles

"Here We Go Again"
Black 45 record label with the ABC logo on top and the song "Here We Go Again", singer Ray Charles and other detail

"Hither We Go Again" 7-inch single embrace art
Single by Ray Charles
from the anthology Ray Charles Invites You to Heed
B-side "Somebody Ought to Write a Book Almost Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length three:xviii
Characterization 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 Nosotros Get Once more"
(1967) 		"In the Heat of the Night"
(1967)

"Hither We Go Once again" is a land music standard written past Don Lanier and Ruddy Steagall that first became notable equally a rhythm and dejection single by Ray Charles from his 1967 album Ray Charles Invites You to Mind. It was record producer past Joe Adams for ABC Records/Tangerine Records. To engagement, 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 fifteen.

The almost notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest disquisitional success. After Genius Loves Company was released, "Here We Get Again" earned Grammy Awards for Tape of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'southward release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 'southward 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 full, five different versions have been listed on the music charts. Although its 2 most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Go Over again" was first covered in an instrumental jazz format, and many of the more contempo covers have been sung equally duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The vocal was released on their 2011 tribute album Here We Go Once more: Jubilant the Genius of Ray Charles. The vocal lent its name to Red Steagall'due south 2007 anthology as well. Cover versions take appeared on compilation albums by a number of artists, even some who did not release "Hither Nosotros Go Again" as a single.

Original version [edit]

In Nov 1959, subsequently twelve years every bit a professional musician, Ray Charles signed with ABC Records, post-obit the expiration of his Atlantic Records contract.[1] According to Volition Friedwald in A Biographical Guide to the Great 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 blues and state music. Because Charles was signed to ABC as a rhythm and blues vocalist, he decided to await until his contract was up for its three-year renewal before experimenting with country 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.[iii] The release of his 1962 country albums Modernistic Sounds in Country and Western Music and its follow-upward Modern Sounds in Country and Western Music, Vol. ii broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more than to a white audition.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

"Hither We Go Again" was recorded during a stage in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Once again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. Still, his works did not acquit the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[x] Joe Adams produced and engineered the anthology, which included "Hither We Go Again".[10]

Get-go released by Charles in 1967, "Hither We Get Again" was written by Lanier and Steagall and published by the Dirk Music Visitor.[eleven] 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 to Listen.[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 vocal was added as a bonus rail.[12] [thirteen] Information technology was as well included on the 1988 anthology Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activeness helped him regain the utilize of his left arm and hand.[xx] When he enrolled at West Texas Land University, he formed his starting time land ring.[19] Don Lanier formed a group by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil pharmacist merely played weekends at land dances. Subsequently he quit his professional office, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Get Again".[21] Steagall's get-go suspension came when Charles covered "Here We Go Over again".[19] Steagall says that the song "came about in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come to Hollywood until subsequently Charles recorded the vocal.[24]

Co-ordinate to the canvas music published by Dirk Music, "Hither We Go Again" is set in 12/8 time with a slow shuffle tempo of lx-ix beats per infinitesimal. The song is written in the fundamental of B ♭ major.[25] Information technology is primarily a land song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Hither We Go Again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the dejection, simply, what information technology is. The recording has a simple and sterling gospel organisation and, in hindsight, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 bout promoting Ray Charles Invites You lot to Mind is not readily available, only "Here Nosotros Become Again" was the best-charting song 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 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, likewise as Vienna. In May, the band played back in the United states of america at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Mag and the New York Post. Later that summer, the ring played Constitution Hall, Washington, D.C. In the autumn, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's 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 Go Again" equally "Some other excellent example of how Ray Charles was able to fuse blues and land".[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 chart in the May 20, 1967, outcome and number 48 on the United states of america Billboard Hot Rhythm & Blues Singles top 50 chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its peak position of number xv on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its tiptop position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] Past Baronial 12, information technology fell out the Hot 100 nautical chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for xiii weeks ending on September 2.[37] [38] "Here We Go Again" was Charles' terminal unmarried to enter the meridian xx of the Hot 100.[39] For the twelvemonth 1967 the vocal finished at number fourscore on the Usa Billboard Year-Terminate Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the Uk Singles Nautical chart top 40 at number 38 on July eight, 1967, which would be its peak.[41] It totalled 3 non-consecutive weeks on the nautical chart.[42] [43] In holland, "Here We Go Again" appeared on the singles chart at number 10 on July fifteen, 1967, and after peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a mostly extraneous fashion for dramatic issue by using a different vocalism than he had ever previously exhibited. He sang "... non just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, but making information technology the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Runway listing [edit]

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

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

Credits [edit]

Charles is credited every bit 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" being 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 merely a dissimilar number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her beginning album after ending her business relationship with producer Lee Hazlewood.[49] The comprehend, which according to programming guides had an like shooting fish in a barrel listening and state music appeal,[50] was produced by Billy Foreign.[51] [52] The B-side to the single, "Memories", was written by Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the vocal favorably, stating that the cover was a "smooth sing-a-long pop fashion".[52] They also commended Sinatra'south singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra'southward version was later remastered and reissued in 1996.[54]

Nautical chart performance [edit]

Although CD Universe describes the vocal every bit a state music song,[49] it never charted on land music charts. For the calendar week ending May 17, 1969, the song was listed among US Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Like shooting fish in a barrel Listening Top 40 chart at number thirty.[55] [56] The post-obit week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its apex for its two-calendar week stay.[58] The song and so spent a total of 2 weeks on the Hot 100.[59] For the calendar week catastrophe June vii, the song spent a 2nd consecutive calendar week at its peak position of number xix on the Easy Listening chart.[lx] The song remained on the chart for 5 weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Go Again" debuted at number 38 on the RPM Adult Contemporary 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 5 weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the terminal year in her career that Sinatra reached the Hot 100 chart (with "Hither We Go Again", "God Knows I Love You" and "Drummer Man").[67]

Rail list [edit]

  • 7-inch vinyl unmarried [53]
  1. "Here We Go Again" – three:07
  2. "Memories" – 3:40

Co-ordinate to Allmusic the original track was three:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a not-exclusive licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this rail:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Cherry Rhodes (steel guitar)
  • Sid Abrupt (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 Once again"
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
"Female parent"
(2002) 		"Here Nosotros Go Again"
(2005) 		"Y'all Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Nearly Yous"
(2006)

In 2004, Charles re-recorded "Hither We Become Again" as a duet with American vocalist-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here We Go Again" duet, she said "I got a 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 right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was swell considering I was petrified walking in there."[72] She noted in ane ...Featuring interview that the only part that was not done alive was a pianoforte overlay that she added later 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 alternate vocal verses.[73] On the record, the ii singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Twelvemonth-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the vocal had its early on detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'south Jason Warburg described the song as a "jazzy, slinky pas de deux" in which Charles matches Jones note for notation."[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' land music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'southward accompanying office on Hammond B3.[vii] Every bit opposed to other tracks on the anthology, when Charles' vocalism was understated, this song was said to correspond his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky arrangement".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal equally 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 album.[82] United 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 track".[27] Preston'southward performance was favorably described by The Washington Post 'south Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'southward "countrified ache" represented that part 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 non stand out. Few of the reviews at Metacritic had substantive 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] However, 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 ceremony, the duet earned the award for Record of the Yr and Best Popular Collaboration with Vocals.[90] It was the second Record of the Year winner non to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, only not Song of the Year. Record of the Yr is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded material. Vocal of the Year is awarded to the songwriter(s) of a new vocal or a vocal offset achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new vocal.

Chart operation [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 xviii, 2004, Genius Loves Company sold 202,000 copies, ranking second on the US Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the thirteen tracks on the album brand the US Billboard Hot Digital Tracks Acme 50 chart. "Here We Become Again" was the download sales leader among the album'due south songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the vocal debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Again" fell out of the height 50 two weeks later.[97] It was released as a unmarried 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 United states.

Afterwards the album earned viii Grammy Awards and the song won Record of the Twelvemonth, sales picked upwards and the album was re-promoted.[99] "Hither We Go Once more" entered the US Billboard Bubbles Nether Hot 100 chart at number five in the issue dated (for the calendar week ending) February 26, 2005.[100] The song charted for a 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 5, 2005, but still 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 chart elevation position of number ii for the calendar week ending March 5, 2005.[102] A meaty disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Top 40 chart at number 53 on March half dozen, 2005, and peaked the post-obit week at number 52. It logged six weeks on the nautical chart.[104] "Here Nosotros Get Once more" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked ane week afterward at number 51. It lasted ten weeks on the top 100 chart.[105]

Track list [edit]

  • CD single [103]
  1. "Here 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 three:59 on various 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]

Country 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 thirty, 1972, peaking at number 66 and spending a total of 5 weeks on the chart.[107] The song also spent five weeks on the Cashbox Land Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later on.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the November vi, 1982 (season 15, episode nine), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs chart for the week catastrophe October thirty, 1982, at 88.[111] The song was i of only two mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The vocal peaked at number 65 in the week ending November 27 and remained in the chart for ii more weeks, making the total run seven weeks.[113] [114] The vocal besides spent seven weeks on the Cashbox State Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here Nosotros Go Again" on his 1967 Ode to Baton Joe instrumental anthology,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[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 album Lonely People,[119] and George Strait's on his 1992 album Property My Own.[120] Steagall performed information technology with Reba McEntire on his 2007 Hither 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 by Nathalie Baret of ABQ Journal.[123] Martin'southward version was three:07, and it later 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's version was only 2:26.[118] Strait'south version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton off-white)[123] [124] is three:10.[125] R&B and boogie-woogie pianist and singer Petty Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee fabricated 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 anthology Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Center'southward Rose Theatre on Feb 9 and 10, 2009. A 2011 alive tribute album by Nelson and Marsalis featuring Jones entitled Here Nosotros 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 runway entitled "Here We Go Again".[132] [133] The vocals on "Here We Get 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 5:10, was arranged 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 "manner and panache" to this functioning.[134] At 1 concert performance, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 'southward Volition Layman notes that the album reveals "how decisive and potent 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 person mastery of Marsalis' quintet.[136] Tilland too notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'due south state music version was performed with the instrumental back up of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (audio-visual guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Immature (electric guitar). The album was produced past Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait's "almost hard-core country album" up to that point in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against nearly of its competitors and has aged better than most country 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 outcome of a transition in eras of land music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'south 1970 pic Gods of the Plague.[142] [143] Nonetheless, the vocal was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack album More than 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 Neat Jazz and Popular Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  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 Experience But The Same". Orlando Lookout man. Tribune Company. Retrieved May xiii, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 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 Visitor. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Mind -..." Billboard. Prometheus Global Media. Retrieved May viii, 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.). Tape Enquiry. pp. 191–192. ISBN0-89820-166-7.
  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 All-time Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Due west. C. (2008). Notes from Texas: on writing in the Lonely Star Country. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford Academy Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sail Music". Musicnotes.com. Dirk Music. February xiv, 2005. Retrieved May 9, 2011.
  26. ^ a b "Acme 60 Spotlights". Billboard. Nielsen Concern Media, Inc. 79 (18): 20. May half dozen, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Hither We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May x, 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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