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Here We Go Again Guy Singing

1967 song past Ray Charles

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

"Here We Get Again" 7-inch unmarried comprehend art
Single past Ray Charles
from the album Ray Charles Invites You to Mind
B-side "Somebody Ought to Write a Book Nearly It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:xviii
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(due south) Joe Adams
Ray Charles singles chronology
"Please Say Yous're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Once again" is a country music standard written by Don Lanier and Red Steagall that starting time became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You lot to Listen. Information technology was record producer past Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the song has been the biggest commercial success, spending twelve sequent weeks on the U.s. Billboard Hot 100 nautical chart, peaking at number 15.

The almost notable cover version is a duet past Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical success. Subsequently Genius Loves Company was released, "Hither We Become Again" earned Grammy Awards for Record of the Year and Best Popular Collaboration at the 47th Grammy Awards in Feb 2005, posthumously for Charles, who died before the album'due south release. Some other notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for v weeks in 1972, while Roy Clark did and then for seven weeks in 1982.

The vocal has been covered in a wide diverseness of musical genres. In full, five different versions take been listed on the music charts. Although its two almost successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Become Again" was outset covered in an instrumental jazz format, and many of the more than recent covers have been sung equally duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here Nosotros Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Cover versions accept appeared on compilation albums past a number of artists, fifty-fifty some who did not release "Here We Get Again" as a single.

Original version [edit]

In November 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[i] According to Volition Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Because Charles was signed to ABC as a rhythm and blues vocalizer, he decided to wait until his contract was up for its iii-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set up of land songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in Country and Western Music and its follow-up Mod Sounds in State and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to entreatment more to a white audience.[iv] In 1962 he founded his own tape label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [six]

"Hither We Get Over again" was recorded during a phase in Charles' career when he was focused on performing country music.[7] Thus, "Here We Go Again" was a country music song released by the Tangerine characterization ABC-Paramount, merely performed in Charles' rhythm and dejection style. However, his works did not bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[ix] but he returned to conform Charles' 1967 anthology, Ray Charles Invites You to Mind.[ten] Joe Adams produced and engineered the anthology, which included "Here We Get Once more".[10]

First released past Charles in 1967, "Here We Become Again" was written by Lanier and Steagall and published by the Dirk Music Company.[eleven] 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 Yous to Listen.[fourteen] [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 runway.[12] [thirteen] It was as well included on the 1988 album Ray Charles Album.[18]

Composition [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[xix] This activeness helped him regain the use of his left arm and mitt.[20] When he enrolled at West Texas State University, he formed his first country ring.[19] Don Lanier formed a grouping by the 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. After he quit his professional role, he formed a band that became pop 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, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here Nosotros Go Once again".[21] Steagall's kickoff interruption came when Charles covered "Here We Go Again".[19] Steagall says that the song "came nigh 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]

According to the sail music published past Dirk Music, "Hither Nosotros Go Once more" is prepare in 12/eight time with a slow shuffle tempo of lx-nine beats per infinitesimal. The song 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, "'Here Nosotros Go Again' is a soulful ballad in the Southern blues tradition. Lyrically, information technology has a resignation and pain that makes the blues, simply, what information technology is. The recording has a simple and sterling gospel arrangement and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily available, merely "Here Nosotros Go Once again" was the best-charting song on the album (and probable on the playlist). Charles' tour began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, every bit well as Vienna. In May, the band played dorsum in the United States at New York Metropolis'southward Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Postal service. Subsequently that summer, 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 Variety. The bout also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Again" as "Another excellent example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a author for Billboard magazine 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, issue and number 48 on the United states Billboard Hot Rhythm & Dejection Singles top 50 nautical chart on June 10, 1967.[30] [31] For the weeks ending July xv, 22 and 29, the song spent iii weeks at its peak position of number xv on the Hot 100 nautical chart.[32] [33] Information technology spent July 22 and 29 at its peak position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] Past August 12, it savage out the Hot 100 chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Hither Nosotros Go Again" was Charles' last single to enter the top twenty of the Hot 100.[39] For the yr 1967 the vocal finished at number 80 on the US Billboard Twelvemonth-End Hot 100 chart and 33 on the Yr-Stop Hot Rhythm & Dejection Singles chart.[40]

Abroad, it debuted on the UK Singles Chart top twoscore at number 38 on July eight, 1967, which would be its elevation.[41] It totalled three non-consecutive weeks on the chart.[42] [43] In the netherlands, "Here Nosotros Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number three.[44]

Co-ordinate to Volition Friedwald, this song is an example of Charles vocalizing in what would ordinarily exist a mostly extraneous fashion for dramatic effect by using a different voice 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 it the heart of the thing, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track listing [edit]

  • seven-inch single [45]
  1. "Here We Go Over again" – 3:fourteen
  2. "Somebody Ought to Write a Book Nearly It" – iii:02

Co-ordinate to Allmusic, the solo version is listed at lengths betwixt 3:14 and 3:twenty on various albums.[17]

Credits [edit]

Charles is credited as vocaliser and pianist with unknown accompaniment. Feller is credited for having bundled and conducted the recording. This is ane of two 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 Nighttime" also had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here We Go Once again"
Black and white cover art photo of Nancy Sinatra on one elbow in a white dress. The border is purple as is some of the captioning. Caption says Nancy Sinatra in black. Side captions detail the record label and the song name in purple. The bottom caption has the B-side song name, "Memories".
Single past Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy 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 anthology later on catastrophe her business organisation relationship with producer Lee Hazlewood.[49] The comprehend, which co-ordinate to programming guides had an easy listening and country music entreatment,[50] was produced by Baton Strange.[51] [52] The B-side to the single, "Memories", was written by Foreign forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the comprehend was a "shine sing-a-long pop mode".[52] They also commended Sinatra's singing, calling it a "fine" performance, noting that information technology would likely render her to the Billboard charts.[52] Sinatra's version was later remastered and reissued in 1996.[54]

Nautical chart performance [edit]

Although CD Universe describes the vocal equally a country music vocal,[49] information technology never charted on country music charts. For the week ending May 17, 1969, the song was listed amid The states Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the United states Billboard Easy Listening Summit 40 chart at number 30.[55] [56] The post-obit week it debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The vocal so spent a total of two weeks on the Hot 100.[59] For the week ending June seven, the song spent a second consecutive week at its peak position of number 19 on the Like shooting fish in a barrel Listening nautical chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Become Again" debuted at number 38 on the RPM Adult Contemporary nautical chart (previously Immature Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the calendar week of June 16, 1969.[64] The vocal spent a full of five weeks on the nautical chart.[65] [66] According to Allmusic databases, 1969 was the last year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Once again", "God Knows I Beloved You" and "Drummer Man").[67]

Rails listing [edit]

  • 7-inch vinyl single [53]
  1. "Hither Nosotros Get Again" – 3:07
  2. "Memories" – 3:forty

Co-ordinate to Allmusic the original track was 3:09, 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.[seventy]

Credits [edit]

The following musicians performed on this rails:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Cherry-red 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 Jan 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length iii:59
Label Agree/Hear Music
Songwriter(s) Don Lanier, Blood-red Steagall
Producer(due south) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Become Once more"
(2005) 		"You lot Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sugariness Words"
(2004) 		"Here Nosotros Go Over again"
(2004) 		"Thinking Nearly You"
(2006)

In 2004, Charles re-recorded "Here We Go Again" every bit 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 Nosotros Become Once again" duet, she said "I got a telephone call from Ray asking if I'd be interested in singing on this duets record. I got on the next aeroplane and I brought my mom. We went to his studio and did it alive with the ring. I sang information technology right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was neat considering I was petrified walking in there."[72] She noted in one ...Featuring interview that the only role that was not washed live was a piano 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 every bit a duet and felt that this ane provided the best opportunity to harmonize rather than alternating song verses.[73] On the tape, the two singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at 1 time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Visitor, the vocal proved to exist the well-nigh popular and critically acclaimed on the anthology. Although the vocal had its early on 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 song every bit a "jazzy, slinky pas de deux" in which Charles matches Jones notation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described past the Orlando Sentinel 'due south Jim Abbott every bit 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'due south accompanying role on Hammond B3.[seven] Equally opposed to other tracks on the album, when Charles' voice was understated, this song was said to stand for his "indomitable spirit", while Jones performed equally "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare just funky arrangement".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every breath [Charles and Jones] have" on the song.[75] Music Calendar week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal 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'due south duet partners on the album.[82] USA Today 's Steve Jones said the song "strikes an easy groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this beautiful opening track".[27] Preston'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 office 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 song 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] Nevertheless, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than 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 xiii, 2005 awards ceremony, the duet earned the award for Record of the Yr and Best Pop Collaboration with Vocals.[xc] It was the second Record of the Yr winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, simply not Song of the Yr. Tape of the Year is awarded to the artist(south), producer(s), recording engineer(s) and/or mixer(s), if other than creative person for newly recorded material. Vocal of the Year is awarded to the songwriter(southward) of a new song or a vocal first achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 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 13 tracks on the album brand the US Billboard Hot Digital Tracks Elevation l chart. "Hither We Go Over again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the Usa Billboard Hot Digital Tracks chart at number 26.[96] "Here We Go Again" roughshod out of the meridian 50 2 weeks later.[97] It was released as a unmarried for digital download on Jan 31, 2005.[98] On May 22, 2019, the vocal was certified gold past the Recording Manufacture Clan of America for shipments exceeding 500,000 units in the U.s.a..

After the album earned viii Grammy Awards and the vocal won Tape of the Yr, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the outcome dated (for the week catastrophe) February 26, 2005.[100] The song charted for a week on both the U.s. Billboard Hot Digital Songs top 75 at number 73 and the United states Billboard Pop 100 at number 74 for the week catastrophe March 5, 2005, simply still did non make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, information technology ascended to its Bubbles Nether Hot 100 nautical chart peak position of number 2 for the week ending March v, 2005.[102] A compact disc unmarried of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Peak forty chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. It logged six weeks on the nautical chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked 1 week later at number 51. Information technology lasted ten weeks on the top 100 chart.[105]

Runway listing [edit]

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

According to Allmusic, the duet version was betwixt 3:56 and 3:59 on 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 song 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 full of five weeks on the chart.[107] The vocal likewise spent five weeks on the Cashbox Country 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 6, 1982 (flavor 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but information technology entered the Hot Country Songs nautical chart for the calendar week catastrophe October 30, 1982, at 88.[111] The song was ane of but two 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 Nov 27 and remained in the nautical chart for ii more weeks, making the total run 7 weeks.[113] [114] The vocal also spent seven weeks on the Cashbox Country Singles Nautical chart, debuting on November 6, 1982, and peaking at number 61 for ii weeks (Dec 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 Adult female, My Married woman.[117] Glen Campbell's version appeared on his 1971 anthology The Last Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 anthology Lone People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Over again album, merely she did not include it on her 2007 duets album Reba: Duets, which was released four weeks afterwards.[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 information technology later appeared on compilation albums, starting with the 1996 Dean Martin Gilt, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is 2:53 and appears afterwards on his 2004 Greatest Collection at a ii:55 length.[120] Steagall'southward version with McEntire (who Steagall discovered at a 1974 canton off-white)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Trivial Willie Littlefield recorded a version for his 1997 album The Carmine One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade anthology.[128] Joe Dolan produced a 1972 unmarried of the 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, forth with Norah Jones, performed two concerts at Lincoln Heart's Rose Theatre on February ix and 10, 2009. A 2011 live tribute anthology by Nelson and Marsalis featuring Jones entitled Here We Go Again: Jubilant the Genius of Ray Charles was recorded on these 2 live dates. The album, which was released on March 29, 2011, included a track entitled "Hither We Go Again".[132] [133] The vocals on "Here We Go Once 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:x, 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 "fashion and panache" 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 track is sparse, Pop Matters 's Will Layman notes that the album reveals "how decisive and stiff Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait's state 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 (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Young (electrical guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the anthology equally Strait'due south "most hard-core country album" 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 anile better than nigh state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the about straightforward fashion of singing.[140] The iTunes Store describes the album equally the consequence of a transition in eras of state music.[141]

The song plays during the opening credit trip the light fantastic past Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 motion picture Gods of the Plague.[142] [143] Nonetheless, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack anthology 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 Keen 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 Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, Just It's A Pleasant Listening Experience Merely The Same". Orlando Spotter. Tribune Visitor. 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 Go Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modernistic 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 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites You lot to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May viii, 2011.
  17. ^ a b c "Here Nosotros Get Over again". Allmusic. Rovi Corporation. Retrieved May eight, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). 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 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 Lone Star State. Texas Christian Academy 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-vii.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Over again Sheet Music". Musicnotes.com. Dirk Music. February fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): twenty. May 6, 1967. ISSN 0006-2510. Retrieved May viii, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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Bibliography [edit]

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Here We Go Again Guy Singing

Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29