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"Today I Started Loving You Again" is a 1968 song written by Merle Haggard and Bonnie Owens. [1] Haggard first recorded it as a B-side to his number 1 hit, "The Legend of Bonnie and Clyde", [1] but it failed to chart. It also appears on his 1968 album, The Legend of Bonnie & Clyde. [2]
Buddy Jewell is the third studio album by American country music singer Buddy Jewell. The album was Jewell's major-label debut and his first album since winning season one of Nashville Star . As part of the Nashville Star prize, the album was produced by Clint Black and recorded entirely in ten days.
The title track to this album became Haggard's third consecutive number one country single, but it was its B-side, "I Started Loving You Again" (the "Today" was added to the title later), that became a standard and his most covered song.
Review scores; Source Rating; ... "Today I Started Loving You Again" ... U.S. Billboard 200 33 Australian (Kent Music Report) Albums 68 [4]
When he returned to New York City in 1965, Hammond organised a studio session to record his own song, "Shotgun Wedding", and released it under the name Roy Hammond on his own Hammond label, before leasing it to the larger Black Hawk Records under the name Roy C. [3] The record, with its novelty ricochet opening and subject matter that was relatively risqué for the time, reached number 14 on ...
A curator at a museum in New York City has discovered a previously unknown waltz written by Frédéric Chopin, the first time that a new piece of work by the Polish composer has been found in ...
The Los Angeles Times deemed Thirteen Harris's "most thoroughly satisfying studio album since 1979's Blue Kentucky Girl." [5] The Orlando Sentinel wrote that Harris "always has been real country, in the bluegrass-mountain music branch—what she does better than any major artist is to add a measure of present to the past."
Melodies on Hiatus received a score of 77 out of 100 on review aggregator Metacritic based on four critics' reviews, indicating "generally favorable" reception. [4] Erica Campbell of NME wrote that the tracks "showcase the wealth of the guitarist's talent and influence" and "having Wilcox transmute Hammond Jr's auditory ramblings into lyricism works well".