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Beranda / Who Said Here We Are Together Again for the First Time.

Who Said Here We Are Together Again for the First Time.

1967 vocal by Ray Charles

"Hither Nosotros 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 Become Once more" 7-inch single cover art
Unmarried by Ray Charles
from the album Ray Charles Invites Yous to Mind
B-side "Somebody Ought to Write a Book About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Characterization 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 Again"
(1967) 		"In the Heat of the Dark"
(1967)

"Here We Go Again" is a country music standard written by Don Lanier and Ruby-red Steagall that beginning became notable as a rhythm and blues single by Ray Charles from his 1967 anthology 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 15.

The well-nigh notable comprehend 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 All-time Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the anthology's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot State Songs chart for five weeks in 1972, while Roy Clark did and so for 7 weeks in 1982.

The song has been covered in a wide diverseness of musical genres. In full, five unlike versions take been listed on the music charts. Although its two almost successful versions take been rhythm and blues recordings, many of its other notable covers were featured on state music albums. "Here We Go Again" was first covered in an instrumental jazz format, and many of the more recent covers have 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 Here We Become Over again: Celebrating the Genius of Ray Charles. The vocal lent its name to Blood-red Steagall's 2007 album also. Cover versions have appeared on compilation albums by a number of artists, fifty-fifty some who did non release "Here We Go Again" as a single.

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] According to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was up for its three-yr renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set 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-upwards 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 to a white audition.[4] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [6]

"Here We Go Again" was recorded during a stage in Charles' career when he was focused on performing country music.[vii] Thus, "Hither We Go 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 non comport the Tangerine label until 1968.[viii] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites Y'all to Heed.[ten] Joe Adams produced and engineered the album, which included "Here We Go Again".[10]

First released by Charles in 1967, "Here We Go Again" was written by Lanier and Steagall and published by the Dirk Music Company.[xi] Charles recorded information technology at RPM International Studios, Los Angeles,[12] [xiii] and the song was listed as the 6th of 10 tracks on Ray Charles Invites Yous to Heed.[14] [15] [sixteen] 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 as a bonus runway.[12] [13] It was also included on the 1988 anthology Ray Charles Anthology.[xviii]

Composition [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 use of his left arm and hand.[twenty] When he enrolled at West Texas State University, he formed his first country ring.[19] Don Lanier formed a group by the name of The Rhythm Orchids forth with Buddy Knox and Jimmy Bowen.[21] He was hired equally a soil chemist but played weekends at country dances. Afterward 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 order 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 Go Again".[21] Steagall's start pause came when Charles covered "Here We Get Again".[19] Steagall says that the song "came about in a very unusual way and very rapidly".[21] 1 source even claims that Steagall did non come to Hollywood until after Charles recorded the vocal.[24]

According to the canvass music published by Dirk Music, "Here Nosotros Become Once more" is set in 12/eight time with a tiresome shuffle tempo of sixty-nine beats per minute. The song is written in the key of B ♭ major.[25] Information technology is primarily a country vocal,[26] but contains gospel influences.[27] Co-ordinate to Matthew Greenwald of Allmusic, "'Here We Become Once more' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the dejection, merely, what it is. The recording has a simple and sterling gospel arrangement and, in retrospect, is i of Charles' finer attempts in the studio from the 1960s."[28]

Operation history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Heed is not readily bachelor, but "Here We Go Again" was the best-charting song on the album (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' showtime since 1964, connected to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the band played back in the Usa at New York City'southward Carnegie Hall before 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 band played Constitution Hall, Washington, D.C. In the fall, Charles had his kickoff lucrative Nevada casino performances, which started with a three-week run at Harrah'due south Reno that was praised in Variety. The tour too had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Once more" as "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 United states Billboard Hot Rhythm & Blues Singles top l chart on June 10, 1967.[30] [31] For the weeks ending July fifteen, 22 and 29, the song spent 3 weeks at its peak position of number 15 on the Hot 100 nautical chart.[32] [33] It spent July 22 and 29 at its meridian position of number 5 on the Hot Rhythm & Blues Singles nautical chart.[34] [35] By August 12, it fell out the Hot 100 nautical chart, ending a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles chart for 13 weeks catastrophe on September 2.[37] [38] "Here We Go Again" was Charles' terminal unmarried to enter the peak twenty of the Hot 100.[39] For the yr 1967 the song finished at number fourscore on the US Billboard Year-End Hot 100 chart and 33 on the Yr-Finish Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the United kingdom Singles Chart meridian xl at number 38 on July 8, 1967, which would be its peak.[41] It totalled 3 non-sequent weeks on the chart.[42] [43] In the Netherlands, "Here Nosotros Go Once more" appeared on the singles chart at number x on July 15, 1967, and later peaked at number three.[44]

According to Volition Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally extraneous style for dramatic outcome by using a unlike phonation than he had ever 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 heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[ii]

Rail list [edit]

  • vii-inch single [45]
  1. "Hither We Go Again" – 3:xiv
  2. "Somebody Ought to Write a Book About It" – iii:02

Co-ordinate to Allmusic, the solo version is listed at lengths between 3:fourteen and 3:20 on diverse albums.[17]

Credits [edit]

Charles is credited as vocaliser and pianist with unknown accompaniment. Feller is credited for having bundled and conducted the recording. This is one of two songs on the album ("Yesterday" beingness the other) that in addition to existence listed as ABC-Par ABC595 is credited equally Dunhill DZS036 [CD].[46] The individual vocal had a label number ABC/TRC 10938.[47] [48] "In the Oestrus of the Night" besides had a Dunhill credit only a different 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(due south) Don Lanier, Red Steagall
Producer(s) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You"
(1968) 		"Here Nosotros Go Over again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the vocal for her 1969 album Nancy, which was her offset album after ending her concern human relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an easy listening and country music appeal,[50] was produced by Billy Strange.[51] [52] The B-side to the unmarried, "Memories", was written by Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the encompass was a "smooth sing-a-long pop style".[52] They also commended Sinatra'south singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra'southward version was after remastered and reissued in 1996.[54]

Nautical chart performance [edit]

Although CD Universe describes the vocal as a state music song,[49] it never charted on country music charts. For the week ending May 17, 1969, the song was listed among US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Piece of cake Listening Top forty chart at number 30.[55] [56] The following week it debuted on the US Billboard Hot 100 nautical chart at number 98,[57] its noon for its ii-calendar week stay.[58] The vocal and then spent a total of ii weeks on the Hot 100.[59] For the calendar week ending June 7, the song spent a second sequent calendar week at its summit position of number 19 on the Piece of cake Listening chart.[60] The vocal remained on the nautical chart for five weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Go Once more" debuted at number 38 on the RPM Adult Contemporary chart (previously Immature Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The vocal 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 Nosotros Go Again", "God Knows I Love You" and "Drummer Man").[67]

Track list [edit]

  • seven-inch vinyl single [53]
  1. "Hither Nosotros Go Again" – 3:07
  2. "Memories" – 3:40

According to Allmusic the original rail was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was iii:11.[68] The unmarried was initially released through Reprise Records. In a not-exclusive licensing understanding, 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 means, then she signed a long-term contract with RCA Records.[lxx]

Credits [edit]

The following musicians performed on this track:[51]

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

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

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

Norah Jones and Ray Charles duet version [edit]

"Here We Become Again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Popular
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Blood-red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Go Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Hither We Get Again"
(2004) 		"Thinking Most You"
(2006)

In 2004, Charles re-recorded "Here Nosotros Become 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 anthology ...Featuring, which included her "Here We Go Once 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 adjacent plane and I brought my mom. We went to his studio and did information technology alive with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sugariness and put me at ease, which was great because I was petrified walking in there."[72] She noted in 1 ...Featuring interview that the simply part that was not done alive 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 as a duet and felt that this one provided the all-time opportunity to harmonize rather than alternate vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at i time been the regular organist in Charles' band.[71]

Reception [edit]

As function of Charles' Grammy Honour for Album of the Yr-winning Genius Loves Visitor, the vocal proved to be the most popular and critically acclaimed on the album. Although the song had its early on detractors,[77] [78] it received mostly 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 notation for notation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" operation.[lxxx] The song was described past the Orlando Sentinel 'southward Jim Abbott as a recreation of ane of the gems from Charles' country music stage of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying office on Hammond B3.[vii] Equally opposed to other tracks on the album, when Charles' voice was understated, this song was said to stand for his "indomitable spirit", while Jones performed every bit "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky system".[71] Author Mike Evans wrote that "in that location'south a mutual warmth of purpose in every breath [Charles and Jones] take" on the song.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the vocal as soulful, that finely combines Charles' "deep, honeyed growl with Jones's lighter timber", while noting Preston for his "sweeping" organ work.[81]

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

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had noun comments on the duet when included amidst her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more than 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 than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in ii categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the award for Record of the Year and All-time Popular Collaboration with Vocals.[xc] It was the 2d Tape of the Year winner not to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Year, but not Song of the Year. Tape of the Yr is awarded to the artist(southward), producer(s), recording engineer(south) and/or mixer(southward), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(southward) of a new vocal or a vocal 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.

Nautical chart performance [edit]

African American performing at a keyboard in concert

Charles in July 2003, less than 11 months before his 2004 expiry

For the week ending September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking 2d on the US 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 make the US Billboard Hot Digital Tracks Top 50 nautical chart. "Here We Become Over again" was the download sales leader amongst the anthology's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the vocal debuted on the The states Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Get Over again" fell out of the top 50 two weeks later.[97] It was released equally a single for digital download on Jan 31, 2005.[98] On May 22, 2019, the vocal was certified aureate by the Recording Industry Clan of America for shipments exceeding 500,000 units in the United states of america.

After the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked up and the anthology was re-promoted.[99] "Here We Get Again" entered the United states Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week ending) February 26, 2005.[100] The vocal charted for a calendar week on both the US Billboard Hot Digital Songs superlative 75 at number 73 and the US Billboard Pop 100 at number 74 for the week ending March 5, 2005, only nonetheless did not brand the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number ii for the week ending March 5, 2005.[102] A compact disc single of the song was released on April nineteen, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Republic of austria Acme 40 chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged half dozen weeks on the nautical chart.[104] "Hither We Go Over again" entered the French Singles Chart at number 54 on Apr 2, 2005 and peaked one week later at number 51. It lasted x weeks on the top 100 nautical chart.[105]

Rails list [edit]

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

According to Allmusic, the duet version was between 3:56 and 3:59 on diverse albums.[17]

Credits [edit]

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

Country chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 nautical chart. Information technology debuted on the Hot Country Songs chart on September thirty, 1972, peaking at number 66 and spending a total of v weeks on the nautical chart.[107] The vocal also spent five weeks on the Cashbox State Singles Chart, debuting on October seven, 1972, and peaking at number 61 3 weeks later.[108]

In 1982, Roy Clark produced a version of the vocal on his Turned Loose album for Churchill Records that he performed on the November vi, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, but it entered the Hot Country Songs nautical chart for the week catastrophe October 30, 1982, at 88.[111] The song was one of only ii mentioned in the Oct 30, 1982, Billboard anthology review and was described as "a solid land number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the nautical chart for two more than weeks, making the full run 7 weeks.[113] [114] The song also spent seven weeks on the Cashbox State Singles Nautical chart, debuting on Nov half dozen, 1982, and peaking at number 61 for ii weeks (December iv and xi).[115]

Other versions and uses [edit]

Baton Vaughn covered "Hither We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] every bit did Dean Martin on his 1970 anthology My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Last Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Belongings My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Again anthology, but she did not include it on her 2007 duets album Reba: Duets, which was released 4 weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard past Nathalie Baret of ABQ Journal.[123] Martin'south version was 3:07, and information technology later appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. 2. Information technology has appeared on a handful of other Martin compilation albums.[117] Campbell's version was only 2:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Collection at a two:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 canton fair)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Ruby-red I.[126] [127] Peters and Lee made a version of the song 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 Gilt 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 Feb 9 and ten, 2009. A 2011 alive tribute anthology by Nelson and Marsalis featuring Jones entitled Here We Get Once more: Jubilant the Genius of Ray Charles was recorded on these two alive dates. The album, which was released on March 29, 2011, included a rail entitled "Here We Go Over again".[132] [133] The vocals on "Here Nosotros Go Again" were performed by Jones and Nelson, while instrumental support was provided past 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 by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Pecker Tilland noted that Jones added her usual "way and panache" to this performance.[134] At i 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 condescending grace". Meanwhile, he praises the professional person mastery of Marsalis' quintet.[136] Tilland too notes that on the anthology Marsalis' ring "compensates quite adequately 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 (dabble), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Young (electric guitar). The album was produced past Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the anthology as Strait's "nigh hard-core country album" up to that point in his career.[138] Allmusic staff noted that the album held its own at the time of release against most of its competitors and has aged better than most land 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 as the result of a transition in eras of state 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 picture Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 moving-picture show Ray nor the limited 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 Peachy Jazz and Pop Singers. Pantheon Books. pp. 78–lxxx. 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 Experience Just The Aforementioned". Orlando Sentinel. 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 Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Entertainment Company. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (Baronial 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Y'all to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Hither We Go Once more". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-vii.
  19. ^ a b c Carlin, Richard (2002). State 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 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 Press. 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 State Music: The Ultimate Guide to the Music. Oxford Academy Printing. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Hither We Go Again Sheet Music". Musicnotes.com. Dirk Music. Feb fourteen, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (xviii): twenty. 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.
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Bibliography [edit]

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Who Said Here We Are Together Again for the First Time.

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