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Here We Go Again Sweet Talker Mp3

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1967 song past Ray Charles

"Hither 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 Again" 7-inch unmarried embrace art
Single by Ray Charles
from the album Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Volume About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:eighteen
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Delight Say You're Fooling"
(1966) 		"Hither We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither Nosotros Become Once again" is a land music standard written past Don Lanier and Red Steagall that start became notable as a rhythm and blues unmarried by Ray Charles from his 1967 album Ray Charles Invites You to Mind. It was record 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 Usa Billboard Hot 100 chart, peaking at number 15.

The 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 critical success. Later on Genius Loves Company was released, "Hither Nosotros Go Again" earned Grammy Awards for Record of the Year and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'southward release. Another notable version past Nancy Sinatra charted for 5 weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs chart for five weeks in 1972, while Roy Clark did and so for seven weeks in 1982.

The song has been covered in a wide multifariousness of musical genres. In total, five different versions have been listed on the music charts. Although its two most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on state music albums. "Here We Go Again" was get-go covered in an instrumental jazz format, and many of the more recent covers have been sung equally duets, such equally one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute anthology Here Nosotros Get Again: Celebrating the Genius of Ray Charles. The vocal lent its name to Cherry-red Steagall's 2007 anthology also. Cover versions have appeared on compilation albums by a number of artists, even some who did not release "Here We Get Again" equally a single.

Original version [edit]

In November 1959, later twelve years as a professional musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] Co-ordinate to Will Friedwald in A Biographical Guide to the Great Jazz and Popular Singers, "His kickoff 4 ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and state music. Because Charles was signed to ABC as a rhythm and blues vocaliser, he decided to wait until his contract was up for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of state songs to record, despite the wishes of ABC.[3] The release of his 1962 state albums Modern Sounds in State and Western Music and its follow-upward Modern Sounds in Country and Western Music, Vol. two broadened the appeal of his music to the mainstream. At this point, Charles began to appeal more to a white audience.[4] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

"Here We Get Once more" was recorded during a phase in Charles' career when he was focused on performing state music.[seven] Thus, "Here We Become Once again" was a state music vocal released by the Tangerine label ABC-Paramount, merely 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] but he returned to conform Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the anthology, which included "Here Nosotros Go Again".[x]

First released by Charles in 1967, "Here We 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 as the sixth of x tracks on Ray Charles Invites You to Listen.[14] [15] [16] Starting in 1987, information technology 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 as a bonus track.[12] [xiii] It was as well included on the 1988 album Ray Charles Anthology.[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 use of his left arm and hand.[xx] When he enrolled at W Texas State Academy, he formed his first state band.[19] Don Lanier formed a group by the proper name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil pharmacist but played weekends at country dances. Subsequently he quit his professional role, he formed a ring that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk lodge 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 commencement break came when Charles covered "Hither We Go Once again".[19] Steagall says that the vocal "came well-nigh in a very unusual manner and very speedily".[21] One source fifty-fifty claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

According to the sheet music published by Dirk Music, "Here Nosotros Go Again" is set in 12/8 time with a wearisome shuffle tempo of 60-ix beats per minute. The song is written in the key of B ♭ major.[25] Information technology is primarily a country song,[26] just contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Hither We Go Again' is a soulful ballad in the Southern dejection tradition. Lyrically, information technology has a resignation and pain that makes the blues, simply, what it is. The recording has a unproblematic and sterling gospel system 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 You to Listen is not readily available, merely "Hither We Go Again" was the best-charting song on the album (and likely on the playlist). Charles' tour began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam State of war from San Diego Harbor. The tour, Charles' first 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's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Mail service. Later that summer, 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's Reno that was praised in Variety. The bout also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" every bit "Another excellent instance 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 exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May xx, 1967, issue and number 48 on the Us Billboard Hot Rhythm & Blues Singles acme l chart on June 10, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its peak position of number fifteen on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its tiptop position of number five on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it fell out the Hot 100 chart, ending a 12-week run.[36] It remained on the Hot Rhythm & Dejection Singles chart for 13 weeks ending on September 2.[37] [38] "Hither We Go Again" was Charles' concluding unmarried to enter the summit 20 of the Hot 100.[39] For the year 1967 the song finished at number 80 on the Usa Billboard Year-Stop Hot 100 nautical chart and 33 on the Year-Cease Hot Rhythm & Blues Singles chart.[40]

Abroad, it debuted on the U.k. Singles Chart pinnacle twoscore 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 We Get Again" appeared on the singles chart at number 10 on July xv, 1967, and afterward peaked at number three.[44]

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

Rail listing [edit]

  • seven-inch single [45]
  1. "Here We Become Again" – iii:14
  2. "Somebody Ought to Write a Book About It" – three:02

According to Allmusic, the solo version is listed at lengths between iii:xiv 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" existence the other) that in add-on to beingness listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The private vocal had a label number ABC/TRC 10938.[47] [48] "In the Rut of the Night" likewise had a Dunhill credit but 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".
Unmarried by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length three:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dear Yous"
(1968) 		"Here We Become Again"
(1969) 		"Drummer Human"
(1969)

Nancy Sinatra recorded a embrace of the song for her 1969 album Nancy, which was her showtime album after catastrophe her business organization relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an easy listening and country music appeal,[l] was produced by Baton 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 embrace was a "smooth sing-a-long pop style".[52] They besides commended Sinatra's singing, calling information technology a "fine" performance, noting that information technology would probable render 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 state music song,[49] it never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed amongst United states Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top forty nautical chart at number 30.[55] [56] The following calendar week information technology debuted on the The states Billboard Hot 100 chart at number 98,[57] its apex for its 2-calendar week stay.[58] The song then spent a total of two weeks on the Hot 100.[59] For the week ending June 7, the vocal spent a 2d consecutive week at its peak position of number 19 on the Easy Listening nautical chart.[sixty] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Adult Contemporary chart (previously Young Adult Chart) on June 2, 1969.[63] It peaked at number 21 for the week of June xvi, 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 We Go Once again", "God Knows I Love You" and "Drummer Human being").[67]

Track listing [edit]

  • vii-inch vinyl single [53]
  1. "Here We Become Again" – three:07
  2. "Memories" – three:twoscore

According to Allmusic the original track was 3:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was iii:eleven.[68] The single was initially released through Reprise Records. In a non-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, and then she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

  • B.J. Baker Singers (backup 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 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]

"Hither We Get Once more"
Single past Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length three:59
Characterization Concur/Hear Music
Songwriter(south) Don Lanier, Ruby Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Female parent"
(2002) 		"Here We Become Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweetness Words"
(2004) 		"Here We Go Once more"
(2004) 		"Thinking About Yous"
(2006)

In 2004, Charles re-recorded "Here Nosotros Go Again" every bit a duet with American singer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Here We Go Once more" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets record. I got on the next aeroplane and I brought my mom. We went to his studio and did it live with the band. I sang information technology 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 at that place."[72] She noted in 1 ...Featuring interview that the only part that was not done live was a piano overlay that she added later to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this one provided the all-time opportunity to harmonize rather than alternating vocal verses.[73] On the record, the ii singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' ring.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Twelvemonth-winning Genius Loves Company, the song proved to exist the nearly 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 as a "jazzy, slinky pas de deux" in which Charles matches Jones note for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[eighty] The song was described by the Orlando Watch 's Jim Abbott as a recreation of ane of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'south accompanying part on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vox was understated, this song was said to stand for his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky arrangement".[71] Author Mike Evans wrote that "in that location'southward a mutual warmth of purpose in every breath [Charles and Jones] take" on the vocal.[75] Music Week staff noted the timeliness of the release with the biographical film Ray in theaters and described the song 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 as did many of Charles's duet partners on the album.[82] United states Today 's Steve Jones said the song "strikes an like shooting fish in a barrel groove".[76] PopMatters' Kevin Jagernauth says "Jones nicely compliments Charles on this cute opening track".[27] Preston's performance was favorably described past The Washington Post 's Richard Harrington as "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the vocal'southward "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 among 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 anthology.[86] However, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the rail was more than just filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the award for Record of the Yr and All-time Popular Collaboration with Vocals.[90] It was the second Record of the Yr winner non to make the Hot 100 (post-obit "Walk On" in 2001 by U2).[91] The song won Record of the Year, just not Song of the Twelvemonth. Record of the Year is awarded to the artist(s), producer(southward), recording engineer(due south) and/or mixer(south), if other than artist for newly recorded material. Song of the Yr is awarded to the songwriter(south) of a new song or a vocal beginning achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this vocal from their piece of work on its original version in 1967.[93] Thus, the vocal was not a new song.

Chart performance [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking 2nd 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 anthology make the The states Billboard Hot Digital Tracks Tiptop fifty chart. "Hither We Become Once again" was the download sales leader among the anthology'southward songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here We Become Again" fell out of the top fifty two weeks later.[97] It was released every bit a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold by the Recording Industry Clan of America for shipments exceeding 500,000 units in the United states of america.

After the album earned 8 Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Hither Nosotros Go Once more" entered the US Billboard Bubbling Nether Hot 100 chart at number five in the upshot dated (for the calendar week ending) February 26, 2005.[100] The song charted for a week on both the United states Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Popular 100 at number 74 for the week catastrophe March v, 2005, but notwithstanding did not make the Hot 100,[101] ranking 113th before falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart acme position of number two for the week catastrophe March five, 2005.[102] A meaty disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top xl nautical chart at number 53 on March six, 2005, and peaked the post-obit week at number 52. It logged six weeks on the chart.[104] "Here We Go Again" entered the French Singles Nautical chart at number 54 on April 2, 2005 and peaked one week later at number 51. It lasted ten weeks on the top 100 nautical chart.[105]

Track listing [edit]

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

According to Allmusic, the duet version was 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]

Country chart versions [edit]

Johnny Duncan charted a version of the song for Columbia Records that missed the Hot 100 chart. Information technology debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a total of 5 weeks on the chart.[107] The vocal also spent 5 weeks on the Cashbox Country Singles Chart, debuting on October 7, 1972, and peaking at number 61 three weeks later.[108]

In 1982, Roy Clark produced a version of the vocal 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] It missed the Hot 100 chart, but it entered the Hot Country Songs nautical chart for the week catastrophe October thirty, 1982, at 88.[111] The song was ane of only two mentioned in the Oct xxx, 1982, Billboard anthology review and was described equally "a solid state 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 vocal likewise spent seven weeks on the Cashbox Land Singles Nautical chart, debuting on Nov half-dozen, 1982, and peaking at number 61 for two weeks (December 4 and xi).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Go Again" on his 1967 Ode to Baton Joe instrumental anthology,[116] every bit did Dean Martin on his 1970 album My Woman, My Adult female, My Wife.[117] Glen Campbell'south version appeared on his 1971 album The Last Time I Saw Her,[118] Boil Arnold's on his 1972 album Lonely People,[119] and George Strait's on his 1992 anthology Holding My Ain.[120] Steagall performed it with Reba McEntire on his 2007 Here We Go Once more album, but 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 3:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell's version was just two:26.[118] Strait's version is 2:53 and appears later on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is 3:10.[125] R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1997 anthology The Red Ane.[126] [127] Peters and Lee fabricated a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 single of the vocal[129] that he included on his 1976 album Golden Hr 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'southward Rose Theatre on February 9 and x, 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 live dates. The album, which was released on March 29, 2011, included a rail entitled "Hither We Become Again".[132] [133] The vocals on "Here We Go Again" were performed past Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:x, was arranged by Andy Farber and performed in a rhythm and blues 12/viii shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "way and brio" to this operation.[134] At one concert functioning, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this rail is sparse, Popular Matters 's Will Layman notes that the album reveals "how decisive and potent Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with cavalier grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland besides notes that on the album Marsalis' band "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait'due 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 (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Young (background vocals), and Reggie Young (electrical guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album every bit Strait's "most hard-core state album" upwards to that indicate in his career.[138] Allmusic staff noted that the album held its ain at the fourth dimension of release against most of its competitors and has aged ameliorate than virtually land music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the virtually straightforward mode of singing.[140] The iTunes Store describes the anthology as the effect of a transition in eras of land music.[141]

The song 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 vocal was on neither the eponymous soundtrack for the 2004 picture 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, Will (2010). A Biographical Guide to the Great Jazz and Pop 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, Just It's A Pleasant Listening Experience Just The Same". Orlando Sentry. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Become Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Land and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Mod Sounds in Land and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino 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 (Baronial five, 2004). "Tangerine Anthology Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here We Get Once more". Allmusic. Rovi Corporation. Retrieved May eight, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. pp. 191–192. ISBN0-89820-166-seven.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical 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 State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, West. 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 Country 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 Country Music: The Ultimate Guide to the Music. Oxford University Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Become Again Canvas Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Elevation lx Spotlights". Billboard. Nielsen Business concern 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 Nosotros Get Again: Ray Charles". Allmusic. Rovi Corporation. Retrieved May 10, 2011.
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Bibliography [edit]

  • Albert, George; Frank Hoffmann (1984). The Cash Box Country Singles Charts 1958–1982. Scarecrow Press, Inc. ISBN0-8108-1685-7.
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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29

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