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Here We Are Again Norah Johnes

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1967 song past Ray Charles

"Here We Become Once more"
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 single cover art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Cherry-red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Hither Nosotros Go Again"
(1967) 		"In the Heat of the Dark"
(1967)

"Here Nosotros Go Again" is a land music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and dejection single past Ray Charles from his 1967 album Ray Charles Invites You to Listen. Information technology was tape producer by Joe Adams for ABC Records/Tangerine Records. To engagement, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the United states Billboard Hot 100 nautical chart, peaking at number 15.

The most notable comprehend 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. Afterwards Genius Loves Company was released, "Here We Become Again" earned Grammy Awards for Record of the Yr and All-time Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died earlier the album'south release. Another notable version past Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the vocal on Billboard 's Hot Country Songs chart for v weeks in 1972, while Roy Clark did and then for seven weeks in 1982.

The song has been covered in a wide diversity of musical genres. In total, five different versions have been listed on the music charts. Although its 2 well-nigh successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Go Again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such equally 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here We Go Again: Jubilant the Genius of Ray Charles. The vocal lent its name to Red Steagall's 2007 album equally well. Cover versions have appeared on compilation albums past a number of artists, even some who did non release "Here We Go Once more" as a unmarried.

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.[1] According to Will Friedwald in A Biographical Guide to the Swell Jazz and Pop Singers, "His first 4 ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and dejection and country music. Because Charles was signed to ABC as a rhythm and blues singer, he decided to await until his contract was up for its three-year renewal earlier experimenting with country music, although he wanted to practise so 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 state albums Modern Sounds in Land 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 than to a white audience.[four] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Hither We Go Once more" was recorded during a phase in Charles' career when he was focused on performing country music.[seven] Thus, "Here We Go Again" was a country music song released by the Tangerine label ABC-Paramount, only performed in Charles' rhythm and dejection mode. However, his works did not bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] merely he returned to arrange Charles' 1967 album, Ray Charles Invites You lot to Heed.[x] Joe Adams produced and engineered the album, which included "Here We Go Once more".[10]

First released past Charles in 1967, "Here We Go Again" was written past Lanier and Steagall and published past the Dirk Music Company.[xi] Charles recorded it at RPM International Studios, Los Angeles,[12] [thirteen] and the song was listed equally the sixth of 10 tracks on Ray Charles Invites You lot to Listen.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Mod Sounds in Country and Western Music was reissued in 1988, the vocal was added equally a bonus track.[12] [13] It was also included on the 1988 album Ray Charles Anthology.[eighteen]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the apply of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his first land band.[xix] Don Lanier formed a group by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at country dances. Later he quit his professional function, 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 Become Again".[21] Steagall'south beginning break came when Charles covered "Here We Get Again".[nineteen] Steagall says that the vocal "came virtually in a very unusual manner and very chop-chop".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sail music published by Dirk Music, "Here We Become Once more" is fix in 12/8 time with a slow shuffle tempo of 60-nine beats per minute. The vocal is written in the key of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Hither We Become Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and hurting that makes the blues, only, what it is. The recording has a simple and sterling gospel system and, in hindsight, is 1 of Charles' finer 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 available, but "Here We Go 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, continued to Europe in mid-April where it visited the Purple Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played back in the U.s.a. at New York City's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Afterward that summer, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah'south Reno that was praised in Variety. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Hither Nosotros Get Again" as "Some other excellent example of how Ray Charles was able to fuse dejection and country".[28] In a review for the single, a writer for Billboard magazine 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, event and number 48 on the The states Billboard Hot Rhythm & Dejection Singles peak 50 nautical chart on June ten, 1967.[thirty] [31] For the weeks catastrophe July 15, 22 and 29, the song 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 top position of number v on the Hot Rhythm & Blues Singles chart.[34] [35] By Baronial 12, it savage out the Hot 100 chart, ending a 12-week run.[36] Information technology remained on the Hot Rhythm & Blues Singles chart for xiii weeks catastrophe on September two.[37] [38] "Hither We Go Again" was Charles' last unmarried to enter the top twenty of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the US Billboard Year-End Hot 100 chart and 33 on the Year-Terminate Hot Rhythm & Blues Singles nautical chart.[xl]

Abroad, it debuted on the United kingdom of great britain and northern ireland Singles Chart elevation 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-sequent weeks on the nautical chart.[42] [43] In the Netherlands, "Here We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number three.[44]

Co-ordinate to Will Friedwald, this song is an instance of Charles vocalizing in what would ordinarily exist a by and large inapplicable manner for dramatic consequence by using a different voice than he had e'er previously exhibited. He sang "... non but using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, merely making information technology the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

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

According to Allmusic, the solo version is listed at lengths betwixt 3:14 and 3:20 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 one of two songs on the album ("Yesterday" being the other) that in addition to beingness listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a characterization number ABC/TRC 10938.[47] [48] "In the Heat of the Night" also had a Dunhill credit simply a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros Get Over 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 by Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(south) Baton Strange
Nancy Sinatra singles chronology
"God Knows I Love Y'all"
(1968) 		"Here Nosotros Get Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album subsequently catastrophe her account with producer Lee Hazlewood.[49] The comprehend, which co-ordinate to programming guides had an easy listening and country music entreatment,[fifty] was produced past Billy Strange.[51] [52] The B-side to the single, "Memories", was written past Foreign forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the embrace was a "smooth sing-a-long pop style".[52] They too commended Sinatra's singing, calling it a "fine" functioning, noting that information technology would probable 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 song as a land music song,[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 US Billboard Easy Listening Peak 40 nautical chart at number 30.[55] [56] The following week it debuted on the US Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a total of 2 weeks on the Hot 100.[59] For the week ending June 7, the song spent a 2nd sequent week at its pinnacle position of number xix on the Easy Listening chart.[sixty] The song remained on the chart for v 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 Chart) on June ii, 1969.[63] It peaked at number 21 for the week of June sixteen, 1969.[64] The vocal spent a total of five weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the concluding twelvemonth in her career that Sinatra reached the Hot 100 nautical chart (with "Here We Go Again", "God Knows I Love You lot" and "Drummer Human").[67]

Track listing [edit]

  • vii-inch vinyl single [53]
  1. "Here We Get Again" – three:07
  2. "Memories" – 3:40

Co-ordinate to Allmusic the original track was 3:09, but when information technology 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 agreement, 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 ways, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this anthology:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Cerise 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 Become 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 Popular
Length three:59
Label Concur/Hear Music
Songwriter(s) Don Lanier, Carmine Steagall
Producer(southward) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here We Get Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Over again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here Nosotros Go Once more" as a duet with American singer-songwriter Norah Jones, who grew upwards 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 record. I got on the next aeroplane and I brought my mom. Nosotros went to his studio and did it live with the band. I sang it right side by side to Ray, watching his oral fissure for the phrasing. He was very sugariness and put me at ease, which was dandy because I was petrified walking in in that location."[72] She noted in 1 ...Featuring interview that the only part that was non done live was a piano overlay that she added after 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 alternate song verses.[73] On the tape, the ii singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

Every bit office of Charles' Grammy Honor for Album of the Yr-winning Genius Loves Visitor, the song proved to be the most popular and critically acclaimed on the album. Although the vocal had its early detractors,[77] [78] information technology received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the vocal equally 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.[eighty] The song was described by the Orlando Sentinel 'southward Jim Abbott equally a recreation of i of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying role on Hammond B3.[7] As opposed to other tracks on the anthology, when Charles' vocalisation was understated, this vocal was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare only 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 moving picture 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 burden as did many of Charles's duet partners on the album.[82] Usa Today 'south Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston's performance was favorably described by The Washington Mail 'southward 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 Yr and several from albums that were nominees,[84] the song did non 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] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rail 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 February 13, 2005 awards anniversary, the duet earned the award for Tape of the Year and Best Pop Collaboration with Vocals.[90] Information technology was the second Tape of the Year winner not to brand the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The vocal won Record of the Twelvemonth, merely not Vocal of the Year. Record of the Year is awarded to the artist(southward), producer(due south), recording engineer(s) and/or mixer(s), if other than artist for newly recorded fabric. Song of the Twelvemonth is awarded to the songwriter(southward) of a new song or a vocal beginning achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this vocal from their piece of work on its original version in 1967.[93] Thus, the song was non a new song.

Nautical chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than eleven months earlier his 2004 decease

For the week ending September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking 2d on the U.s. Billboard 200 chart and becoming Charles' highest-charting album in over forty years. Digital singles sales saw 12 of the thirteen tracks on the album brand the US Billboard Hot Digital Tracks Top 50 chart. "Hither We Go Once again" was the download sales leader among the anthology'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 Nosotros Go Once again" fell out of the top 50 two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold past the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

After the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked up and the anthology was re-promoted.[99] "Hither We Go Over again" entered the US Billboard Bubbles Nether Hot 100 chart at number five in the consequence dated (for the week ending) February 26, 2005.[100] The song charted for a week on both the United states of america Billboard Hot Digital Songs top 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 nautical chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number two for the week ending March 5, 2005.[102] A compact disc single of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top 40 nautical chart at number 53 on March vi, 2005, and peaked the following week at number 52. It logged vi weeks on the chart.[104] "Here Nosotros Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one calendar week afterwards at number 51. It lasted x weeks on the top 100 chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was betwixt three: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]

Country 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 chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The vocal too spent v weeks on the Cashbox Country Singles Chart, debuting on Oct 7, 1972, and peaking at number 61 iii 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 6, 1982 (flavor 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, only it entered the Hot Country Songs chart for the week ending October 30, 1982, at 88.[111] The song was one of but 2 mentioned in the Oct 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 nautical chart for two more weeks, making the total run vii weeks.[113] [114] The song also spent 7 weeks on the Cashbox Country Singles Chart, debuting on Nov half dozen, 1982, and peaking at number 61 for ii weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 anthology My Woman, My Woman, My Wife.[117] Glen Campbell'southward version appeared on his 1971 anthology The Last Fourth dimension I Saw Her,[118] Boil Arnold's on his 1972 anthology Lonely People,[119] and George Strait'southward on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Get Again album, but she did not include it on her 2007 duets album Reba: Duets, which was released 4 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 iii:07, and it afterwards appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. two. It has appeared on a handful of other Martin compilation albums.[117] Campbell'south version was but 2:26.[118] Strait's version is two:53 and appears later on his 2004 Greatest Drove at a two:55 length.[120] Steagall'south version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:x.[125] R&B and boogie-woogie pianist and vocalist Little Willie Littlefield recorded a version for his 1997 album The Crimson 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 album Aureate 60 minutes 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 Center's Rose Theatre on February nine and 10, 2009. A 2011 alive tribute anthology past 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 Go Again".[132] [133] The vocals on "Hither We Go Again" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:10, was arranged by Andy Farber and performed in a rhythm and dejection 12/8 shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "style and brio" to this performance.[134] At 1 concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this runway is sparse, Popular Matters 'southward Will Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's land 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 Immature (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's "nearly hard-core state anthology" up to that point 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 well-nigh 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 anthology as the consequence of a transition in eras of country music.[141]

The song plays during the opening credit dance past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 moving-picture show Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 flick Ray nor the express 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 Bang-up 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 Anthology From Ray Charles Isn't Stellar, Merely It'southward A Pleasant Listening Experience Just The Same". Orlando Lookout. 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 Nosotros Get Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modernistic Sounds in Land 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 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 v, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May eight, 2011. {{cite web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites Yous to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May eight, 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 Enquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to State: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State 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 Canvas Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Summit 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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Bibliography [edit]

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

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