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Fear No Darkness Here We Go Again

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1967 song by Ray Charles

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

"Hither We Go Again" 7-inch unmarried cover fine art
Single by Ray Charles
from the album Ray Charles Invites You to Heed
B-side "Somebody Ought to Write a Book About Information technology"
Released 1967
Recorded RPM International Studio (Los Angeles)
Genre Rhythm and dejection
Length 3:xviii
Label ABC Records/Tangerine Records
Songwriter(s) Don Lanier, Ruddy Steagall
Producer(south) Joe Adams
Ray Charles singles chronology
"Please Say You're Fooling"
(1966) 		"Here We Go Once again"
(1967) 		"In the Heat of the Night"
(1967)

"Here Nosotros Go Once more" is a land music standard written by Don Lanier and Red Steagall that first became notable equally a rhythm and dejection single past Ray Charles from his 1967 anthology Ray Charles Invites You to Listen. It was tape producer by Joe Adams for ABC Records/Tangerine Records. To engagement, 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 encompass version is a duet by Charles and Norah Jones, which appeared on the 2004 album Genius Loves Visitor. This version has been the biggest critical success. After Genius Loves Company was released, "Hither We Go Over again" earned Grammy Awards for Tape 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 'south Hot Land Songs chart for five weeks in 1972, while Roy Clark did then for vii weeks in 1982.

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

Original version [edit]

In November 1959, after twelve years as a professional person musician, Ray Charles signed with ABC Records, following the expiration of his Atlantic Records contract.[1] According to Will Friedwald in A Biographical Guide to the Great Jazz and 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 singer, he decided to wait until his contract was up for its three-year renewal before experimenting with country music, although he wanted to do so sooner. With the assistance of ABC executive Sid Feller, he gathered a set of country songs to record, despite the wishes of ABC.[3] The release of his 1962 land albums Modern Sounds in State and Western Music and its follow-upward Mod 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 than to a white audience.[iv] In 1962 he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed.[v] [6]

"Here We Go Again" was recorded during a phase in Charles' career when he was focused on performing land music.[7] Thus, "Here We Go Again" was a country music song released by the Tangerine label ABC-Paramount, only performed in Charles' rhythm and blues style. However, his works did not behave the Tangerine characterization until 1968.[viii] Feller left ABC in 1965,[9] but he returned to adjust Charles' 1967 album, Ray Charles Invites Y'all to Listen.[10] Joe Adams produced and engineered the album, which included "Here Nosotros Go Once again".[10]

Beginning released by Charles in 1967, "Hither We Go Again" was written past 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 10 tracks on Ray Charles Invites You to Listen.[14] [xv] [sixteen] Starting in 1987, it was included in numerous greatest hits and compilation albums.[17] When Mod Sounds in Country and Western Music was reissued in 1988, the song was added as a bonus track.[12] [xiii] It was also included on the 1988 album Ray Charles Anthology.[18]

Composition [edit]

Steagall endured polio equally a teen and learned how to play the guitar and mandolin during his recuperation.[19] This activeness helped him regain the utilise of his left arm and hand.[twenty] When he enrolled at West Texas State University, he formed his commencement 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 country dances. After he quit his professional role, 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 2 music publishers, Tree and Combine, before signing with Capitol Records.[22] Eventually, Steagall joined Lanier and Bowen. Steagall and Lanier co-wrote "Hither Nosotros Get Again".[21] Steagall'south showtime suspension came when Charles covered "Here We Become Again".[xix] Steagall says that the vocal "came near in a very unusual manner and very chop-chop".[21] One source even claims that Steagall did non come to Hollywood until after Charles recorded the song.[24]

Co-ordinate to the sheet music published past Dirk Music, "Hither We Get Again" is gear up in 12/8 time with a slow shuffle tempo of 60-nine beats per minute. The song is written in the key of B ♭ major.[25] Information technology is primarily a country song,[26] but contains gospel influences.[27] According to Matthew Greenwald of Allmusic, "'Here Nosotros Become Again' is a soulful ballad in the Southern blues tradition. Lyrically, it has a resignation and pain that makes the blues, simply, what information technology is. The recording has a simple and sterling gospel arrangement and, in retrospect, is one of Charles' effectively 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 Go Again" was the best-charting song on the album (and likely on the playlist). Charles' bout began with a do good concert on the USS Constellation, which was preparing to depart for the Vietnam War from San Diego Harbor. The tour, Charles' first since 1964, connected to Europe in mid-April where information technology visited the Regal Festival Hall, London and Salle Pleyel, Paris, too as Vienna. In May, the band played back in the United states at New York Metropolis'due south Carnegie Hall before returning to California. The bout received bad reviews from publications such as Jazz Periodical, Jazz Mag and the New York Postal service. Later that summer, the band played Constitution Hall, Washington, D.C. In the autumn, Charles had his first lucrative Nevada casino performances, which started with a 3-calendar week run at Harrah'due south Reno that was praised in Multifariousness. The tour likewise had an extended fall run at New York's Copacabana nightclub.[29]

Reception [edit]

Greenwald described the original version of "Here We Go Again" as "Some other excellent example of how Ray Charles was able to fuse dejection and country".[28] In a review for the unmarried, a writer for Billboard mag wrote that the song could hands exist a "blockbuster" for Charles.[26]

The original version debuted at number 79 on the Billboard Hot 100 chart in the May 20, 1967, upshot and number 48 on the Us Billboard Hot Rhythm & Blues Singles height 50 chart on June x, 1967.[xxx] [31] For the weeks ending July 15, 22 and 29, the song spent 3 weeks at its peak position of number 15 on the Hot 100 chart.[32] [33] Information technology spent July 22 and 29 at its pinnacle position of number v on the Hot Rhythm & Blues Singles nautical chart.[34] [35] By August 12, information technology vicious out the Hot 100 chart, catastrophe a 12-week run.[36] It remained on the Hot Rhythm & Blues Singles chart for xiii weeks ending on September two.[37] [38] "Here We Go Again" was Charles' last unmarried to enter the top twenty of the Hot 100.[39] For the year 1967 the song finished at number 80 on the U.s. Billboard Year-End Hot 100 nautical chart and 33 on the Year-End Hot Rhythm & Blues Singles nautical chart.[twoscore]

Abroad, information technology debuted on the Great britain Singles Nautical chart top 40 at number 38 on July 8, 1967, which would be its peak.[41] Information technology totalled 3 not-sequent weeks on the chart.[42] [43] In the netherlands, "Here Nosotros Go Once again" appeared on the singles chart at number x on July 15, 1967, and later on peaked at number 3.[44]

According to Will Friedwald, this song is an example of Charles vocalizing in what would ordinarily be a generally inapplicable manner for dramatic effect past using a unlike voice than he had ever previously exhibited. He sang "... non just using the squeak—using a whole new kind of squeak, in fact—for additional coloring on the sidelines, but making it the heart of the matter, literally squeaking out the words and notes in harmony with the Raelettes" (his background singers).[2]

Track list [edit]

  • 7-inch single [45]
  1. "Here We Get Over again" – 3:14
  2. "Somebody Ought to Write a Volume Near It" – 3:02

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

Credits [edit]

Charles is credited equally singer 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 as Dunhill DZS036 [CD].[46] The individual vocal had a characterization number ABC/TRC 10938.[47] [48] "In the Heat of the Night" also had a Dunhill credit simply a different 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".
Single past Nancy Sinatra
from the album Nancy
B-side "Memories"
Released 1969
Genre Country
Length 3:07
Label Reprise (#0821)
Songwriter(south) Don Lanier, Red Steagall
Producer(due south) Billy Foreign
Nancy Sinatra singles chronology
"God Knows I Love You lot"
(1968) 		"Here We Become Again"
(1969) 		"Drummer Man"
(1969)

Nancy Sinatra recorded a cover of the song for her 1969 album Nancy, which was her first album later on catastrophe her business concern relationship with producer Lee Hazlewood.[49] The cover, which according to programming guides had an like shooting fish in a barrel listening and country music appeal,[50] was produced past 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 "shine sing-a-long pop way".[52] They likewise 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 performance [edit]

Although CD Universe describes the song every bit a country music song,[49] information technology never charted on country music charts. For the calendar week ending May 17, 1969, the song was listed among US Billboard Bubbles Under Hot 100 Singles chart at number 106 and debuted on the The states 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-week stay.[58] The song then spent a total of 2 weeks on the Hot 100.[59] For the week ending June vii, the song spent a second consecutive week at its tiptop position of number 19 on the Piece of cake Listening chart.[60] The vocal remained on the chart for v weeks until June 14, 1969.[61] [62] In Canada "Here Nosotros Become Again" debuted at number 38 on the RPM Adult Gimmicky chart (previously Young Adult Nautical chart) on June 2, 1969.[63] It peaked at number 21 for the week of June 16, 1969.[64] The vocal spent a total of five weeks on the chart.[65] [66] Co-ordinate to Allmusic databases, 1969 was the final yr in her career that Sinatra reached the Hot 100 chart (with "Here We Go Over again", "God Knows I Love You" and "Drummer Homo").[67]

Track listing [edit]

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

Co-ordinate to Allmusic the original track was three:09, simply when it appeared on the 2006 compilation album Essential Nancy Sinatra, information technology was iii:xi.[68] The single was initially released through Reprise Records. In a not-exclusive licensing agreement, Reprise (role 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. Bakery Singers (backup vocals)
  • The Blossoms (fill-in 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]

"Here We Go Once again"
Unmarried past Ray Charles and Norah Jones
from the anthology Genius Loves Company
Released January 31, 2005
Recorded RPM International Studio (Los Angeles)
Genre Pop
Length iii:59
Characterization Agree/Hear Music
Songwriter(s) Don Lanier, Cherry Steagall
Producer(s) John R. Burk
Ray Charles singles chronology
"Mother"
(2002) 		"Hither Nosotros Go Over again"
(2005) 		"You Don't Know Me"
(2005)
Norah Jones singles chronology
"Those Sweet Words"
(2004) 		"Here We Get Again"
(2004) 		"Thinking Most Yous"
(2006)

In 2004, Charles re-recorded "Here We 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 "Hither We Go Over 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 adjacent plane and I brought my mom. We went to his studio and did it live with the band. I sang it right next to Ray, watching his mouth for the phrasing. He was very sweet and put me at ease, which was great because I was petrified walking in in that location."[72] She noted in one ...Featuring interview that the only part that was not washed live was a piano overlay that she added later on 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 ane provided the best opportunity to harmonize rather than alternate vocal verses.[73] On the record, the two singers vocalize,[74] accompanied by Baton Preston on Hammond organ,[75] [76] who had at one fourth dimension been the regular organist in Charles' ring.[71]

Reception [edit]

As part of Charles' Grammy Award for Anthology of the Year-winning Genius Loves Visitor, the song proved to be the well-nigh popular and critically acclaimed on the anthology. Although the song had its early detractors,[77] [78] it received more often than not favorable reviews. Several reviewers noted the complementarity of Jones and Charles. The Daily Vault 's Jason Warburg described the song every bit a "jazzy, slinky pas de deux" in which Charles matches Jones note for annotation."[79] JazzTimes' Christopher Loudon said Charles "blends seamlessly with Jones on a velvet-and-buckram" performance.[80] The vocal was described past the Orlando Lookout man 's Jim Abbott as a recreation of i of the gems from Charles' land music phase of the 1960s that produced the perfect "combination of voices and instruments" with Preston'due south accompanying role on Hammond B3.[7] As opposed to other tracks on the album, when Charles' vocalisation was understated, this song was said to represent his "indomitable spirit", while Jones performed as "an compassionate foil, [with] her warm, lazy vocals meshing convivially with his over a spare simply funky organization".[71] Author Mike Evans wrote that "there's a mutual warmth of purpose in every breath [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 vocal every bit 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's duet partners on the album.[82] USA Today 's Steve Jones said the vocal "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'due south performance was favorably described by The Washington Post 'due south Richard Harrington equally "smoky".[71] Critic Randy Lewis from the Chicago Tribune noted that the song'south "countrified ache" represented that part of Charles' career.[83]

When the song was included on Jones' ...Featuring, which included three of her collaborations from Albums of the Year and several from albums that were nominees,[84] the song did not stand out. Few of the reviews at Metacritic had substantive comments on the duet when included among her grouping 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 rail was more than merely filler.[87] [88]

Awards and nominations [edit]

In December 2004, the Jones–Charles version of the song was nominated in 2 categories at the 47th Grammy Awards.[89] At the Feb thirteen, 2005 awards ceremony, the duet earned the award for Record of the Year and Best Pop Collaboration with Vocals.[90] It was the second Record of the Year winner not to make the Hot 100 (following "Walk On" in 2001 past U2).[91] The song won Record of the Year, just not Song of the Year. Record of the Yr is awarded to the creative person(s), producer(due south), recording engineer(s) and/or mixer(south), if other than creative person for newly recorded cloth. Song of the Year is awarded to the songwriter(s) of a new song or a vocal first achieving prominence during the eligibility year.[92] Steagall and Lanier are credited equally the writers of this vocal from their work on its original version in 1967.[93] Thus, the song was not a new song.

Chart operation [edit]

African American performing at a keyboard in concert

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

For the week ending September 18, 2004, Genius Loves Company sold 202,000 copies, ranking second on the Usa Billboard 200 chart and condign Charles' highest-charting album in over 40 years. Digital singles sales saw 12 of the 13 tracks on the anthology make the Us Billboard Hot Digital Tracks Top 50 chart. "Hither We Get Again" was the download sales leader amidst the album's songs that totaled 52,000 digital downloads.[94] [95] During the week the album was released, the song debuted on the US Billboard Hot Digital Tracks nautical chart at number 26.[96] "Here We Go Again" barbarous out of the superlative 50 2 weeks afterward.[97] It was released as a single for digital download on Jan 31, 2005.[98] On May 22, 2019, the song was certified gilded past the Recording Industry Clan of America for shipments exceeding 500,000 units in the Usa.

Later on the album earned eight Grammy Awards and the vocal won Record of the Year, sales picked up and the album was re-promoted.[99] "Here We Go Again" entered the US Billboard Bubbling Nether Hot 100 chart at number v in the upshot dated (for the week ending) February 26, 2005.[100] The song charted for a calendar 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 ending March 5, 2005, simply withal did not make the Hot 100,[101] ranking 113th earlier falling out of the chart.[48] Yet, it ascended to its Bubbling Under Hot 100 nautical chart peak position of number two for the calendar week ending March 5, 2005.[102] A compact disc single of the vocal was released on April nineteen, 2005.[103]

In Austria, the duet debuted on the Ö3 Republic of austria Top xl nautical chart at number 53 on March 6, 2005, and peaked the following week at number 52. It logged six weeks on the chart.[104] "Here We Go Again" entered the French Singles Chart at number 54 on April ii, 2005 and peaked i week after at number 51. It lasted x weeks on the top 100 chart.[105]

Runway listing [edit]

  • CD single [103]
  1. "Here We Become Over again" (Ray Charles and Norah Jones) – three:59
  2. "Mary Ann" (Poncho Sanchez featuring Ray Charles) – 5:05
  3. "Interview With Norah Jones" – i: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 nautical chart on September thirty, 1972, peaking at number 66 and spending a total of five weeks on the nautical 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 after.[108]

In 1982, Roy Clark produced a version of the song on his Turned Loose anthology for Churchill Records that he performed on the November half dozen, 1982 (flavor xv, episode 9), episode of Hee Haw.[109] [110] It missed the Hot 100 nautical chart, but it entered the Hot Country Songs chart for the calendar week ending October 30, 1982, at 88.[111] The song was 1 of just two mentioned in the October 30, 1982, Billboard album review and was described as "a solid country number".[112] The vocal peaked at number 65 in the week ending Nov 27 and remained in the nautical chart for ii more weeks, making the total run seven weeks.[113] [114] The song likewise spent vii weeks on the Cashbox Land Singles Chart, debuting on November 6, 1982, and peaking at number 61 for two weeks (Dec four and 11).[115]

Other versions and uses [edit]

Billy Vaughn covered "Hither We Go Again" on his 1967 Ode to Billy Joe instrumental album,[116] as did Dean Martin on his 1970 anthology My Woman, My Woman, My Wife.[117] Glen Campbell'southward version appeared on his 1971 album The Terminal Time I Saw Her,[118] Eddy Arnold's on his 1972 album Lonely 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 again album, but she did not include information technology on her 2007 duets album Reba: Duets, which was released iv weeks later.[121] [122] Their collaboration was favorably reviewed, and McEntire was said to reinvigorate this country standard by Nathalie Baret of ABQ Periodical.[123] Martin's version was 3:07, and information technology later appeared on compilation albums, starting with the 1996 Dean Martin Aureate, Vol. 2. Information technology has appeared on a scattering of other Martin compilation albums.[117] Campbell'south version was only 2:26.[118] Strait's version is 2:53 and appears afterward on his 2004 Greatest Drove at a 2:55 length.[120] Steagall's version with McEntire (who Steagall discovered at a 1974 county off-white)[123] [124] is iii:10.[125] R&B and boogie-woogie pianist and vocalist Trivial 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 album.[128] Joe Dolan produced a 1972 single of the vocal[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's Rose Theatre on February 9 and 10, 2009. A 2011 live tribute anthology by Nelson and Marsalis featuring Jones entitled Here Nosotros Go Over again: Celebrating the Genius of Ray Charles was recorded on these two alive dates. The album, which was released on March 29, 2011, included a track entitled "Here Nosotros Go Again".[132] [133] The vocals on "Here We Get 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 5:10, was bundled 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 "fashion and brio" to this performance.[134] At i concert performance, 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 album reveals "how decisive and strong 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 likewise notes that on the album Marsalis' band "compensates quite adequately for occasional lacklustre vocals."[134]

George Strait'southward 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 (electrical guitar). The album was produced by Jimmy Bowen and Strait.[137] In 1992 Entertainment Weekly 's Alanna Nash regarded the album as Strait's "most hard-core country album" up to that signal 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 amend than about state music albums.[139] Ralph Novak, Lisa Shea, Eric Levin, and Craig Tomashoff of People said the album represents the most straightforward style of singing.[140] The iTunes Store describes the album as the consequence of a transition in eras of country music.[141]

The vocal plays during the opening credit dance by Franz (Harry Baer) and Margarethe (Margarethe von Trotta) in Rainer Werner Fassbinder'due south 1970 film Gods of the Plague.[142] [143] However, the song was on neither the eponymous soundtrack for the 2004 film Ray nor the limited edition additional soundtrack anthology More than 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 Groovy 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–sixteen.
  7. ^ a b Abbott, Jim (August 31, 2004). "Distinctive Sound Of Genius: Music Review: The Final Album From Ray Charles Isn't Stellar, But It's A Pleasant Listening Feel Merely The Same". Orlando Scout. 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 Championship)". Broadcast Music Incorporated. Archived from the original on July 19, 2012. Retrieved May eight, 2011.
  12. ^ a b "Ray Charles – Modern Sounds in Country and Western Music". Discogs. Retrieved May 8, 2011.
  13. ^ a b Modern Sounds in Country and Western Music (Compact disc liner). Ray Charles. Los Angeles, California: Rhino Amusement 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 eight, 2011. {{cite spider web}}: CS1 maint: multiple names: authors list (link)
  15. ^ "Ray Charles Invites You to Listen -..." Billboard. Prometheus Global Media. Retrieved May viii, 2011.
  16. ^ "Ray Charles Invites You To Listen". Retrieved May eight, 2011.
  17. ^ a b c "Here Nosotros Go Over again". Allmusic. Rovi Corporation. Retrieved May 8, 2011.
  18. ^ Whitburn, Joel (2006). The Billboard Albums (6th ed.). Record Research. 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 All-time State Recordings. Backbeat Books. p. 447. ISBN0879304758.
  21. ^ a b c Jameson, West. C. (2008). Notes from Texas: on writing in the Lone Star State. Texas Christian Academy Press. pp. 208–9. ISBN978-0875653587.
  22. ^ a b Shestack, Melvin (1974). The Country Music Encyclopedia . Thomas Y. Crowell Visitor. p. 265. ISBN0-690-00442-7.
  23. ^ Larkin, Colin (1998). The Virgin encyclopedia of state 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. 505–6. ISBN0195176081.
  25. ^ "Ray Charles – Here Nosotros Become Again Sheet Music". Musicnotes.com. Dirk Music. February 14, 2005. Retrieved May 9, 2011.
  26. ^ a b "Height 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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