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Here We Go Again I Kinda Wanna Be More

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1967 song by Ray Charles

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

"Here We Go Again" seven-inch single encompass art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book Nigh It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:eighteen
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Get Over again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Become Again" is a country music standard written by Don Lanier and Red Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You lot 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 US Billboard Hot 100 chart, peaking at number fifteen.

The most notable cover version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest disquisitional success. Later on Genius Loves Company was released, "Here We Go Over 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 before the anthology'due south release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did so for seven weeks in 1982.

The song has been covered in a broad variety of musical genres. In full, five dissimilar versions have been listed on the music charts. Although its two nigh successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Go Again" was beginning 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 Go Again: Celebrating the Genius of Ray Charles. The song lent its proper noun to Ruddy Steagall's 2007 anthology every bit well. Cover versions have appeared on compilation albums by a number of artists, even some who did non release "Hither We Get Once again" every bit a unmarried.

Original version [edit]

In November 1959, later twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Nifty Jazz and Pop Singers, "His first four ABC albums were all primarily devoted to standards..."[ii] 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 singer, he decided to wait until his contract was upward for its three-twelvemonth renewal before experimenting with country music, although he wanted to practice so sooner. With the assist of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in State and Western Music and its follow-upward Mod Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this signal, Charles began to appeal more to a white audition.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here Nosotros Become 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 vocal released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and dejection style. All the same, his works did not bear the Tangerine label until 1968.[8] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[ten] Joe Adams produced and engineered the album, which included "Here We Become Again".[10]

Outset released past Charles in 1967, "Here We Become 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 song was listed as the sixth of ten tracks on Ray Charles Invites Yous to Listen.[14] [15] [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 equally a bonus track.[12] [xiii] It was also included on the 1988 anthology Ray Charles Anthology.[eighteen]

Limerick [edit]

Steagall endured polio as a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the apply of his left arm and hand.[20] When he enrolled at West Texas State University, he formed his first land band.[19] Don Lanier formed a group by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist simply played weekends at country dances. After he quit his professional role, he formed a ring 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 Once more".[21] Steagall'southward get-go break came when Charles covered "Here We Become Once again".[19] Steagall says that the vocal "came about in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither We Go Again" is set in 12/8 time with a slow shuffle tempo of sixty-9 beats per minute. The vocal is written in the central of B ♭ major.[25] It is primarily a country vocal,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Hither Nosotros Get Over again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and hurting that makes the dejection, simply, what information technology 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]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is non readily available, but "Hither We Go Again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, besides as Vienna. In May, the band played dorsum in the United States at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Post. Afterward that summer, the band 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 Diversity. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Get Once more" equally "Another splendid 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 easily 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 U.s.a. Billboard Hot Rhythm & Blues Singles peak fifty chart on June 10, 1967.[30] [31] For the weeks ending July fifteen, 22 and 29, the song spent iii weeks at its tiptop position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its acme position of number v on the Hot Rhythm & Dejection Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for xiii weeks ending on September 2.[37] [38] "Hither We Go Once more" was Charles' last unmarried to enter the peak twenty of the Hot 100.[39] For the year 1967 the song finished at number lxxx on the US Billboard Twelvemonth-Terminate Hot 100 nautical chart and 33 on the Year-Finish Hot Rhythm & Blues Singles chart.[40]

Abroad, it debuted on the UK Singles Chart top 40 at number 38 on July viii, 1967, which would be its peak.[41] Information technology totalled 3 not-sequent weeks on the chart.[42] [43] In holland, "Here We Go Again" appeared on the singles nautical chart at number 10 on July xv, 1967, and later peaked at number 3.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a more often than not extraneous style for dramatic effect by using a different voice 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 centre of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Track listing [edit]

  • seven-inch single [45]
  1. "Hither We Go Once more" – three:14
  2. "Somebody Ought to Write a Book About It" – 3:02

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

Credits [edit]

Charles is credited equally vocalist and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is 1 of two songs on the album ("Yesterday" being the other) that in addition to existence listed every bit ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private song had a label number ABC/TRC 10938.[47] [48] "In the Heat of the Night" also had a Dunhill credit but a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros Become Once more"
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 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love Yous"
(1968) 		"Here We Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a embrace of the song for her 1969 album Nancy, which was her beginning anthology later on catastrophe her business relationship with producer Lee Hazlewood.[49] The comprehend, which according to programming guides had an easy listening and country music appeal,[fifty] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the embrace was a "shine sing-a-long pop style".[52] They also commended Sinatra's singing, calling it a "fine" functioning, noting that it would likely return her to the Billboard charts.[52] Sinatra'south version was later remastered and reissued in 1996.[54]

Chart operation [edit]

Although CD Universe describes the song as a state music song,[49] it never charted on land music charts. For the calendar week ending May 17, 1969, the song was listed amongst United states Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the The states Billboard Like shooting fish in a barrel Listening Top 40 chart at number 30.[55] [56] The following week information technology debuted on the Us Billboard Hot 100 nautical chart at number 98,[57] its apex for its 2-week stay.[58] The song then spent a total of two weeks on the Hot 100.[59] For the calendar week ending June 7, the song spent a 2d sequent week at its peak position of number 19 on the Piece of cake Listening nautical chart.[60] The song remained on the chart for five weeks until June fourteen, 1969.[61] [62] In Canada "Hither We Go Over again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Immature Adult Nautical chart) on June ii, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The vocal spent a total of 5 weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Hither We Go Again", "God Knows I Love You lot" and "Drummer Man").[67]

Track listing [edit]

  • 7-inch vinyl single [53]
  1. "Hither We Go Again" – 3:07
  2. "Memories" – iii:twoscore

According to Allmusic the original track was 3:09, merely 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 non-exclusive licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The post-obit musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • Ruddy Rhodes (steel guitar)
  • Sid Precipitous (violin, strings)
  • Jim Horn (flute)
  • Roy Caton (trumpet)
  • Don Randi (pianoforte)
  • Jerry Scheff (bass guitar)
  • Carol Kaye (bass guitar)
  • Hal Blaine (drums)

Norah Jones and Ray Charles duet version [edit]

"Hither Nosotros Go Once more"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Carmine Steagall
Producer(south) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here Nosotros Become Over again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Get Once again"
(2004) 		"Thinking Almost You"
(2006)

In 2004, Charles re-recorded "Hither We Go Over again" as a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here Nosotros Go Again" duet, she said "I got a phone call from Ray request if I'd be interested in singing on this duets record. I got on the side by side plane and I brought my mom. Nosotros went to his studio and did it live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was smashing because I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the but part that was non washed live was a pianoforte overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at ane time been the regular organist in Charles' band.[71]

Reception [edit]

As function of Charles' Grammy Honor for Anthology of the Year-winning Genius Loves Company, the song proved to be the most popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] information technology received generally favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the vocal 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.[80] The song was described past the Orlando Sentinel 's Jim Abbott as a recreation of i of the gems from Charles' state music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying part on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vox was understated, this song was said to correspond his "indomitable spirit", while Jones performed every bit "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'south a common warmth of purpose in every breath [Charles and Jones] take" on the vocal.[75] Music Week staff noted the timeliness of the release with the biographical motion picture Ray in theaters and described the song equally soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

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

When the vocal was included on Jones' ...Featuring, which included iii 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] Still, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rails was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the vocal was nominated in 2 categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the award for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the second Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, but non Song of the Year. Record of the Year is awarded to the artist(south), producer(s), recording engineer(southward) and/or mixer(s), if other than artist for newly recorded fabric. Song of the Year is awarded to the songwriter(southward) of a new vocal or a song first achieving prominence during the eligibility yr.[92] Steagall and Lanier are credited every bit the writers of this vocal from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart functioning [edit]

African American performing at a keyboard in concert

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

For the calendar week catastrophe September eighteen, 2004, Genius Loves Company sold 202,000 copies, ranking second on the The states Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the thirteen tracks on the album brand the United states Billboard Hot Digital Tracks Top 50 chart. "Hither Nosotros Become 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 Us Billboard Hot Digital Tracks chart at number 26.[96] "Hither We Go Once more" roughshod out of the top fifty two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Association of America for shipments exceeding 500,000 units in the Usa.

Afterwards the album earned eight Grammy Awards and the song won Record of the Year, sales picked upwards and the album was re-promoted.[99] "Here We Become Once again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the upshot dated (for the week ending) February 26, 2005.[100] The song charted for a calendar week on both the Us Billboard Hot Digital Songs height 75 at number 73 and the United states Billboard Pop 100 at number 74 for the week ending March five, 2005, but still did non make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 nautical chart top position of number ii for the week ending March 5, 2005.[102] A compact disc unmarried of the vocal was released on Apr nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Elevation 40 chart at number 53 on March half-dozen, 2005, and peaked the following week at number 52. Information technology logged six weeks on the chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April two, 2005 and peaked one week later at number 51. It lasted 10 weeks on the superlative 100 chart.[105]

Track list [edit]

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

According to Allmusic, the duet version was betwixt 3:56 and 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. Information technology debuted on the Hot State Songs nautical chart on September 30, 1972, peaking at number 66 and spending a full of five weeks on the chart.[107] The song also spent 5 weeks on the Cashbox Land Singles Nautical 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 Nov 6, 1982 (season 15, episode ix), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, simply information technology entered the Hot Country Songs chart for the week ending October 30, 1982, at 88.[111] The song was one of simply ii mentioned in the October 30, 1982, Billboard album review and was described every bit "a solid country number".[112] The song peaked at number 65 in the calendar week ending Nov 27 and remained in the chart for two more weeks, making the full 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 four and eleven).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Become Again" on his 1967 Ode to Billy Joe instrumental album,[116] equally did Dean Martin on his 1970 anthology My Adult female, My Woman, My Married woman.[117] Glen Campbell's version appeared on his 1971 album The Last Time I Saw Her,[118] Boil Arnold's on his 1972 album Lone People,[119] and George Strait's on his 1992 album Belongings My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Become Over again album, but she did not include it on her 2007 duets anthology 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 iii:07, and information technology afterwards appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was but 2:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is 3:ten.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 anthology The Crimson Ane.[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 anthology Gilded Hr Of Joe Dolan Vol. ii 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 Feb 9 and ten, 2009. A 2011 alive tribute album by Nelson and Marsalis featuring Jones entitled Hither We Go Once more: Jubilant the Genius of Ray Charles was recorded on these two live dates. The anthology, which was released on March 29, 2011, included a track entitled "Here We Become Over again".[132] [133] The vocals on "Here We Go Again" were performed by Jones and Nelson, while instrumental back up was provided by Marsalis (trumpet), Dan Nimmer (pianoforte), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The vocal, which had a length of v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "way and panache" to this performance.[134] At ane concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is thin, Pop Matters 'south Will Layman notes that the album reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland likewise 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 back up 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 Young (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait'due south "most hard-cadre country album" upwards to that point in his career.[138] Allmusic staff noted that the album held its ain at the time of release confronting most of its competitors and has anile ameliorate 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 result 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 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 movie Ray nor the express edition boosted soundtrack album More than Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Groovy 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, But It'southward A Pleasant Listening Experience But The Same". Orlando Spotter. 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 Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Modernistic Sounds in State and Western Music". Discogs. Retrieved May viii, 2011.
  13. ^ a b Modern Sounds in State and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhinoceros Amusement 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 five, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Mind -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Once more". Allmusic. Rovi Corporation. Retrieved May viii, 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 Lexicon. 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 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 Academy Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of State Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. February xiv, 2005. Retrieved May 9, 2011.
  26. ^ a b "Peak threescore Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (eighteen): 20. May six, 1967. ISSN 0006-2510. Retrieved May 8, 2011.
  27. ^ a b Jagernauth, Kevin (Baronial 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_(Ray_Charles_song)

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