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How Does That Beat Go Again Dah Dah Song

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1967 song past Ray Charles

"Hither We Get 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 Again" 7-inch single cover art
Single by Ray Charles
from the anthology Ray Charles Invites You to Listen
B-side "Somebody Ought to Write a Book About It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(southward) Don Lanier, Scarlet Steagall
Producer(southward) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Hither We Become Once again"
(1967) 		"In the Heat of the Night"
(1967)

"Hither Nosotros Go Again" is a country music standard written by Don Lanier and Red Steagall that first became notable equally a rhythm and blues single by Ray Charles from his 1967 album Ray Charles Invites Y'all to Listen. It was record producer by Joe Adams for ABC Records/Tangerine Records. To date, 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 15.

The most notable embrace version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Company. This version has been the biggest critical success. Later Genius Loves Company was released, "Hither 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 album's release. Another notable version past Nancy Sinatra charted for 5 weeks in 1969. Johnny Duncan charted the song on Billboard 'south Hot Country Songs chart for five weeks in 1972, while Roy Clark did and then for seven weeks in 1982.

The song has been covered in a wide variety of musical genres. In total, five different versions have been listed on the music charts. Although its ii most successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Hither Nosotros Get Once again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung equally duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute album Hither We Go Again: Celebrating the Genius of Ray Charles. The song lent its name to Ruby Steagall's 2007 album likewise. Cover versions have appeared on compilation albums by a number of artists, fifty-fifty some who did non release "Here We Go Over again" as a single.

Original version [edit]

In November 1959, after twelve years equally 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 Corking Jazz and Pop Singers, "His beginning 4 ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC equally a rhythm and blues vocalist, he decided to wait until his contract was up for its three-year renewal before experimenting with state music, although he wanted to practice and so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in Country and Western Music and its follow-up Mod Sounds in Country and Western Music, Vol. 2 broadened the entreatment of his music to the mainstream. At this betoken, Charles began to appeal more to a white audition.[4] In 1962 he founded his own record characterization, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

"Here We Go Once more" was recorded during a phase in Charles' career when he was focused on performing land music.[seven] Thus, "Hither We Go Again" was a country music song released by the Tangerine label ABC-Paramount, but performed in Charles' rhythm and blues style. However, his works did not bear the Tangerine label until 1968.[viii] Feller left ABC in 1965,[9] but he returned to arrange Charles' 1967 album, Ray Charles Invites You to Listen.[10] Joe Adams produced and engineered the anthology, which included "Hither We Go Again".[10]

Showtime released by Charles in 1967, "Here We Go Once more" was written by Lanier and Steagall and published past the Dirk Music Company.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [thirteen] and the song was listed every bit the sixth of x tracks on Ray Charles Invites You to Heed.[14] [15] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in Country and Western Music was reissued in 1988, the song was added every bit a bonus track.[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 mitt.[20] When he enrolled at Due west Texas Country University, he formed his outset land ring.[nineteen] Don Lanier formed a group by the proper noun of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired every bit a soil pharmacist but played weekends at country dances. After 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 club performing and songwriting.[23] He wrote for two music publishers, Tree and Combine, earlier signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Become Again".[21] Steagall'south outset break came when Charles covered "Here We Go Once again".[xix] Steagall says that the song "came almost in a very unusual style and very quickly".[21] I source even claims that Steagall did not come to Hollywood until afterwards Charles recorded the song.[24]

Co-ordinate to the sail music published by Dirk Music, "Hither We Go Over again" is set in 12/8 time with a tiresome 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] just contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Go Once more' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the dejection, just, what information technology is. The recording has a simple and sterling gospel organization and, in hindsight, is ane 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, but "Here We Go Once more" 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' first since 1964, connected to Europe in mid-April where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well equally Vienna. In May, the band played dorsum in the The states at New York City's Carnegie Hall earlier returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Mag and the New York Post. Later that summer, 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 We Go Once more" every bit "Another fantabulous example 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 xx, 1967, issue and number 48 on the United states of america Billboard Hot Rhythm & Blues Singles top 50 nautical chart on June 10, 1967.[thirty] [31] For the weeks ending July xv, 22 and 29, the song spent iii weeks at its height position of number xv on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its acme position of number 5 on the Hot Rhythm & Dejection Singles chart.[34] [35] Past August 12, information technology fell out the Hot 100 nautical chart, catastrophe a 12-calendar week run.[36] It remained on the Hot Rhythm & Blues Singles chart for thirteen weeks catastrophe on September 2.[37] [38] "Here Nosotros Go Again" was Charles' terminal single to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the U.s.a. Billboard Yr-Finish Hot 100 chart and 33 on the Year-Terminate Hot Rhythm & Blues Singles chart.[forty]

Abroad, it debuted on the Great britain Singles Chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] It totalled three not-consecutive weeks on the chart.[42] [43] In the Netherlands, "Here We Go Again" appeared on the singles chart at number 10 on July 15, 1967, and later peaked at number 3.[44]

According to Will Friedwald, this song is an instance of Charles vocalizing in what would ordinarily be a generally extraneous manner for dramatic event past 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 it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his groundwork singers).[2]

Runway listing [edit]

  • 7-inch single [45]
  1. "Here We Become Once again" – 3:14
  2. "Somebody Ought to Write a Volume Most It" – three:02

According to Allmusic, the solo version is listed at lengths between 3:14 and 3:20 on various albums.[17]

Credits [edit]

Charles is credited equally vocalist and pianist with unknown accessory. Feller is credited for having arranged and conducted the recording. This is 1 of two songs on the album ("Yesterday" existence the other) that in addition to beingness listed as ABC-Par ABC595 is credited as Dunhill DZS036 [CD].[46] The individual song had a label number ABC/TRC 10938.[47] [48] "In the 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 past Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Characterization Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Dearest Yous"
(1968) 		"Here Nosotros Go Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her commencement album afterward ending her business relationship with producer Lee Hazlewood.[49] The cover, which co-ordinate to programming guides had an easy listening and country music entreatment,[50] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written past Strange along with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "shine sing-a-long pop style".[52] They likewise commended Sinatra'south singing, calling it a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was later on remastered and reissued in 1996.[54]

Chart performance [edit]

Although CD Universe describes the song as a country music song,[49] it never charted on land music charts. For the week ending May 17, 1969, the vocal was listed amongst US Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the Usa Billboard Piece of cake Listening Top twoscore chart at number 30.[55] [56] The following week it debuted on the Usa Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The vocal then spent a total of two weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a 2nd consecutive week at its peak position of number 19 on the Easy Listening chart.[60] The song remained on the chart for five weeks until June 14, 1969.[61] [62] In Canada "Here We Go Once again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Young Adult Chart) on June ii, 1969.[63] Information technology peaked at number 21 for the week of June sixteen, 1969.[64] The song spent a total of 5 weeks on the chart.[65] [66] According to Allmusic databases, 1969 was the final twelvemonth in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Go Again", "God Knows I Beloved You" and "Drummer Man").[67]

Track listing [edit]

  • vii-inch vinyl unmarried [53]
  1. "Here Nosotros Become Again" – three:07
  2. "Memories" – 3:xl

Co-ordinate to Allmusic the original rail was 3:09, just 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 non-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 track:[51]

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

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

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

Norah Jones and Ray Charles duet version [edit]

"Hither We Go Again"
Unmarried past 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 Concur/Hear Music
Songwriter(south) Don Lanier, Red Steagall
Producer(southward) 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) 		"Here We Go Again"
(2004) 		"Thinking About You"
(2006)

In 2004, Charles re-recorded "Here Nosotros Get Again" as 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 Become Once more" duet, she said "I got a call from Ray request if I'd exist interested in singing on this duets record. I got on the next plane and I brought my mom. We went to his studio and did it live with the ring. I sang it correct adjacent to Ray, watching his oral cavity for the phrasing. He was very sweet and put me at ease, which was great because I was petrified walking in there."[72] She noted in ane ...Featuring interview that the but part that was not done live was a pianoforte 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 best opportunity to harmonize rather than alternating vocal verses.[73] On the record, the 2 singers vocalize,[74] accompanied past Billy Preston on Hammond organ,[75] [76] who had at in one case been the regular organist in Charles' ring.[71]

Reception [edit]

As part of Charles' Grammy Award for Album of the Year-winning Genius Loves Company, the song proved to be the nearly 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 'due south Jason Warburg described the vocal 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 past the Orlando Sentinel 's Jim Abbott as a recreation of one of the gems from Charles' country music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston's accompanying role on Hammond B3.[7] Equally opposed to other tracks on the album, when Charles' phonation was understated, this song was said to stand for his "dogged spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare just funky system".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every jiff [Charles and Jones] have" on the song.[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 vocal received other specific forms of praise. Robert Christgau notes that Jones carried the song burden as did many of Charles'due south duet partners on the album.[82] U.s. 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 beautiful opening track".[27] Preston'south operation was favorably described by The Washington Post 's Richard Harrington every bit "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 vocal was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did non stand 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 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 but filler.[87] [88]

Awards and nominations [edit]

In Dec 2004, the Jones–Charles version of the song was nominated in two categories at the 47th Grammy Awards.[89] At the February 13, 2005 awards ceremony, the duet earned the honor for Record of the Year and All-time Pop Collaboration with Vocals.[xc] It was the 2nd Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 by U2).[91] The vocal won Record of the Year, but non Song of the Twelvemonth. Record of the Year is awarded to the artist(s), producer(s), recording engineer(south) and/or mixer(s), if other than artist for newly recorded material. Song of the Year is awarded to the songwriter(due south) of a new song or a song kickoff achieving prominence during the eligibility twelvemonth.[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 xi months before his 2004 death

For the week ending September 18, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the U.s.a. Billboard 200 chart and condign Charles' highest-charting album in over forty years. Digital singles sales saw 12 of the 13 tracks on the anthology make the U.s. Billboard Hot Digital Tracks Top fifty chart. "Here We Go Once more" was the download sales leader amid the anthology'southward songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the vocal debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Again" fell out of the top 50 two weeks afterward.[97] It was released every bit a single for digital download on January 31, 2005.[98] On May 22, 2019, the song was certified gilt by the Recording Industry Association of America for shipments exceeding 500,000 units in the United States.

Afterwards the album earned viii Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Hither We Become Again" entered the US Billboard Bubbling Under Hot 100 chart at number five in the issue dated (for the week ending) 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 U.s. Billboard Pop 100 at number 74 for the week ending March 5, 2005, only all the same did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] However, it ascended to its Bubbling Under Hot 100 chart peak position of number two for the week ending March five, 2005.[102] A compact disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Tiptop xl nautical chart at number 53 on March 6, 2005, and peaked the following calendar week at number 52. It logged six weeks on the nautical chart.[104] "Here Nosotros Go Again" entered the French Singles Chart at number 54 on April ii, 2005 and peaked ane calendar week afterward at number 51. It lasted 10 weeks on the superlative 100 chart.[105]

Track listing [edit]

  • CD unmarried [103]
  1. "Hither We Go Once more" (Ray Charles and Norah Jones) – iii:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – 1:35

According to Allmusic, the duet version was betwixt 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 chart. It debuted on the Hot Country Songs chart on September 30, 1972, peaking at number 66 and spending a total of five weeks on the chart.[107] The song also spent v 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 song on his Turned Loose album for Churchill Records that he performed on the Nov half-dozen, 1982 (season fifteen, episode 9), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, but information technology entered the Hot State Songs chart for the calendar week ending Oct 30, 1982, at 88.[111] The song was i of only 2 mentioned in the October xxx, 1982, Billboard anthology review and was described as "a solid country number".[112] The song peaked at number 65 in the week ending Nov 27 and remained in the nautical chart for two more than weeks, making the total run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Country Singles Nautical chart, debuting on Nov half-dozen, 1982, and peaking at number 61 for two weeks (December 4 and 11).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Woman, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 anthology The Concluding Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 album Lone People,[119] and George Strait'due south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Here Nosotros Go Again anthology, but she did non include it on her 2007 duets anthology Reba: Duets, which was released 4 weeks after.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Periodical.[123] Martin'southward version was iii:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gilded, Vol. 2. It has appeared on a handful of other Martin compilation albums.[117] Campbell'southward version was only 2:26.[118] Strait'due south version is 2:53 and appears afterward on his 2004 Greatest Collection at a two:55 length.[120] Steagall'southward 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 vocaliser Picayune Willie Littlefield recorded a version for his 1997 album The Ruby One.[126] [127] Peters and Lee made a version of the song on their 1976 on their Serenade album.[128] Joe Dolan produced a 1972 unmarried of the song[129] that he included on his 1976 album Golden Hour Of Joe Dolan Vol. 2 and several of his greatest hits albums.[130] [131]

Willie Nelson and Wynton Marsalis, along with Norah Jones, performed two concerts at Lincoln Center'southward Rose Theatre on February nine and 10, 2009. A 2011 live tribute album past 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 track entitled "Here We Go Again".[132] [133] The vocals on "Hither We Go Again" were performed by Jones and Nelson, while instrumental support was provided past 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 five:10, was arranged by Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Bill Tilland noted that Jones added her usual "mode and panache" to this performance.[134] At one concert operation, The New York Times critic Nate Chinen felt the song sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Volition Layman notes that the album reveals "how decisive and stiff 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 person mastery of Marsalis' quintet.[136] Tilland also notes that on the anthology Marsalis' band "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 (piano), Buddy Emmons (steel guitar), Steve Gibson (acoustic guitar), Johnny Gimble (fiddle), Jim Horn (saxophone, alto flute), Larrie Londin (drums), Liana Manis (background vocals), Curtis Immature (background vocals), and Reggie Young (electric guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 'southward Alanna Nash regarded the album every bit Strait'due south "most hard-cadre country anthology" up to that signal in his career.[138] Allmusic staff noted that the anthology held its own at the time of release against nearly of its competitors and has anile improve than most state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the anthology represents the virtually straightforward mode of singing.[140] The iTunes Shop describes the anthology as the consequence of a transition in eras of country music.[141]

The song plays during the opening credit trip the light fantastic by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder's 1970 film Gods of the Plague.[142] [143] All the same, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the express edition additional soundtrack album More Music From Ray.[144] [145]

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, 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 (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Last Anthology From Ray Charles Isn't Stellar, But It's A Pleasant Listening Experience Only The Aforementioned". Orlando Sentinel. 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 Get Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July nineteen, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in State and Western Music". Discogs. Retrieved May viii, 2011.
  13. ^ a b Modernistic Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhinoceros Entertainment Visitor. 1988. R2 70099. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  14. ^ Edwards, David, Patrice Eyries and Mike Callahan (August 5, 2004). "Tangerine Album Discography". Both Sides Now Publications. Retrieved May 8, 2011. {{cite web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites Yous to Heed -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites Y'all To Listen". Retrieved May viii, 2011.
  17. ^ a b c "Here We Go Once more". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Record Enquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Land Music: A Biographical Dictionary. Routledge. p. 385. ISBN0415938023.
  20. ^ Woodstra, Chris; Stephen Thomas Erlewine; Vladimir Bogdanov; Michael Erlewine, eds. (1997). All Music Guide to Land: The Experts' Guide to the Best Country Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, Westward. C. (2008). Notes from Texas: on writing in the Lone Star Country. Texas Christian University Printing. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Company. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of country music. Virgin Publishing. p. 405. ISBN0753502364.
  24. ^ Kingsbury, Paul, ed. (2004). The Encyclopedia of Country Music: The Ultimate Guide to the Music. Oxford Academy Press. pp. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here We Go Once more Sheet Music". Musicnotes.com. Dirk Music. Feb 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Top 60 Spotlights". Billboard. Nielsen Business Media, Inc. 79 (18): 20. May 6, 1967. ISSN 0006-2510. Retrieved May 8, 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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Source: https://en.wikipedia.org/wiki/Here_We_Go_Again_%28Ray_Charles_song%29

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