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Nick Foles Carson Wenz Injured Again Here We Go Again

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1967 vocal by 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 Go Again" 7-inch single cover fine art
Single past Ray Charles
from the anthology Ray Charles Invites Yous to Heed
B-side "Somebody Ought to Write a Book About 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, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here Nosotros Go Over again"
(1967) 		"In the Heat of the Night"
(1967)

"Here We Go Once again" is a state music standard written by Don Lanier and Blood-red Steagall that first became notable as a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was tape producer by 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 near 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 disquisitional 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 February 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 'south Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did then for seven weeks in 1982.

The song has been covered in a broad multifariousness of musical genres. In total, 5 different versions accept been listed on the music charts. Although its 2 virtually successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here We Become Over again" was outset covered in an instrumental jazz format, and many of the more than recent covers take been sung as duets, such as 1 with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Hither We Become Once more: Celebrating the Genius of Ray Charles. The song lent its proper noun to Red Steagall's 2007 anthology as well. Cover versions have appeared on compilation albums by a number of artists, even some who did not release "Here Nosotros Go Again" every bit a unmarried.

Original version [edit]

In Nov 1959, after twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] Co-ordinate to Volition Friedwald in A Biographical Guide to the Great Jazz and Pop Singers, "His outset four ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and land music. Considering Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was upwardly for its three-year renewal before experimenting with land music, although he wanted to do so sooner. With the assistance 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 land albums Modernistic Sounds in Country and Western Music and its follow-up Modern Sounds in Land and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this point, Charles began to appeal more than to a white audience.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Hither Nosotros Go Again" was recorded during a phase in Charles' career when he was focused on performing state music.[7] Thus, "Here We Become Over again" was a country music vocal released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. However, his works did not bear the Tangerine characterization until 1968.[8] Feller left ABC in 1965,[9] only he returned to accommodate Charles' 1967 album, Ray Charles Invites You lot to Listen.[x] Joe Adams produced and engineered the anthology, which included "Here We Go Once again".[10]

Start released by Charles in 1967, "Here Nosotros Go 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 equally the sixth of ten tracks on Ray Charles Invites You lot to Listen.[14] [15] [16] Starting in 1987, information technology was included in numerous greatest hits and compilation albums.[17] When Modernistic Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus rails.[12] [thirteen] It was also included on the 1988 album Ray Charles Album.[18]

Composition [edit]

Steagall endured polio every bit a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activity helped him regain the utilize of his left arm and hand.[20] When he enrolled at Westward Texas Land University, he formed his starting time country band.[19] Don Lanier formed a group past the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil pharmacist but played weekends at state dances. Afterward he quit his professional function, he formed a ring that became pop in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk 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 Go Again".[21] Steagall's first break came when Charles covered "Here Nosotros Go Over again".[19] Steagall says that the song "came about in a very unusual manner and very quickly".[21] One source even claims that Steagall did not come to Hollywood until subsequently Charles recorded the song.[24]

According to the sheet music published by Dirk Music, "Here We Go Once again" is set in 12/viii time with a slow shuffle tempo of 60-ix beats per infinitesimal. The song is written in the fundamental of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Hither We Go Once more' is a soulful carol in the Southern dejection tradition. Lyrically, it has a resignation and pain that makes the blues, but, what it 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]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You lot to Listen is not readily available, simply "Here Nosotros Get Over again" was the best-charting song on the anthology (and likely 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 bout, Charles' first since 1964, continued to Europe in mid-April where information technology visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played back in the United States at New York City'southward Carnegie Hall earlier returning to California. The tour received bad reviews from publications such every bit Jazz Journal, Jazz Magazine and the New York Post. Later that summertime, the ring played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Multifariousness. The tour also had an extended autumn run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Become Again" every bit "Another excellent case of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a writer 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 US Billboard Hot Rhythm & Blues Singles acme fifty chart on June ten, 1967.[xxx] [31] For the weeks ending July 15, 22 and 29, the vocal spent three weeks at its summit position of number fifteen on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its top position of number five on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 nautical chart, ending a 12-week run.[36] Information technology remained on the Hot Rhythm & Blues Singles chart for 13 weeks ending on September 2.[37] [38] "Hither We Get Again" was Charles' last unmarried to enter the top twenty of the Hot 100.[39] For the yr 1967 the vocal finished at number 80 on the United states of america Billboard Year-Finish Hot 100 chart and 33 on the Yr-Cease Hot Rhythm & Blues Singles chart.[40]

Away, it debuted on the Uk Singles Nautical chart top forty at number 38 on July 8, 1967, which would be its pinnacle.[41] It totalled iii non-sequent weeks on the chart.[42] [43] In the Netherlands, "Here We Go Again" appeared on the singles chart at number 10 on July xv, 1967, and later peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would unremarkably be a by and large extraneous manner for dramatic effect by using a unlike voice than he had e'er previously exhibited. He sang "... not simply using the squeak—using a whole new kind of squeak, in fact—for boosted coloring on the sidelines, but making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • vii-inch unmarried [45]
  1. "Here Nosotros Go Again" – 3:xiv
  2. "Somebody Ought to Write a Volume About It" – iii:02

According to Allmusic, the solo version is listed at lengths between 3:14 and 3:20 on various 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 one 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 Oestrus of the Nighttime" also had a Dunhill credit simply a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Here Nosotros 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 by Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Cherry Steagall
Producer(due south) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Hither We Go Again"
(1969) 		"Drummer Man"
(1969)

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

Chart functioning [edit]

Although CD Universe describes the song as a land music vocal,[49] information technology never charted on country music charts. For the week catastrophe May 17, 1969, the song was listed among U.s.a. Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top 40 nautical chart at number xxx.[55] [56] The following calendar week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a full 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 Easy Listening chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Get Once again" debuted at number 38 on the RPM Developed Gimmicky nautical chart (previously Young Adult Chart) on June two, 1969.[63] Information technology peaked at number 21 for the calendar week of June 16, 1969.[64] The song spent a total of five weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final twelvemonth in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Go Again", "God Knows I Dearest You" and "Drummer Man").[67]

Track listing [edit]

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

According 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 (office of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted means, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The following musicians performed on this anthology:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • 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 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 iii:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here We Go Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sugariness Words"
(2004) 		"Here We Go Once more"
(2004) 		"Thinking Near You"
(2006)

In 2004, Charles re-recorded "Here Nosotros Become Once again" as a duet with American singer-songwriter Norah Jones, who grew upwardly listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Over again" duet, she said "I got a telephone call from Ray request if I'd exist interested in singing on this duets record. I got on the next plane and I brought my mom. Nosotros went to his studio and did information technology 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 there."[72] She noted in one ...Featuring interview that the only part that was non done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the 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 1 provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Visitor, the song proved to be the most popular and critically acclaimed on the album. Although the song had its early detractors,[77] [78] it received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 'due south Jason Warburg described the song equally a "jazzy, slinky pas de deux" in which Charles matches Jones notation for annotation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described by the Orlando Sentinel 'south Jim Abbott as a recreation of one of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky organization".[71] Author Mike Evans wrote that "there'due south a common warmth of purpose in every jiff [Charles and Jones] take" 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'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 brunt equally did many of Charles's 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 rails".[27] Preston's performance was favorably described past The Washington Mail 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song's "countrified ache" represented that function of Charles' career.[83]

When the vocal was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did non stand up out. Few of the reviews at Metacritic had noun comments on the duet when included amongst her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Mag wrote that the duet was a "more staid and less compelling recording" on the album.[86] Notwithstanding, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the track was more but filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in ii categories at the 47th Grammy Awards.[89] At the Feb 13, 2005 awards ceremony, the duet earned the laurels for Record of the Year and Best Popular Collaboration with Vocals.[90] It was the 2d Tape of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 past U2).[91] The song won Record of the Yr, simply not Song of the Yr. Record of the Twelvemonth is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(s), if other than artist for newly recorded fabric. Song of the Yr is awarded to the songwriter(s) of a new song or a vocal first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this vocal from their work on its original version in 1967.[93] Thus, the song was not a new vocal.

Nautical chart operation [edit]

African American performing at a keyboard in concert

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

For the week catastrophe September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd on the The states Billboard 200 chart and condign Charles' highest-charting album in over forty years. Digital singles sales saw 12 of the 13 tracks on the album make the US Billboard Hot Digital Tracks Top 50 chart. "Here We Become Once more" 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 U.s.a. Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Over again" vicious out of the top fifty two weeks afterwards.[97] It was released equally a single for digital download on Jan 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Manufacture Association of America for shipments exceeding 500,000 units in the United states of america.

After the album earned viii Grammy Awards and the song won Record of the Year, sales picked up and the album was re-promoted.[99] "Here Nosotros Become Again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the event dated (for the calendar week ending) Feb 26, 2005.[100] The vocal charted for a week on both the US Billboard Hot Digital Songs top 75 at number 73 and the U.s.a. Billboard Pop 100 at number 74 for the week ending March v, 2005, simply still did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] Still, it ascended to its Bubbling Under Hot 100 chart pinnacle position of number two for the week ending March five, 2005.[102] A compact disc single of the vocal was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Top twoscore nautical chart at number 53 on March half-dozen, 2005, and peaked the following week at number 52. It logged vi weeks on the chart.[104] "Here We Become Once more" entered the French Singles Chart at number 54 on April ii, 2005 and peaked one week later at number 51. It lasted ten weeks on the top 100 nautical chart.[105]

Track list [edit]

  • CD single [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 between 3:56 and 3:59 on various albums.[17]

Credits [edit]

The song was recorded at RPM International Studio (Los Angeles), mixed at Capitol Studios and mastered at the Mastering Lab.[106]

State chart versions [edit]

Johnny Duncan charted a version of the vocal for Columbia Records that missed the Hot 100 chart. It debuted on the Hot Country Songs chart on September thirty, 1972, peaking at number 66 and spending a full 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 iii weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November vi, 1982 (flavour 15, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, but it entered the Hot Country Songs nautical chart for the week catastrophe Oct xxx, 1982, at 88.[111] The vocal was one of only two mentioned in the October 30, 1982, Billboard album 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 chart for two more weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox State Singles Nautical chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (Dec four and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Become Again" on his 1967 Ode to Billy Joe instrumental album,[116] every bit did Dean Martin on his 1970 anthology My Woman, My Adult female, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Concluding Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Property My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Again album, merely she did not include information technology on her 2007 duets album Reba: Duets, which was released four weeks afterward.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this state standard by Nathalie Baret of ABQ Journal.[123] Martin'due south version was iii:07, and information technology later on 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'south version is two:53 and appears later on on his 2004 Greatest Collection at a ii:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is 3:x.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee fabricated a version of the vocal on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single 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, forth with Norah Jones, performed ii concerts at Lincoln Middle'due south Rose Theatre on February 9 and 10, 2009. A 2011 live tribute album past Nelson and Marsalis featuring Jones entitled Here We Become Over again: Celebrating the Genius of Ray Charles was recorded on these two live dates. The album, which was released on March 29, 2011, included a rail entitled "Here We Become Again".[132] [133] The vocals on "Hither We Go Over 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 vocal, which had a length of v:10, was arranged by Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "style and panache" to this performance.[134] At ane concert functioning, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rails is sparse, Pop Matters 's Will Layman notes that the album 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 person mastery of Marsalis' quintet.[136] Tilland likewise notes that on the album Marsalis' band "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait'south 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 (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (groundwork vocals), Curtis Young (background vocals), and Reggie Young (electrical guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'southward Alanna Nash regarded the album as Strait's "near hard-core country album" up to that point in his career.[138] Allmusic staff noted that the anthology held its ain at the time of release confronting most of its competitors and has aged amend than most 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 album equally the outcome of a transition in eras of land music.[141]

The vocal plays during the opening credit dance by 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 film Ray nor the express edition additional soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Dandy Jazz and Popular Singers. Pantheon Books. pp. 78–eighty. 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's A Pleasant Listening Feel Only The Same". Orlando Picket. 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 Go Once more (Legal Title)". Broadcast Music Incorporated. Archived from the original on July nineteen, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Land and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino 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 (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May eight, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Become Once again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Tape 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, Westward. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Printing. pp. 208–ix. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Land Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-seven.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Land Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Peak 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (eighteen): 20. May vi, 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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