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1967 song past Ray Charles

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

"Here We Get Once again" 7-inch unmarried cover art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Volume Most It"
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
"Delight Say You're Fooling"
(1966) 		"Hither We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Get Again" is a country music standard written past Don Lanier and Red Steagall that first became notable equally a rhythm and blues single past Ray Charles from his 1967 album Ray Charles Invites You to Mind. It was tape producer past Joe Adams for ABC Records/Tangerine Records. To date, this version of the vocal has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number fifteen.

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

The song has been covered in a broad variety of musical genres. In total, five different versions take been listed on the music charts. Although its two near successful versions accept been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Go Again" was first covered in an instrumental jazz format, and many of the more recent covers take 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 anthology Hither We Get Over again: Celebrating the Genius of Ray Charles. The song lent its name to Cherry Steagall's 2007 album also. Cover versions have appeared on compilation albums by a number of artists, even some who did non release "Hither Nosotros Go Again" equally a unmarried.

Original version [edit]

In November 1959, after twelve years equally a professional musician, Ray Charles signed with ABC Records, post-obit the expiration of his Atlantic Records contract.[one] Co-ordinate to Will Friedwald in A Biographical Guide to the Bang-up Jazz and Pop Singers, "His first 4 ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC as a rhythm and blues vocalist, he decided to wait until his contract was up for its three-year renewal before experimenting with land music, although he wanted to do so sooner. With the aid of ABC executive Sid Feller, he gathered a prepare of country songs to tape, despite the wishes of ABC.[3] The release of his 1962 country albums Mod Sounds in Country and Western Music and its follow-up Modern Sounds in State and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this point, Charles began to entreatment more than to a white audience.[four] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [half-dozen]

"Here We Get Again" was recorded during a phase in Charles' career when he was focused on performing country music.[seven] Thus, "Here We Go Over again" was a country music vocal released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues way. Even so, his works did non bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[nine] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Heed.[10] Joe Adams produced and engineered the album, which included "Here We Go Again".[ten]

First released by Charles in 1967, "Here Nosotros Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[xi] Charles recorded it at RPM International Studios, Los Angeles,[12] [thirteen] and the song was listed as the sixth of 10 tracks on Ray Charles Invites You to Listen.[xiv] [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 song was added equally a bonus track.[12] [thirteen] It was besides included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[nineteen] This activity helped him regain the utilize of his left arm and hand.[20] When he enrolled at West Texas Country Academy, he formed his first state band.[xix] Don Lanier formed a grouping past 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 land dances. Later he quit his professional role, he formed a ring that became popular in the Rocky Mount 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 "Hither We Become Over again".[21] Steagall's offset pause came when Charles covered "Here We Go Again".[19] Steagall says that the vocal "came almost in a very unusual style and very quickly".[21] Ane source even claims that Steagall did non come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Here We Get Over again" is prepare in 12/8 time with a slow shuffle tempo of sixty-nine beats per minute. The vocal is written in the key of B ♭ major.[25] It is primarily a land vocal,[26] simply contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Once again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what information technology is. The recording has a simple and sterling gospel organization and, in retrospect, is one of Charles' finer attempts in the studio from the 1960s."[28]

Performance history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites Y'all to Heed is non readily available, but "Hither We Go Again" was the all-time-charting vocal 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 tour, Charles' first since 1964, continued to Europe in mid-April where it visited the Purple Festival Hall, London and Salle Pleyel, Paris, as well equally Vienna. In May, the band played dorsum in the United states of america at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such every bit Jazz Journal, Jazz Mag and the New York Post. Later that summertime, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his kickoff lucrative Nevada casino performances, which started with a iii-week run at Harrah's Reno that was praised in Diversity. The tour as well had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Become Again" as "Another splendid 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 twenty, 1967, issue and number 48 on the The states Billboard Hot Rhythm & Blues Singles tiptop 50 chart on June 10, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its acme position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its elevation position of number five on the Hot Rhythm & Blues Singles chart.[34] [35] Past August 12, it barbarous out the Hot 100 chart, catastrophe a 12-week run.[36] Information technology remained on the Hot Rhythm & Dejection Singles nautical chart for 13 weeks ending on September two.[37] [38] "Hither We Go Once more" was Charles' last unmarried to enter the top xx of the Hot 100.[39] For the year 1967 the song finished at number 80 on the The states Billboard Year-Finish Hot 100 chart and 33 on the Twelvemonth-Stop Hot Rhythm & Dejection Singles chart.[xl]

Abroad, it debuted on the UK Singles Chart top 40 at number 38 on July 8, 1967, which would exist its peak.[41] It totalled three non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number iii.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily exist a generally extraneous way for dramatic effect by using a different voice than he had ever previously exhibited. He sang "... non simply using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, simply making it the centre of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track list [edit]

  • 7-inch single [45]
  1. "Here Nosotros Go Over again" – 3:fourteen
  2. "Somebody Ought to Write a Book About It" – 3:02

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

Credits [edit]

Charles is credited as vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is one of 2 songs on the album ("Yesterday" being the other) that in add-on to being listed equally ABC-Par ABC595 is credited every bit Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the Rut of the Dark" also had a Dunhill credit but a different number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a cover of the song for her 1969 anthology Nancy, which was her first anthology after ending her business relationship with producer Lee Hazlewood.[49] The encompass, which according to programming guides had an easy listening and country music entreatment,[50] was produced by Billy Foreign.[51] [52] The B-side to the single, "Memories", was written past Foreign along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long popular style".[52] They also commended Sinatra's singing, calling information technology a "fine" performance, noting that it would likely return 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 country music song,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among US Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the U.s.a. Billboard Easy Listening Top twoscore nautical chart at number 30.[55] [56] The following week it debuted on the U.s. Billboard Hot 100 nautical chart at number 98,[57] its apex for its 2-week stay.[58] The song and then spent a full of two weeks on the Hot 100.[59] For the week ending June 7, the song spent a second consecutive week at its peak position of number xix on the Easy Listening chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Become Over again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Immature Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 chart (with "Here We Go Again", "God Knows I Honey You lot" and "Drummer Man").[67]

Track listing [edit]

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

According to Allmusic the original track was iii:09, simply when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was three: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.[lxx]

Credits [edit]

The following musicians performed on this track:[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)
  • Ruddy 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 Nosotros Go Again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Hither Nosotros Go Again"
(2005) 		"You lot Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Go Again"
(2004) 		"Thinking Almost You lot"
(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 Get Again" duet, she said "I got a call from Ray request if I'd be interested in singing on this duets record. I got on the next plane and I brought my mom. We went to his studio and did it alive with the ring. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweetness and put me at ease, which was great because I was petrified walking in there."[72] She noted in one ...Featuring interview that the simply part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the aforementioned interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform every bit 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 in one case been the regular organist in Charles' ring.[71]

Reception [edit]

As office of Charles' Grammy Award for Album of the Year-winning Genius Loves Visitor, the vocal proved to be the virtually popular and critically acclaimed on the album. Although the song 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 song 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" functioning.[80] The vocal was described by the Orlando Scout 's Jim Abbott equally a recreation of one of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[vii] Equally opposed to other tracks on the album, when Charles' voice was understated, this vocal was said to stand for his "indomitable spirit", while Jones performed every bit "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky system".[71] Writer Mike Evans wrote that "there's a mutual warmth of purpose in every jiff [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical motion-picture show Ray in theaters and described the song every bit soulful, that finely combines Charles' "deep, honeyed growl with Jones'south 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'southward duet partners on the anthology.[82] Us 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's performance was favorably described by The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'southward "countrified ache" represented that office of Charles' career.[83]

When the vocal was included on Jones' ...Featuring, which included iii of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more staid and less compelling recording" on the album.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more than just filler.[87] [88]

Awards and nominations [edit]

In Dec 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards anniversary, the duet earned the award for Record of the Year and All-time Pop Collaboration with Vocals.[90] Information technology was the second Record of the Year winner non to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The song won Record of the Year, but not Song of the Yr. Record of the Year is awarded to the artist(due south), producer(southward), recording engineer(due south) and/or mixer(s), if other than artist for newly recorded material. Vocal of the Year is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility year.[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 before his 2004 death

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the United states Billboard 200 chart and becoming Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the anthology brand the United states of america Billboard Hot Digital Tracks Top 50 chart. "Here We Go Over again" was the download sales leader among the album'due south songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the The states Billboard Hot Digital Tracks chart at number 26.[96] "Here We Get Once more" barbarous out of the peak 50 ii weeks afterwards.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold by the Recording Manufacture Association of America for shipments exceeding 500,000 units in the United States.

After 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 Nosotros Go Again" entered the US Billboard Bubbles Under Hot 100 chart at number v in the issue dated (for the week catastrophe) February 26, 2005.[100] The song charted for a week on both the United states of america Billboard Hot Digital Songs peak 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March five, 2005, merely withal did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] Nonetheless, it ascended to its Bubbling Under Hot 100 nautical chart elevation position of number two for the week ending March 5, 2005.[102] A compact disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Acme 40 chart at number 53 on March 6, 2005, and peaked the following 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 April 2, 2005 and peaked ane calendar week later at number 51. It lasted 10 weeks on the summit 100 chart.[105]

Runway listing [edit]

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

Co-ordinate to Allmusic, the duet version was between iii: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]

State 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 nautical chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song also spent five weeks on the Cashbox State Singles Chart, debuting on October vii, 1972, and peaking at number 61 3 weeks after.[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 half-dozen, 1982 (season 15, episode nine), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, only it entered the Hot Country Songs chart for the week catastrophe October 30, 1982, at 88.[111] The song was one of just 2 mentioned in the Oct thirty, 1982, Billboard anthology review and was described as "a solid land number".[112] The song peaked at number 65 in the week ending November 27 and remained in the nautical chart for two more than weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Country Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (December 4 and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither Nosotros Go Over again" on his 1967 Ode to Billy Joe instrumental anthology,[116] every bit did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Terminal Time I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait'south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Again album, only she did not include it on her 2007 duets album Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Journal.[123] Martin's version was iii:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell'due south version was only 2:26.[118] Strait's version is two:53 and appears later on his 2004 Greatest Drove at a 2:55 length.[120] Steagall's 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 Footling Willie Littlefield recorded a version for his 1997 album The Red Ane.[126] [127] Peters and Lee made a version of the vocal on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the song[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February ix and 10, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: Celebrating the Genius of Ray Charles was recorded on these 2 alive dates. The album, which was released on March 29, 2011, included a runway 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 (pianoforte), 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 past Andy Farber and performed in a rhythm and dejection 12/8 shuffle.[93] BBC music reviewer Beak 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 track is sparse, Pop Matters 's Will Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz grouping" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' band "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait's country music version was performed with the instrumental support of Joe Chemay (bass guitar), Floyd Domino (pianoforte), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Immature (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'south Alanna Nash regarded the anthology as Strait'due south "near difficult-core country anthology" up to that point in his career.[138] Allmusic staff noted that the anthology held its ain at the fourth dimension of release against well-nigh of its competitors and has aged better than most land music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the about straightforward style of singing.[140] The iTunes Store describes the album as the result of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'southward 1970 motion-picture show Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition boosted soundtrack album More 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 Cracking 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–xvi.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience But The Aforementioned". Orlando Lookout. Tribune Company. Retrieved May thirteen, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Become Once again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Meaty disc liner). Ray Charles. Los Angeles, California: Rhinoceros 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 5, 2004). "Tangerine Album Discography". Both Sides At present Publications. Retrieved May 8, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Mind -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May eight, 2011.
  17. ^ a b c "Here Nosotros Become Again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-7.
  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 Best State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, W. C. (2008). Notes from Texas: on writing in the Lone Star Land. Texas Christian University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business organization Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May eight, 2011.
  27. ^ a b Jagernauth, Kevin (August 31, 2004). "Ray Charles". PopMatters. PopMatters Media, Inc. Retrieved May 12, 2011.
  28. ^ a b "Here We Become Once again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Bibliography [edit]

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