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Here Come Those Tears Again 1977

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1967 song by 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 Go Again" 7-inch single cover fine art
Single by Ray Charles
from the album Ray Charles Invites Y'all to Listen
B-side "Somebody Ought to Write a Book Virtually It"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and blues
Length 3:18
Label ABC Records/Tangerine Records
Songwriter(due south) Don Lanier, Red Steagall
Producer(s) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Hither We Become Again"
(1967) 		"In the Heat of the Nighttime"
(1967)

"Hither We Go Once again" is a state music standard written by Don Lanier and Ruby Steagall that starting time became notable as a rhythm and blues unmarried by Ray Charles from his 1967 album Ray Charles Invites You 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 sequent weeks on the U.s. Billboard Hot 100 chart, peaking at number fifteen.

The most notable cover version is a duet past Charles and Norah Jones, which appeared on the 2004 anthology Genius Loves Company. This version has been the biggest critical success. After Genius Loves Company was released, "Here We Go Over again" earned Grammy Awards for Record of the Year and All-time Popular Collaboration at the 47th Grammy Awards in February 2005, posthumously for Charles, who died before the anthology's release. Another notable version by Nancy Sinatra charted for five weeks in 1969. Johnny Duncan charted the song on Billboard 's Hot Country Songs nautical chart for five weeks in 1972, while Roy Clark did then for seven weeks in 1982.

The song has been covered in a wide variety of musical genres. In total, 5 unlike versions have been listed on the music charts. Although its two well-nigh successful versions have been rhythm and blues recordings, many of its other notable covers were featured on country music albums. "Here Nosotros Get Once again" was first covered in an instrumental jazz format, and many of the more recent covers have been sung as duets, such as one with Willie Nelson and Norah Jones with Wynton Marsalis accompanying. The song was released on their 2011 tribute anthology Hither Nosotros Become Again: Celebrating the Genius of Ray Charles. The song lent its name to Red Steagall's 2007 album as well. Embrace versions have appeared on compilation albums by a number of artists, even some who did not release "Here We Go Again" every bit a single.

Original version [edit]

In November 1959, afterwards 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 first four ABC albums were all primarily devoted to standards..."[2] In the 1960s, he experienced crossover success with both rhythm and blues and country music. Because Charles was signed to ABC as a rhythm and blues vocalist, he decided to wait until his contract was upwards for its three-year renewal before experimenting with country music, although he wanted to do and then sooner. With the aid 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 state albums Modern Sounds in Country and Western Music and its follow-upwards Modern Sounds in Country and Western Music, Vol. ii broadened the appeal of his music to the mainstream. At this bespeak, Charles began to entreatment more to a white audience.[iv] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

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

First released by Charles in 1967, "Hither We Go Over again" was written past Lanier and Steagall and published past the Dirk Music Visitor.[11] Charles recorded it at RPM International Studios, Los Angeles,[12] [13] and the song was listed equally the sixth of ten tracks on Ray Charles Invites You to Listen.[14] [xv] [16] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Modern Sounds in State and Western Music was reissued in 1988, the song was added equally a bonus rails.[12] [13] It was also included on the 1988 album 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 paw.[20] When he enrolled at Due west Texas State University, he formed his first country band.[19] Don Lanier formed a group by the name of The Rhythm Orchids along with Buddy Knox and Jimmy Bowen.[21] He was hired as a soil chemist but played weekends at state dances. After he quit his professional person role, he formed a band that became pop in the Rocky Mountain ski-resort clubs.[22] He moved to Los Angeles in 1965 and embarked on folk club performing and songwriting.[23] He wrote for ii music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Here We Get Again".[21] Steagall's first break came when Charles covered "Here We Get Again".[19] Steagall says that the song "came about in a very unusual mode and very apace".[21] One source fifty-fifty claims that Steagall did non come to Hollywood until afterward Charles recorded the vocal.[24]

According to the canvass music published by Dirk Music, "Here We Go Once again" is set up in 12/8 fourth dimension with a dull shuffle tempo of threescore-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, "'Hither We Go Over again' is a soulful ballad in the Southern dejection tradition. Lyrically, it has a resignation and hurting that makes the blues, merely, what it is. The recording has a simple and sterling gospel arrangement and, in hindsight, is i of Charles' finer attempts in the studio from the 1960s."[28]

Functioning history [edit]

The playlist of the 1967 tour promoting Ray Charles Invites You to Listen is not readily bachelor, but "Here We Get Over again" was the best-charting song on the album (and probable 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 tour, Charles' first since 1964, continued to Europe in mid-Apr where it visited the Royal Festival Hall, London and Salle Pleyel, Paris, as well as Vienna. In May, the ring played back in the United States at New York City's Carnegie Hall before returning to California. The tour received bad reviews from publications such as Jazz Journal, Jazz Magazine and the New York Mail service. Afterwards 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 Diversity. The tour also had an extended autumn run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here Nosotros Go Again" as "Some other excellent instance of how Ray Charles was able to fuse dejection and state".[28] In a review for the single, a writer for Billboard mag wrote that the song could easily be a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 nautical chart in the May 20, 1967, issue and number 48 on the United states of america Billboard Hot Rhythm & Dejection Singles elevation l chart on June x, 1967.[30] [31] For the weeks ending July 15, 22 and 29, the song spent three weeks at its top position of number 15 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 & Blues Singles chart.[34] [35] By Baronial 12, it brutal 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 Again" was Charles' last unmarried to enter the top 20 of the Hot 100.[39] For the twelvemonth 1967 the song finished at number 80 on the The states Billboard Year-End Hot 100 chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[twoscore]

Abroad, it debuted on the United kingdom of great britain and northern ireland Singles Chart elevation 40 at number 38 on July 8, 1967, which would be its summit.[41] It totalled 3 non-consecutive weeks on the chart.[42] [43] In the Netherlands, "Hither We Go Again" appeared on the singles chart at number ten on July fifteen, 1967, and later peaked at number iii.[44]

Co-ordinate to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily exist a generally inapplicable manner for dramatic result by using a different voice than he had e'er previously exhibited. He sang "... non but using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, but making it the eye of the thing, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track listing [edit]

  • vii-inch single [45]
  1. "Here We Become Again" – 3:14
  2. "Somebody Ought to Write a Book Virtually It" – 3:02

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

Credits [edit]

Charles is credited every bit vocaliser and pianist with unknown accompaniment. Feller is credited for having arranged and conducted the recording. This is ane of two songs on the album ("Yesterday" being the other) that in addition to being listed as ABC-Par ABC595 is credited every bit Dunhill DZS036 [CD].[46] The individual song had a characterization number ABC/TRC 10938.[47] [48] "In the Oestrus of the Night" also had a Dunhill credit but a unlike number for both Dunhill and ABC.[46]

Nancy Sinatra version [edit]

"Hither 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".
Unmarried by Nancy Sinatra
from the anthology Nancy
B-side "Memories"
Released 1969
Genre Country
Length iii:07
Label Reprise (#0821)
Songwriter(s) Don Lanier, Red Steagall
Producer(s) Billy Strange
Nancy Sinatra singles chronology
"God Knows I Love Y'all"
(1968) 		"Here We Go Once again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 anthology Nancy, which was her beginning album after ending her business human relationship with producer Lee Hazlewood.[49] The embrace, which according to programming guides had an like shooting fish in a barrel listening and country music appeal,[50] was produced by Billy Strange.[51] [52] The B-side to the single, "Memories", was written by Strange forth with Mac Davis.[52] [53] Billboard magazine staff reviewed the song favorably, stating that the cover was a "smooth sing-a-long pop way".[52] They also commended Sinatra's singing, calling information technology a "fine" performance, noting that it would likely return her to the Billboard charts.[52] Sinatra's version was subsequently 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 state music charts. For the week ending May 17, 1969, the song was listed among Us Billboard Bubbling Under Hot 100 Singles chart at number 106 and debuted on the US Billboard Easy Listening Top 40 chart at number thirty.[55] [56] The following week it debuted on the The states Billboard Hot 100 chart at number 98,[57] its apex for its two-week stay.[58] The song then spent a full of ii weeks on the Hot 100.[59] For the week catastrophe June 7, the song spent a second consecutive week at its superlative position of number 19 on the Easy Listening chart.[60] The vocal 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 Developed Contemporary chart (previously Immature Adult Chart) on June 2, 1969.[63] Information technology peaked at number 21 for the week of June 16, 1969.[64] The song spent a total of five weeks on the nautical chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final year in her career that Sinatra reached the Hot 100 chart (with "Here Nosotros Go Over again", "God Knows I Love You" and "Drummer Man").[67]

Rails listing [edit]

  • 7-inch vinyl unmarried [53]
  1. "Here Nosotros Go Again" – iii:07
  2. "Memories" – 3:40

According to Allmusic the original track was three:09, but when it appeared on the 2006 compilation album Essential Nancy Sinatra, it was 3:11.[68] The single was initially released through Reprise Records. In a 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 ways, so she signed a long-term contract with RCA Records.[70]

Credits [edit]

The following musicians performed on this track:[51]

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

The post-obit 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]

"Here We Go Over again"
Single by Ray Charles and Norah Jones
from the album Genius Loves Visitor
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length 3:59
Label Concord/Hear Music
Songwriter(s) Don Lanier, Red Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Here We Get Once more"
(2005) 		"You lot Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here Nosotros Go Again"
(2004) 		"Thinking About Yous"
(2006)

In 2004, Charles re-recorded "Here We Go Again" every bit a duet with American vocalizer-songwriter Norah Jones, who grew up listening to his music.[71] During Jones' Billboard interview for her 2010 collaboration album ...Featuring, which included her "Hither Nosotros Go Again" duet, she said "I got a call from Ray asking 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 information technology live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sugariness and put me at ease, which was great because I was petrified walking in at that place."[72] She noted in one ...Featuring interview that the only part that was not done live was a piano overlay that she added afterwards to complement Charles' keyboard. In the same interview, she noted that she had been given the opportunity to select a song from Charles' songbook to perform as a duet and felt that this 1 provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Billy Preston on Hammond organ,[75] [76] who had at 1 time been the regular organist in Charles' band.[71]

Reception [edit]

As part of Charles' Grammy Award for Anthology of the Yr-winning Genius Loves Company, the vocal proved to exist the almost popular and critically acclaimed on the album. Although the vocal had its early on 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 annotation for note."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[eighty] The vocal was described by the Orlando Lookout '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] As opposed to other tracks on the album, when Charles' voice was understated, this song was said to represent his "indomitable spirit", while Jones performed as "an empathetic foil, [with] her warm, lazy vocals meshing convivially with his over a spare but funky 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 picture Ray in theaters and described the song as soulful, that finely combines Charles' "deep, honeyed growl with Jones'due south lighter timber", while noting Preston for his "sweeping" organ work.[81]

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

When the song was included on Jones' ...Featuring, which included 3 of her collaborations from Albums of the Yr and several from albums that were nominees,[84] the vocal did non 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 Mag 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 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 xiii, 2005 awards ceremony, the duet earned the laurels for Tape of the Year and All-time Pop Collaboration with Vocals.[90] It was the second Tape of the Year winner non to make the Hot 100 (post-obit "Walk On" in 2001 past U2).[91] The song won Record of the Year, simply not Song of the Year. Record of the Year is awarded to the artist(s), producer(s), recording engineer(s) and/or mixer(southward), if other than creative person for newly recorded fabric. Song of the Year is awarded to the songwriter(s) of a new song or a song first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited as the writers of this song from their work on its original version in 1967.[93] Thus, the song was non a new song.

Nautical chart functioning [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 eighteen, 2004, Genius Loves Visitor sold 202,000 copies, ranking second on the U.s.a. Billboard 200 nautical chart and becoming Charles' highest-charting album in over xl years. Digital singles sales saw 12 of the xiii tracks on the anthology make the US Billboard Hot Digital Tracks Superlative 50 chart. "Here We Go Again" was the download sales leader among the anthology's songs that totaled 52,000 digital downloads.[94] [95] During the calendar week the album was released, the song debuted on the US Billboard Hot Digital Tracks chart at number 26.[96] "Here Nosotros Go Over again" fell out of the top l two weeks later.[97] It was released as a single for digital download on January 31, 2005.[98] On May 22, 2019, the vocal was certified gold by the Recording Industry Clan of America for shipments exceeding 500,000 units in the United states.

After the album earned viii Grammy Awards and the song won Tape of the Year, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the United states Billboard Bubbling Under Hot 100 nautical chart at number 5 in the upshot dated (for the week ending) Feb 26, 2005.[100] The song charted for a week on both the US Billboard Hot Digital Songs top 75 at number 73 and the US Billboard Popular 100 at number 74 for the calendar week ending March 5, 2005, but nevertheless did not make the Hot 100,[101] ranking 113th before falling out of the nautical chart.[48] Even so, it ascended to its Bubbling Nether Hot 100 nautical chart acme position of number ii for the calendar week catastrophe March 5, 2005.[102] A compact disc single of the song was released on April 19, 2005.[103]

In Austria, the duet debuted on the Ö3 Austria Peak 40 chart at number 53 on March vi, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Hither We Go Once again" entered the French Singles Nautical chart at number 54 on Apr ii, 2005 and peaked one week later on at number 51. Information technology lasted 10 weeks on the superlative 100 chart.[105]

Track listing [edit]

  • CD unmarried [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" – 1:35

Co-ordinate to Allmusic, the duet version was between three:56 and three: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 vocal for Columbia Records that missed the Hot 100 chart. It debuted on the Hot State Songs chart on September xxx, 1972, peaking at number 66 and spending a full of five weeks on the chart.[107] The song also spent five weeks on the Cashbox State Singles Nautical chart, debuting on October 7, 1972, and peaking at number 61 3 weeks later.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose album for Churchill Records that he performed on the November half dozen, 1982 (season 15, episode ix), episode of Hee Haw.[109] [110] Information technology missed the Hot 100 chart, only it entered the Hot Land Songs chart for the week catastrophe October 30, 1982, at 88.[111] The song was 1 of only ii mentioned in the October thirty, 1982, Billboard album review and was described every bit "a solid country number".[112] The song peaked at number 65 in the week catastrophe November 27 and remained in the chart for two more weeks, making the full run seven weeks.[113] [114] The song also spent seven weeks on the Cashbox Country Singles Chart, debuting on November vi, 1982, and peaking at number 61 for two weeks (Dec 4 and 11).[115]

Other versions and uses [edit]

Baton Vaughn covered "Here Nosotros Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 album My Adult female, My Woman, My Wife.[117] Glen Campbell's version appeared on his 1971 album The Last Fourth dimension I Saw Her,[118] Eddy Arnold's on his 1972 anthology Solitary People,[119] and George Strait'due south on his 1992 album Holding My Own.[120] Steagall performed it with Reba McEntire on his 2007 Hither We Go Once more album, but she did not include it on her 2007 duets anthology Reba: Duets, which was released four weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this state standard by Nathalie Baret of ABQ Periodical.[123] Martin's version was iii:07, and it later appeared on compilation albums, starting with the 1996 Dean Martin Gold, Vol. two. It has appeared on a scattering of other Martin compilation albums.[117] Campbell's version was but two:26.[118] Strait's version is 2:53 and appears later on on his 2004 Greatest Collection at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county fair)[123] [124] is 3:x.[125] R&B and boogie-woogie pianist and vocaliser Little Willie Littlefield recorded a version for his 1997 album The Ruby One.[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 Gilded 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 ii concerts at Lincoln Eye's Rose Theatre on Feb ix and 10, 2009. A 2011 alive tribute album by Nelson and Marsalis featuring Jones entitled Here We Go Again: Jubilant 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 "Here We Go Again" were performed by Jones and Nelson, while instrumental support was provided by Marsalis (trumpet), Dan Nimmer (piano), Mickey Raphael (harmonica), Walter Blanding (tenor saxophone), Carlos Henriquez (bass) and Ali Jackson (drums and percussion).[93] The song, which had a length of five:x, was arranged past Andy Farber and performed in a rhythm and blues 12/8 shuffle.[93] BBC music reviewer Neb Tilland noted that Jones added her usual "style and panache" to this performance.[134] At one concert functioning, The New York Times critic Nate Chinen felt the vocal sounded unrehearsed.[135] Although critique of this track is sparse, Pop Matters 's Will Layman notes that the anthology 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 mastery of Marsalis' quintet.[136] Tilland also notes that on the album 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 (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 (background vocals), and Reggie Young (electric guitar). The anthology was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album every bit Strait'southward "most difficult-cadre country album" up to that indicate in his career.[138] Allmusic staff noted that the anthology held its own at the fourth dimension 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 fashion of singing.[140] The iTunes Store describes the anthology as the outcome of a transition in eras of country music.[141]

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

Notes [edit]

  1. ^ Charles & Ritz 2004, pp. 196–97.
  2. ^ a b Friedwald, Volition (2010). A Biographical Guide to the Great Jazz and Popular 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–sixteen.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Terminal Anthology From Ray Charles Isn't Stellar, Simply It's A Pleasant Listening Feel Only The Aforementioned". Orlando Sentinel. Tribune Company. Retrieved May 13, 2011.
  8. ^ Charles & Ritz 2004, p. 354.
  9. ^ Lydon 1998, p. 260.
  10. ^ a b Lydon 1998, p. 268.
  11. ^ "Here We Go Again (Legal Title)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May 8, 2011.
  12. ^ a b "Ray Charles – Mod Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Mod Sounds in Country 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 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 Y'all to Heed -..." Billboard. Prometheus Global Media. Retrieved May 8, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May 8, 2011.
  17. ^ a b c "Here Nosotros Go Again". Allmusic. Rovi Corporation. Retrieved May eight, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (sixth ed.). Record Inquiry. pp. 191–192. ISBN0-89820-166-7.
  19. ^ a b c Carlin, Richard (2002). Country Music: A Biographical Lexicon. 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, Westward. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian University Press. pp. 208–ix. 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 University Printing. pp. 505–vi. ISBN0195176081.
  25. ^ "Ray Charles – Here We Become Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Superlative 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_(Ray_Charles_song)

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