All Tomorrow’s Parties” and “Sunday Morning” are two of the best songs by the Velvet Underground and Nico!!!
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https://www.youtube.com/watch?v=3qK82JvRY5s
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Sunday Morning (The Velvet Underground song)
| “Sunday Morning” | |||||||
|---|---|---|---|---|---|---|---|
| Single by The Velvet Underground | |||||||
| from the album The Velvet Underground & Nico | |||||||
| B-side | “Femme Fatale“ | ||||||
| Released | December 1966 (single) March 1967 (album) |
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| Recorded | November 1966 Mayfair Studios, New York City | ||||||
| Genre | Pop,[1] psychedelic rock,[2] art rock[3] | ||||||
| Length | 2:56 | ||||||
| Label | Verve | ||||||
| Writer(s) | Lou Reed, John Cale | ||||||
| Producer | Tom Wilson | ||||||
| The Velvet Underground singles chronology | |||||||
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“Sunday Morning” is a song by The Velvet Underground. It is the opening track on their 1967 debut album The Velvet Underground & Nico. It was also released as a single in 1966 with “Femme Fatale“.
Contents
Recording
In late 1966, “Sunday Morning” was the final song to be recorded for The Velvet Underground & Nico. It was requested by Tom Wilson, who thought the album needed another song with lead vocals by Nico with the potential to be a successful single. The final master tape of side one of the album shows “Sunday Morning” only penciled in before “I’m Waiting for the Man“.
Wilson brought the band into a New York City recording studio in November. The song was written with Nico’s voice in mind by Lou Reed and John Cale on a Sunday morning. The band previously performed it live with Nico singing lead, but when it came time to record it, Lou Reed sang the lead vocal. Nico would instead sing backing vocals on the song.
Aiming to create a hit for the album, “Sunday Morning” features noticeably more lush and professional production than the rest of the songs on the album. The song’s prominent use of celesta was the idea of John Cale, who noticed the instrument in the studio and decided to use it for the song.
Personnel
- Lou Reed – lead vocals, lead guitar
- John Cale – celesta, viola, piano
- Sterling Morrison – bass guitar
- Maureen Tucker – percussion
- Nico – backing vocals
Cover versions
“Sunday Morning” has been covered by various bands, including Rusty, Villagers, Bettie Serveert, Beck, Chris Coco & Nick Cave, Nina Hagen, James, Oh-OK, Elizabeth Cook, NY Loose, The Feelies, Orchestral Manoeuvres in the Dark, The Queers, Strawberry Switchblade, and Matthew Sweet & Susanna Hoffs.[4] The song has also been covered by Belle & Sebastian during live shows. A live version recorded by Oh-OK is compiled on The Complete Recordings.
A cover of the song by the Doug Anthony All Stars was used in a season 1 episode of DAAS Kapital, but did not appear on the DVD set of the sci-fi sitcom due to “contractual reasons… and because we never paid to use it in the first place,” according to Paul McDermott. In its place is the newly recorded original song “Saturday’s The Day For Leaving”.[5] During the song, the DVD displays text to this effect, before mentioning the original version “is still on YouTube“.[6]
The chord progression is used in Kramer‘s “Don’t Come Around“, which includes the lyric, “I love this song,” presumably referring to the Velvet Underground song rather than the Kramer song.
Notes
- Jump up ^ The Velvet Underground & Nico: Review. allmusic.com. Retrieved 04 July 2012.
- Jump up ^ DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. p. 79. ISBN 1617802158. Retrieved August 1, 2013. “…psychedelic rock masterpiece…”
- Jump up ^ DeRogatis, Jim (February 14, 2003). “Gettin’ Your Groove On”. Chicago Sun-Times. p. 26. Retrieved August 1, 2013. “…this enduring art-rock masterpiece…”
- Jump up ^ Full Albums: The Velvet Underground & Nico. covermesongs.com. Retrieved 14 September 2012
- Jump up ^ All Star secrets revealed – Doug Anthonys share anecdotes, Chortle.co.uk, 13 April 2013.
- Jump up ^ DAAS Kapital DVD, S1E3 “Gluttony” (DVD). ABC. 2013.
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Uploaded on Jun 28, 2010
Video was created using a video from Rai Tre. The video is them jamming live most likely at The Factory in New York. Not sure of year. Song is from The Velvet Underground And Nico. (Album) TheDrakeHotel also uses this video.
Copyright Rai Tre (For Video)
Copyright Verve Records (For Song)
All Tomorrow’s Parties
| “All Tomorrow’s Parties” | |||||||
|---|---|---|---|---|---|---|---|
| Single by The Velvet Underground | |||||||
| from the album The Velvet Underground & Nico | |||||||
| B-side | “I’ll Be Your Mirror“ | ||||||
| Released | July 1966 (single) March 1967 (album) |
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| Recorded | April 1966 at Scepter Studios in New York City | ||||||
| Genre | Experimental rock, art rock, psychedelic rock[1] | ||||||
| Length | 2:49 (single version) 6:00 (album version) |
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| Label | Verve (VK10427) | ||||||
| Writer(s) | Lou Reed | ||||||
| Producer | Andy Warhol | ||||||
| The Velvet Underground singles chronology | |||||||
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“All Tomorrow’s Parties” is a song by The Velvet Underground, written by Lou Reed and released on the group’s 1967 debut album, The Velvet Underground & Nico.
Inspiration for the song came from Reed’s observation of the Warhol clique; according to Reed, the song is “a very apt description of certain people at the Factory at the time. … I watched Andy. I watched Andy watching everybody. I would hear people say the most astonishing things, the craziest things, the funniest things, the saddest things.”[2] The song was Andy Warhol’s favorite by The Velvet Underground.[3]
The song has notably lent its name to a music festival, a William Gibson novel, and a Yu Lik-wai film. The song also appears prominently in the horror film The Lords of Salem.
Contents
Recording
The song was recorded at Scepter Studios, New York, during April 1966. It features a piano motif played by Cale (initially written as an exercise) based largely on tone clusters. It was one of the first pop songs to make use of prepared piano[4] (a chain of paper clips were intertwined with the piano strings to change their sounds). The song also features the ostrich guitar tuning by Reed, by which all of the guitar strings were tuned to D.[3]
Nico provides lead vocals. The song was originally recorded with only one track of her vocals; they were later double-tracked for the final album version. Most versions of the album use this version of the song, though the initial 1987 CD release uses the original mix without the double-tracking.
Personnel
- Lou Reed – guitar
- John Cale – piano, bass
- Sterling Morrison – rhythm guitar
- Maureen Tucker – percussion
- Nico – lead vocals
Alternate versions
Ludlow Street Loft, July 1965
The earliest known recorded version of “All Tomorrow’s Parties” was recorded on reel to reel tape by Lou Reed, John Cale and Sterling Morrison in a New York apartment loft on Ludlow Street. With Reed on acoustic guitar, the song features a strong folk music sound—particularly in Cale and Morrison’s harmony vocals—which critic David Fricke[5] suggests demonstrates Reed’s fondness for Bob Dylan. This version, released on the Peel Slowly and See box set, is composed of multiple takes, which add up to a time of 18:26.
Single version, July 1966
An edited version of the song was released in July 1966 as a single with “I’ll Be Your Mirror” as a B-side. The song cuts out about half of the studio version at just under three minutes. It did not chart.
This version later became available in 2002 on the “Deluxe Edition” of The Velvet Underground & Nico.
Cover versions
Both Nico and Lou Reed have recorded solo versions of the song. Other artists who have covered it include Jun Togawa, Apoptygma Berzerk,[6] the Ass Ponys, Buffalo Tom, Japan,[7] Bauhaus, Jeff Buckley, Icehouse,[8] Los Tres,[9] The Method Actors, Nick Cave and the Bad Seeds,[10] the Oysterband, Tom Robinson, Kikka Sirén, Simple Minds,[11] Siouxsie and the Banshees,[12] Rasputina, Kendra Smith, Bryan Ferry,[13] June Tabor, Johnette Napolitano, Iron and Wine, Deerhoof, Hole, The Music Tapes, Ordo Rosarius Equilibrio and Black Tape for a Blue Girl. Les Rita Mitsouko covered the song for the Velvet Underground tribute album Les Enfants du Velvet in 1985.
Sample
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The sixth track from The Velvet Underground & Nico, featuring Nico’s double-tracked lead vocals. This sample contains the beginning of the third verse.
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| Problems playing this file? See media help. | |
References
- Jump up ^ J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, Michigan: Hal Leonard, 2003), ISBN 0-634-05548-8, p. 80.
- Jump up ^ Fricke, David (1995). Peel Slowly and See liner notes, p.22
- ^ Jump up to: a b Harvard, Joe (2007) [2004]. The Velvet Underground & Nico. 33⅓. New York, NY: Continuum International Publishing Group. pp. 107 / 109–110. ISBN 0-8264-1550-4.
- Jump up ^ Mitchell, Tim Sedition and Alchemy : A Biography of John Cale, 2003, ISBN 0-7206-1132-6
- Jump up ^ David Fricke, liner notes for the Peel Slowly and See box set (Polydor, 1995)
- Jump up ^ “Apoptygma Berzerk’s All Tomorrow’s Parties cover of The Velvet Underground and Nico’s All Tomorrow’s Parties”. WhoSampled.com. Retrieved 18 July 2013.
- Jump up ^ “Japan’s All Tomorrow’s Parties cover of The Velvet Underground and Nico’s All Tomorrow’s Parties”. WhoSampled.com. Retrieved 18 July 2013.
- Jump up ^ Kelvin Hayes. “The Berlin Tapes review on Allmusic”. Allmusic. Rovi Corporation. Retrieved 18 July 2013.
- Jump up ^ “Los Tres’s All Tomorrow’s Parties cover of The Velvet Underground and Nico’s All Tomorrow’s Parties”. WhoSampled.com. Retrieved 18 July 2013.
- Jump up ^ “Full Albums: The Velvet Underground & Nico » Cover Me”. Covermesongs.com. Retrieved 2012-01-13.
- Jump up ^ MacKenzie Wilson. “Neon Lights review on Allmusic”. Allmusic. Rovi Corporation. Retrieved 18 July 2013.
- Jump up ^ “O Baby, Pt. 1 review on Allmusic”. Allmusic. Rovi Corporation. Retrieved 18 July 2013.
- Jump up ^ Ned Raggett. “Taxi review on Allmusic”. Allmusic. Rovi Corporation. Retrieved 18 July 2013.
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“Argument weak at this point. Thump podium and holler louder!”

Who is Jesus? You and I are sitting down in the Credo House, enjoying a delicious Luther Latte. We’re talking about the important questions of life and I lean forward asking you that simple question, “Who is Jesus?” What do you think about him? Is He everything the Bible communicates? Did He actually live, die for the sins of humanity, and rise from the dead? Do you consider Him your Lord? Is He the ultimate King of the Jews? Is He the King of Kings? These are important questions for all of mankind to consider.
Wow, what an amazing dialogue. Jesus forces Pilate to wrestle with his identity. Where does the conversation go from here? Pilate tells the crowd he believes Jesus to be innocent. The crowd finds a loop-hole in the system asking for a criminal, Barabbas, to be released from prison and for Jesus to be found guilty. Pilate appeases the crowd by sending Jesus away to be flogged. After experiencing the horror of flogging, the Bible tells us Jesus is sent back to Pilate. Pilate and Jesus have another conversation described in John 19:
In 1961 the archaeological world was taken back to the first century Roman province of Judea. A group of archaeologists, led by Dr. Antonio Frova were excavating an ancient Roman theater near Caesarea Maritima. Caesarea was a leading city in the first century located on the Mediterranean Sea. A limestone block was found there with a surprising inscription. The inscription, on three lines, reads:
1400 BC was an unusual time in history. Moses, about 40 years earlier, led a sea of people through the Red Sea. He was intent to lead them from Egypt straight to the Promised Land. The people, however, arrived a bit later than they were planning. The people leaving Egypt did not obey God as they should have (think golden calf) so forty years were spent traveling through a vast desert wasteland. During these 40 years God miraculously provided manna, meat, water and the Ten Commandments for the people to survive.
The men of Jericho laugh as they watch what can best be described as unconventional warfare tactics. The strategy, however, actually works! The plan is executed down to the smallest detail. After the final shout the walls of Jericho fall down. The city is burned. Jericho is conquered in one week. Truth appears to be stranger than fiction. The conquest of Canaan has just been inaugurated through a river stopping and a fortified city being defeated through the combination of marching, music and shouting. At least this is the history described in the Bible.
The archaeological world first turned their gaze toward Jericho beginning in the late 1800’s. The first documented excavation occurred in 1867 and 1868 by the famous British engineer Charles Warren. Warren was most interested in finding out whether the large earthen mound, known as Tell es-Sultan, is natural or man-made? Warren dug six vertical shafts to see what was inside the mound.
The next major excavation on Tell es-Sultan was done by a team from Austria and Germany from 1907-1909 and then again in 1911. Their major contribution to our understanding of Jericho was discovering a revetment wall which they followed around most of the city. A revetment wall is a retaining wall which prevents erosion. Further walls were typically built on top of a revetment wall. Tell es-Sultan was already taking shape as the ancient walled city of Jericho.
Garstang’s conclusions brought a lot of controversy from some of his colleagues who questioned his speedy reporting and dating methods. Garstang asked an up-and-coming British archaeologist named Kathleen Kenyon to study his findings. Kenyon studied all previous findings from Jericho and then led her own excavations from 1952-1958. Her study of Jericho made her famous.
One of Kenyon’s great discoveries from Jericho was the grain supply. Her team found many jars more than 3,000 years old which were all full of burned grain! Why is this so significant? The military strategy of the day was siege. An army would surround a city, cut off all food and water supply, and wait for the people to starve. A besieged city contains no food at the time of destruction. Additionally, if a city were to surrender before their food supply ran out they would intentionally destroy their remaining food supply knowing it would only feed their enemies.







Without question the two greatest kings of Israel were David and Solomon. The Bible is full of rich stories recounting these two remarkable lives.
In 1994 archaeologists were digging in northern Israel at the ancient city of Dan. The area surrounding Dan is one of the most beautiful parts of Israel. The excavation had come across some interesting elements but nothing which would rock the archaeological world until a member of the team made an unlikely discovery.
This inscription is fascinating on many levels, but what makes it the #2 biblical discovery in archaeology is the way one of the kings is described. The Aramaean king refers to the kingdom of Judah by its dynastic name, a name frequently used in the Hebrew Bible as well: the House of David. This not only indicates that the family of David still sat on the throne of Jerusalem, but this inscription represents the oldest textual reference to the historical King David ever discovered!
How accurate is the Old Testament we hold in our hands? It’s popular today to attack the accuracy of the Bible on the grounds of its lack of effective transmission. Popular authors claim the Bible we have today has simply been copied too many times, with too many textual errors, to be believed as the very words of God handed down to us over the millennia.
With all the careful scribal work a shockingly few number of Old Testament ancient manuscripts exist until today. The silver amulet scroll is by far the oldest. The scroll was mentioned as #4 in this top ten series. The amulet scroll dates way back to 600 BC. This is fantastic but it is only a couple verses of the entire Bible. So we can get a feel for the accuracy of those couple verses but not be able to get a good representative sample for the entirety of Scripture.
Codex Aleppo is the oldest entire Old Testament possessed by humanity. The manuscript dates to around 900AD. The priceless manuscript is indeed magnificent. When analyzing the more than 2.7 million writing details that make up the Old Testament, the manuscript appears to be very precise in its creation. Although we have such a beautiful manuscript, the elephant in the room is that this manuscript dates from 900AD. Many New Testament manuscripts are older than our oldest Old Testament manuscript. Most of the Old Testament was written over 1500 years before Codex Aleppo.
The greatest biblically relevant archaeological discovery, made in the winter of 1946-47, would shake up the biblical and archaeological world. John C. Trever has done a good job reconstructing the story of the scrolls from several interviews with the Bedouin people.
The scrolls were first taken to a dealer named Ibrahim ‘ljha in Bethlehem. In one of those famous dumb moments of history ‘ljha returned them saying they were worthless. Undaunted, thankfully, the Bedouin went to a nearby market, where a Syrian Christian offered to buy them. A sheikh joined their conversation and suggested they take the scrolls to a part-time antiques dealer. The Bedouin left one scroll with the dealer and then sold three scrolls to another for the ridiculous sum of $29!
After examining the scrolls and suspecting their astronomical worth, he expressed interest in purchasing them. Four scrolls found their way into his hands. More scrolls continued to arrive on the scene. By the end of 1948, nearly two years after their first discovery, scholars had yet to locate the source of the manuscripts.
Archaeologists were able to track down the origin of the first scrolls and together with the Bedouins ended up finding a total of 972 manuscripts from 11 different caves. All 11 caves are in the southeastern Dead Sea area of Israel. The area receives almost no rainfall making it a perfect climate for ancient manuscripts to last thousands of years without decomposing.
The scrolls, for some insane reason, were put up for sale in the Wall Street Journal on June 1, 1954. They were purchased for $250,000 and brought to Jerusalem where they eventually became housed in a museum called the Shrine of the Book where they reside today when not circulating in museums around the world. The scrolls today are considered priceless. Just to purchase a replica facsimile copy of 3 of the scrolls currently will run you $60,000 (a donation of replica scrolls to Parchment & Pen will not be turned down).
The scrolls are still, after decades, a discovery still being digested. The 972 manuscripts have shed great light on the accuracy and complexity of the Old Testament. The Isaiah Scroll, in comparison to Codex Aleppo and other manuscripts, show that the message of the Old Testament has not been changed over millennia. More articles and books have been written about the Dead Sea Scrolls than any other archaeological discovery with biblical significance. The scrolls are shedding a great deal of light on the Jewish religious world of roughly 200BC-90AD. The scrolls are generally showing the modern-day Old Testament to be an extremely accurate representation of the original writers.
Google has announced a new deal with the Israeli Antiquities Authority to photograph all of the scrolls in order to make high-resolution photos available to anyone online for free. The scrolls continue to amaze and delight us; where we once had only a couple fragments of the ancient Old Testament we now enjoy an abundant library.