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I Know Who Holds Tomorrow is an album by American violinist/singer Alison Krauss and the Cox Family, released in 1994. At the Grammy Awards of 1995 , I Know Who Holds Tomorrow won the Grammy Award for Best Southern, Country or Bluegrass Gospel Album .
"Don't Worry" is a song written and recorded by American country music artist Marty Robbins. It was released in February 1961 as the third single from his compilation album More Greatest Hits . The song was Robbins' seventh number one on the country chart and stayed at number one for ten weeks. [ 1 ]
Matthew 6:34 is “Therefore do not worry about tomorrow, for tomorrow will worry about itself. Each day has enough trouble of its own.” The King James Version phrasing is Sufficient unto the day is the evil thereof. It implies that we should not worry about the future, since each day contains an ample burden of evils and suffering.
Sadly, he died in a helicopter crash at 35, but don't worry – Eric Clapton is still out there making highly overrated music in his stead. DepositPhotos.com Slash
"Ain't No Need to Worry" is a song by American recording artists the Winans featuring Anita Baker. The song was released as the lead single of the Winans' fifth album, Decisions. "Ain't No Need to Worry" is a mixture of contemporary gospel and contemporary R&B. The single peaked at number 15 on the Billboard's R&B/Hip-Hop Singles chart. [1]
"Opus 17 (Don't You Worry 'bout Me)" is a song composed by Sandy Linzer and Denny Randell and recorded by The Four Seasons in 1966 for their album Working My Way Back to You. Background [ edit ]
He uses not here the instance of the birds, when He might have drawn some to the point, as the peacock, or the swan, but brings forward the lilies, saying, Consider the lilies of the field. He would prove in two things the abundant goodness of God; to wit, the richness of the beauty with which they are clothed, and the mean value of the things ...
Allmusic awarded the album 4 stars with its review by Scott Yanow stating, "this was his breakthrough date. One of jazz's greatest lyricists, at the time, Allison was making the transition from being a pianist who occasionally sang to becoming a vocalist who also played his own unusual brand of piano. ...the set is one of Mose Allison's most significant recordings". [3]