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Here We Go Again Ray Charles

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1967 song by Ray Charles

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

"Here Nosotros Go Again" 7-inch unmarried cover art
Unmarried past Ray Charles
from the album Ray Charles Invites Y'all to Listen
B-side "Somebody Ought to Write a Book Well-nigh It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length three:18
Label ABC Records/Tangerine Records
Songwriter(south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say Yous're Fooling"
(1966) 		"Here We Get Again"
(1967) 		"In the Heat of the Dark"
(1967)

"Here We Get Once again" is a country music standard written by Don Lanier and Cherry Steagall that first became notable as a rhythm and blues unmarried by Ray Charles from his 1967 anthology Ray Charles Invites Yous to Heed. It was record producer by Joe Adams for ABC Records/Tangerine Records. To date, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the Usa Billboard Hot 100 chart, peaking at number xv.

The near notable encompass version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Visitor. This version has been the biggest critical success. Later on Genius Loves Visitor was released, "Here Nosotros Go Again" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died earlier the album'due south release. Another notable version past Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 'south Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did and so for seven weeks in 1982.

The vocal has been covered in a broad variety of musical genres. In total, five different versions take been listed on the music charts. Although its two most successful versions take been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither We Go Again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Become Again: Celebrating the Genius of Ray Charles. The song lent its proper noun to Red Steagall's 2007 anthology as well. Encompass versions have appeared on compilation albums by a number of artists, fifty-fifty some who did non release "Here We Get Again" every bit a single.

Original version [edit]

In Nov 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, post-obit the expiration of his Atlantic Records contract.[ane] Co-ordinate to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His first 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 every bit a rhythm and blues singer, he decided to expect until his contract was up for its three-twelvemonth renewal before experimenting with country music, although he wanted to do and then sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in Country and Western Music and its follow-up Modern Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audition.[iv] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Once again" was recorded during a stage in Charles' career when he was focused on performing land music.[7] Thus, "Hither We Go Again" was a land music vocal released by the Tangerine label ABC-Paramount, only performed in Charles' rhythm and blues style. Even so, his works did non bear the Tangerine label until 1968.[viii] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Mind.[10] Joe Adams produced and engineered the album, which included "Here Nosotros Go Over again".[x]

Start released by Charles in 1967, "Here We Get Again" 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 vocal was listed as the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [xv] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in State and Western Music was reissued in 1988, the song was added as a bonus track.[12] [13] It was likewise included on the 1988 album Ray Charles Album.[eighteen]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[xix] This activity helped him regain the apply of his left arm and hand.[twenty] When he enrolled at West Texas Land University, he formed his offset country band.[xix] Don Lanier formed a group past the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist only played weekends at land dances. Afterwards he quit his professional role, he formed a ring that became pop in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk gild performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Somewhen, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Become Again".[21] Steagall's showtime break came when Charles covered "Here We Go Again".[nineteen] Steagall says that the vocal "came about in a very unusual manner and very quickly".[21] I source even claims that Steagall did not come to Hollywood until afterwards Charles recorded the song.[24]

According to the sheet music published by Dirk Music, "Here We Get Again" is set in 12/8 time with a slow shuffle tempo of threescore-nine beats per infinitesimal. The song is written in the key of B ♭ major.[25] It is primarily a country song,[26] simply contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Go Over again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what it is. The recording has a simple and sterling gospel arrangement and, in retrospect, is one of Charles' effectively attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily bachelor, only "Here We Go Once again" was the best-charting song on the album (and likely on the playlist). Charles' bout began with a benefit 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-Apr where it visited the Imperial Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played back in the United States at New York Urban center's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Mail service. Afterwards that summertime, the band 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 Multifariousness. The bout also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Get Once more" as "Another first-class case of how Ray Charles was able to fuse blues and state".[28] In a review for the unmarried, a writer for Billboard mag wrote that the song could easily exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the United states of america Billboard Hot Rhythm & Blues Singles top 50 nautical chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the vocal spent three weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles nautical chart.[34] [35] By August 12, information technology fell out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles nautical chart for 13 weeks ending on September 2.[37] [38] "Here We Get Again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[twoscore]

Away, it debuted on the UK Singles Chart elevation forty at number 38 on July eight, 1967, which would exist its peak.[41] It totalled iii non-consecutive weeks on the chart.[42] [43] In holland, "Here We Become Again" appeared on the singles chart at number 10 on July xv, 1967, and after peaked at number three.[44]

Co-ordinate to Volition Friedwald, this song is an example of Charles vocalizing in what would ordinarily exist a by and large extraneous style for dramatic upshot by using a different phonation than he had e'er 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 heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • 7-inch single [45]
  1. "Here Nosotros Go Again" – 3:14
  2. "Somebody Ought to Write a Book About Information technology" – 3:02

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

Credits [edit]

Charles is credited as singer and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is ane of 2 songs on the album ("Yesterday" existence the other) that in addition to beingness listed as ABC-Par ABC595 is credited every bit Dunhill DZS036 [CD].[46] The individual vocal had a label number ABC/TRC 10938.[47] [48] "In the Estrus of the Nighttime" besides had a Dunhill credit merely a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither Nosotros Become 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".
Unmarried past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre State
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Baton Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Man"
(1969)

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

Chart functioning [edit]

Although CD Universe describes the song equally a country music vocal,[49] it never charted on country music charts. For the week catastrophe May 17, 1969, the song was listed among US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the United states of america Billboard Easy Listening Meridian xl chart at number 30.[55] [56] The following calendar week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-calendar week stay.[58] The vocal and so spent a total of 2 weeks on the Hot 100.[59] For the calendar week catastrophe June 7, the vocal spent a second consecutive calendar week at its peak position of number 19 on the Like shooting fish in a barrel Listening nautical chart.[sixty] The vocal remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Go Once more" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Nautical chart) on June two, 1969.[63] It peaked at number 21 for the week of June xvi, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 chart (with "Here We Get Again", "God Knows I Love You" and "Drummer Homo").[67]

Track list [edit]

  • seven-inch vinyl single [53]
  1. "Hither Nosotros Go Again" – 3:07
  2. "Memories" – 3:40

According to Allmusic the original track was 3:09, simply when it appeared on the 2006 compilation anthology Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a non-exclusive licensing understanding, Reprise (office 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 means, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this runway:[51]

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

The following musicians performed on this album:[49]

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

Norah Jones and Ray Charles duet version [edit]

"Here We Become 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 Pop
Length 3:59
Characterization Concord/Hear Music
Songwriter(south) Don Lanier, Cerise Steagall
Producer(southward) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here Nosotros Get Once again"
(2005) 		"Y'all Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Nigh Yous"
(2006)

In 2004, Charles re-recorded "Here We Go 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 album ...Featuring, which included her "Here We Go Again" duet, she said "I got a call from Ray asking if I'd exist interested in singing on this duets tape. I got on the next plane and I brought my mom. Nosotros went to his studio and did it alive with the band. I sang it correct next to Ray, watching his oral cavity for the phrasing. He was very sweet and put me at ease, which was great because I was petrified walking in there."[72] She noted in 1 ...Featuring interview that the only part that was non done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a vocal from Charles' songbook to perform as 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 once been the regular organist in Charles' ring.[71]

Reception [edit]

Every bit part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the near popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song 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.[lxxx] The vocal was described by the Orlando Scout 's Jim Abbott as a recreation of one of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying office on Hammond B3.[7] As opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to represent his "indomitable spirit", while Jones performed every bit "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organisation".[71] Author Mike Evans wrote that "there'southward a mutual warmth of purpose in every jiff [Charles and Jones] have" 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 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] USA Today 's Steve Jones said the vocal "strikes an piece of cake groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'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 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 Twelvemonth and several from albums that were nominees,[84] the vocal did non stand out. Few of the reviews at Metacritic had substantive 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 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 ii categories at the 47th Grammy Awards.[89] At the Feb xiii, 2005 awards anniversary, the duet earned the award for Record of the Twelvemonth and Best Popular Collaboration with Vocals.[90] It 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 Yr, only not Song of the Yr. Record of the Yr is awarded to the artist(south), producer(south), recording engineer(southward) and/or mixer(southward), if other than creative person for newly recorded material. Song of the Yr is awarded to the songwriter(s) of a new song or a vocal kickoff achieving prominence during the eligibility year.[92] Steagall and Lanier are credited every bit the writers of this song from their work on its original version in 1967.[93] Thus, the song was non a new song.

Chart functioning [edit]

Ray Charles performing

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

For the week catastrophe September xviii, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the US Billboard 200 nautical 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 United states Billboard Hot Digital Tracks Top 50 chart. "Here We Go 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 song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" fell out of the top 50 2 weeks later.[97] Information technology was released every bit a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the Us.

Later on the album earned 8 Grammy Awards and the song won Tape of the Yr, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbles Nether Hot 100 chart at number 5 in the issue dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the United states Billboard Hot Digital Songs elevation 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, but still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] Withal, it ascended to its Bubbling Under Hot 100 nautical chart peak position of number two for the calendar week catastrophe March five, 2005.[102] A compact disc unmarried of the song was released on April nineteen, 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 following week at number 52. It logged six weeks on the chart.[104] "Hither We Become Again" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked one week subsequently at number 51. It lasted x weeks on the top 100 chart.[105]

Rails listing [edit]

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

According to Allmusic, the duet version was between 3:56 and 3:59 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]

Land chart versions [edit]

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

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November six, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but information technology entered the Hot State Songs nautical chart for the calendar week catastrophe October 30, 1982, at 88.[111] The song was one of but 2 mentioned in the October xxx, 1982, Billboard album review and was described as "a solid land number".[112] The vocal peaked at number 65 in the calendar week ending November 27 and remained in the chart for two more weeks, making the total run 7 weeks.[113] [114] The vocal also spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for ii weeks (December four and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither We Become Once again" on his 1967 Ode to Baton Joe instrumental album,[116] as did Dean Martin on his 1970 album My Adult female, My Woman, My Wife.[117] Glen Campbell'due south version appeared on his 1971 album The Concluding Time I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait'southward on his 1992 anthology Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here Nosotros Go Over again album, only she did not include information technology 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's version was 3:07, and it after appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. ii. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only ii:26.[118] Strait'due south version is 2:53 and appears later on his 2004 Greatest Collection at a ii:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:ten.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Red I.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed ii concerts at Lincoln Center'due south Rose Theatre on Feb 9 and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Over again: Celebrating the Genius of Ray Charles was recorded on these two alive dates. The album, which was released on March 29, 2011, included a track entitled "Hither Nosotros Get Again".[132] [133] The vocals on "Here We Get Once more" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:10, 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 "fashion and brio" to this functioning.[134] At i concert functioning, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Popular Matters 'due south Will Layman notes that the album reveals "how decisive and potent Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland besides notes that on the album 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 album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait'southward "virtually hard-core country anthology" upwards to that betoken in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against most 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 mode of singing.[140] The iTunes Shop describes the anthology every bit the result of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 movie Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition boosted soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Will (2010). A Biographical Guide to the Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Audio Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Just It's A Pleasant Listening Experience Just The Aforementioned". 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 Become Once again (Legal Championship)". Broadcast Music Incorporated. Archived from the original on July xix, 2012. Retrieved May viii, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May viii, 2011.
  13. ^ a b Mod Sounds in Country 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 viii, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites You to Mind -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Heed". Retrieved May 8, 2011.
  17. ^ a b c "Here We Get Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-seven.
  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 Land: The Experts' Guide to the All-time State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Due west. C. (2008). Notes from Texas: on writing in the Solitary Star Country. 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 land 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 Go Once more Sheet Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May ix, 2011.
  26. ^ a b "Top sixty Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Go Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Bibliography [edit]

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