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Norah Jones Here We Go Again

1967 song by Ray Charles

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

"Here Nosotros Go Once again" vii-inch single cover fine art
Single by Ray Charles
from the anthology Ray Charles Invites Yous to Listen
B-side "Somebody Ought to Write a Book Nearly Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:18
Characterization ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say Y'all're Fooling"
(1966) 		"Here We Go Again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither We Go Again" is a country music standard written by Don Lanier and Blood-red Steagall that start became notable as a rhythm and blues single past Ray Charles from his 1967 album Ray Charles Invites You to Listen. It was tape producer past Joe Adams for ABC Records/Tangerine Records. To appointment, this version of the song has been the biggest commercial success, spending twelve consecutive weeks on the US Billboard Hot 100 chart, peaking at number xv.

The most notable embrace version is a duet by Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest disquisitional success. After Genius Loves Company was released, "Here Nosotros Become Over again" earned Grammy Awards for Tape of the Twelvemonth and Best Pop Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the album'south release. Another notable version by Nancy Sinatra charted for 5 weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot State Songs chart for five weeks in 1972, while Roy Clark did so for 7 weeks in 1982.

The song has been covered in a wide variety of musical genres. In full, five different versions take been listed on the music charts. Although its ii well-nigh successful versions take been rhythm and dejection recordings, many of its other notable covers were featured on land music albums. "Hither We Go Over again" was first covered in an instrumental jazz format, and many of the more than recent covers have been sung equally duets, such every bit ane with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Here Nosotros Go Again: Celebrating the Genius of Ray Charles. The vocal lent its proper noun to Cerise Steagall'southward 2007 anthology as well. Comprehend versions have appeared on compilation albums by a number of artists, fifty-fifty some who did not release "Hither Nosotros Become Again" every bit a single.

Original version [edit]

In Nov 1959, after twelve years as a professional person 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 Bang-up Jazz and Pop Singers, "His first iv ABC albums were all primarily devoted to standards..."[two] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Considering Charles was signed to ABC as a rhythm and dejection singer, he decided to wait until his contract was upwards for its three-year renewal earlier experimenting with state music, although he wanted to do so sooner. With the assist of ABC executive Sid Feller, he gathered a set of land songs to record, despite the wishes of ABC.[3] The release of his 1962 country albums Modern Sounds in Country and Western Music and its follow-up Modernistic Sounds in Country and Western Music, Vol. 2 broadened the appeal of his music to the mainstream. At this point, Charles began to entreatment more to a white audience.[four] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[5] [half-dozen]

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

Get-go 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 every bit the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [xv] [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] Information technology was also included on the 1988 anthology Ray Charles Anthology.[xviii]

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 mitt.[twenty] When he enrolled at Westward Texas State Academy, he formed his first country ring.[xix] Don Lanier formed a group by the proper noun of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at country dances. Afterwards he quit his professional office, he formed a band that became popular in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Hither We Get Again".[21] Steagall'southward first break came when Charles covered "Here We Become Again".[xix] Steagall says that the vocal "came about in a very unusual way and very speedily".[21] One source even claims that Steagall did not come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published by Dirk Music, "Hither We Get Once more" is set in 12/8 time with a slow shuffle tempo of sixty-nine beats per minute. The song is written in the key of B ♭ major.[25] It is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here We Go Once more' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and hurting that makes the blues, simply, what information technology is. The recording has a unproblematic and sterling gospel arrangement and, in hindsight, is i 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 lot to Listen is not readily available, but "Here We Get Over again" was the best-charting song on the album (and likely on the playlist). Charles' bout began with a benefit concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' starting time since 1964, continued to Europe in mid-April where it visited the Majestic Festival Hall, London and Salle Pleyel, Paris, also as Vienna. In May, the band played back in the United states of america at New York Urban center's Carnegie Hall before returning to California. The tour received bad reviews from publications such equally Jazz Journal, Jazz Mag and the New York Mail service. Later that summertime, the band played Constitution Hall, Washington, D.C. In the fall, Charles had his first lucrative Nevada casino performances, which started with a three-week run at Harrah's Reno that was praised in Variety. The tour also had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Again" every bit "Some other first-class example of how Ray Charles was able to fuse blues and country".[28] In a review for the single, a author for Billboard magazine wrote that the song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, issue and number 48 on the United states Billboard Hot Rhythm & Blues Singles top 50 chart on June ten, 1967.[thirty] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its tiptop position of number 15 on the Hot 100 chart.[32] [33] It spent July 22 and 29 at its summit position of number 5 on the Hot Rhythm & Blues Singles chart.[34] [35] By August 12, it savage 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] "Here We Go Over again" was Charles' last unmarried to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number eighty on the Usa Billboard Year-End Hot 100 nautical chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[40]

Abroad, it debuted on the Britain Singles Chart top forty at number 38 on July eight, 1967, which would be its peak.[41] Information technology totalled iii non-consecutive weeks on the nautical chart.[42] [43] In the Netherlands, "Here We Go Again" appeared on the singles nautical chart at number 10 on July 15, 1967, and subsequently peaked at number three.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally extraneous style for dramatic consequence by using a different voice than he had always previously exhibited. He sang "... not just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, just 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]

  • 7-inch single [45]
  1. "Here We Go Again" – three:14
  2. "Somebody Ought to Write a Book Almost It" – 3:02

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

Credits [edit]

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

Nancy Sinatra version [edit]

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

Nancy Sinatra recorded a cover of the vocal for her 1969 album Nancy, which was her first anthology after catastrophe her business relationship with producer Lee Hazlewood.[49] The comprehend, 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 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 "polish sing-a-long pop style".[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 country music song,[49] it never charted on state music charts. For the calendar week catastrophe May 17, 1969, the vocal was listed amongst U.s.a. Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the U.s. Billboard Easy Listening Top 40 chart at number 30.[55] [56] The post-obit week it debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its ii-calendar week stay.[58] The song then spent a full of two weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a second consecutive calendar week at its peak position of number 19 on the Easy Listening chart.[sixty] The song remained on the chart for five weeks until June fourteen, 1969.[61] [62] In Canada "Here We Go Again" debuted at number 38 on the RPM Developed Gimmicky chart (previously Immature 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 v weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the terminal twelvemonth in her career that Sinatra reached the Hot 100 chart (with "Here We Become Over again", "God Knows I Love You" and "Drummer Man").[67]

Track listing [edit]

  • seven-inch vinyl single [53]
  1. "Here We Become Once again" – three:07
  2. "Memories" – 3:40

According to Allmusic the original track was 3:09, merely when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a not-sectional licensing agreement, Reprise (part of Warner Music) gave RCA Records the rights to distribute the records of some of their artists including Sinatra and Dean Martin.[69] In 1971, Sinatra and Reprise parted ways, so she signed a long-term contract with RCA Records.[seventy]

Credits [edit]

The following musicians performed on this rail:[51]

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

The following musicians performed on this album:[49]

  • Al Casey (guitar)
  • Jerry McGee (guitar)
  • 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 by Ray Charles and Norah Jones
from the album Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Ruddy Steagall
Producer(southward) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Hither We Go Again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Hither We Go Again"
(2004) 		"Thinking Well-nigh Y'all"
(2006)

In 2004, Charles re-recorded "Here We Go Over again" as a duet with American vocalist-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration anthology ...Featuring, which included her "Here We Get Again" duet, she said "I got a call from Ray asking if I'd be interested in singing on this duets tape. I got on the next plane and I brought my mom. Nosotros went to his studio and did it live with the band. I sang it correct next to Ray, watching his oral fissure for the phrasing. He was very sugariness and put me at ease, which was keen because I was petrified walking in there."[72] She noted in ane ...Featuring interview that the merely part that was not done alive was a pianoforte overlay that she added subsequently 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 alternate vocal verses.[73] On the tape, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at 1 fourth dimension been the regular organist in Charles' ring.[71]

Reception [edit]

As part of Charles' Grammy Honor for Album of the Yr-winning Genius Loves Company, the vocal proved to be the almost pop and critically acclaimed on the album. Although the song had its early detractors,[77] [78] information technology received mostly favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song equally a "jazzy, slinky pas de deux" in which Charles matches Jones note for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The song was described by the Orlando Sentinel 's Jim Abbott as a recreation of 1 of the gems from Charles' state music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] Every bit opposed to other tracks on the album, when Charles' vocalism was understated, this song was said to represent his "indomitable spirit", while Jones performed equally "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky arrangement".[71] Writer Mike Evans wrote that "there's 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 movie 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 piece of work.[81]

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

When the vocal was included on Jones' ...Featuring, which included 3 of her collaborations from Albums of the Twelvemonth and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her group of collaborations.[85] While reviewing ...Featuring, Jonathan Keefe of Slant Magazine wrote that the duet was a "more staid and less compelling recording" on the album.[86] All the same, Allmusic staff noted that she worked comfortably with Charles and Chris Rizik of Soul Tracks said the runway was more than only filler.[87] [88]

Awards and nominations [edit]

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

Chart performance [edit]

African American performing at a keyboard in concert

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

For the calendar week ending September xviii, 2004, Genius Loves Company 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 The states Billboard Hot Digital Tracks Pinnacle fifty chart. "Hither We Go Again" was the download sales leader among the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the anthology was released, the song debuted on the US Billboard Hot Digital Tracks nautical chart at number 26.[96] "Here We Get Again" fell out of the top l two weeks afterwards.[97] It was released every bit a unmarried for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gold past the Recording Manufacture Association of America for shipments exceeding 500,000 units in the United States.

Later on the anthology earned viii Grammy Awards and the song won Tape of the Yr, sales picked up and the anthology was re-promoted.[99] "Here We Go Again" entered the Us Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week catastrophe) February 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs top 75 at number 73 and the United states Billboard Pop 100 at number 74 for the week catastrophe March 5, 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 nautical chart superlative position of number two for the week ending March 5, 2005.[102] A meaty disc single of the vocal was released on April nineteen, 2005.[103]

In Republic of austria, the duet debuted on the Ö3 Republic of austria Top 40 chart at number 53 on March half-dozen, 2005, and peaked the post-obit week at number 52. It logged vi weeks on the chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April 2, 2005 and peaked i week later on at number 51. It lasted 10 weeks on the top 100 chart.[105]

Track listing [edit]

  • CD unmarried [103]
  1. "Here We Become Once 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

Co-ordinate 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 nautical chart on September 30, 1972, peaking at number 66 and spending a full of 5 weeks on the chart.[107] The song also spent five weeks on the Cashbox Country Singles Chart, debuting on Oct 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 six, 1982 (season 15, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 chart, only information technology entered the Hot Land Songs chart for the week catastrophe October 30, 1982, at 88.[111] The song was one of only 2 mentioned in the October 30, 1982, Billboard anthology review and was described as "a solid country number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the chart for 2 more weeks, making the total run 7 weeks.[113] [114] The song also spent seven weeks on the Cashbox State Singles Chart, debuting on Nov half dozen, 1982, and peaking at number 61 for 2 weeks (December iv and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Here We Get Again" on his 1967 Ode to Billy Joe instrumental album,[116] equally did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Last Fourth dimension I Saw Her,[118] Eddy Arnold'south on his 1972 album Lonely People,[119] and George Strait's on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here We Become Once again anthology, 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 past Nathalie Baret of ABQ Journal.[123] Martin's version was 3:07, and it after appeared on compilation albums, starting with the 1996 Dean Martin Golden, Vol. 2. It 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 afterward his 2004 Greatest Drove at a 2:55 length.[120] Steagall'south version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:ten.[125] R&B and boogie-woogie pianist and singer Footling Willie Littlefield recorded a version for his 1997 album The Red One.[126] [127] Peters and Lee fabricated a version of the song on their 1976 on their Serenade anthology.[128] Joe Dolan produced a 1972 single of the song[129] that he included on his 1976 anthology Golden Hour Of Joe Dolan Vol. ii and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, forth with Norah Jones, performed two concerts at Lincoln Center's Rose Theatre on February 9 and ten, 2009. A 2011 live tribute album by Nelson and Marsalis featuring Jones entitled Here Nosotros Get Once more: Celebrating the Genius of Ray Charles was recorded on these two live dates. The album, which was released on March 29, 2011, included a track entitled "Here Nosotros Get Again".[132] [133] The vocals on "Hither Nosotros Go Again" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (pianoforte), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of 5:ten, was arranged past Andy Farber and performed in a rhythm and blues 12/eight shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "fashion and brio" to this functioning.[134] At one concert performance, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this rails is thin, Popular Matters 'southward Will Layman notes that the anthology reveals "how decisive and strong Jones sounds while singing with a truly legitimate jazz group" and how Nelson predictably "breezes through his tunes with condescending grace". Meanwhile, he praises the professional mastery of Marsalis' quintet.[136] Tilland also notes that on the album Marsalis' band "compensates quite fairly for occasional lacklustre vocals."[134]

George Strait'southward 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 (groundwork vocals), Curtis Young (groundwork vocals), and Reggie Young (electrical guitar). The album was produced past Jimmy Bowen and Strait.[137] In 1992 Amusement Weekly 's Alanna Nash regarded the album every bit Strait'southward "most hard-core country album" upwards to that indicate 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 country music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward manner of singing.[140] The iTunes Store describes the album every bit the result of a transition in eras of country music.[141]

The song plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 pic Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 motion picture 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, Will (2010). A Biographical Guide to the Great Jazz and Pop Singers. Pantheon Books. pp. 78–80. ISBN978-0375421495.
  3. ^ Charles & Ritz 2004, p. 222.
  4. ^ Charles & Ritz 2004, p. 223.
  5. ^ Charles & Ritz 2004, p. 248.
  6. ^ Lydon 1998, pp. 213–16.
  7. ^ a b Abbott, Jim (Baronial 31, 2004). "Distinctive Sound Of Genius: Music Review: The Last Album From Ray Charles Isn't Stellar, Only It's A Pleasant Listening Feel Merely The Aforementioned". Orlando Scout. Tribune Company. Retrieved May thirteen, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Hither We Go Once more (Legal Championship)". Circulate Music Incorporated. Archived from the original on July xix, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in State and Western Music". Discogs. Retrieved May viii, 2011.
  13. ^ a b Modernistic Sounds in Land and Western Music (Meaty 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 (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May viii, 2011. {{cite spider web}}: CS1 maint: multiple names: authors listing (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Mind". Retrieved May 8, 2011.
  17. ^ a b c "Here We Go Again". Allmusic. Rovi Corporation. Retrieved May eight, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Enquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Country: The Experts' Guide to the Best 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 University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The State Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-vii.
  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 Academy Press. pp. 505–half dozen. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Go Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (eighteen): 20. May half-dozen, 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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Norah Jones Here We Go Again

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