River Deep – Mountain High
"River Deep – Mountain High" is a 1966 single performed by Tina Turner and credited to Ike & Tina Turner. Considered by producer Phil Spector to be his best work, the single was successful in Europe, peaking at number 3 in the United Kingdom, peaking at number 16 in Australia although it flopped on its original release in the United States. Spector claimed to be pleased with the response from the critics and his peers, but he withdrew from the music industry for two years, beginning his personal decline. After Eric Burdon and the Animals covered the song in 1968, the original version was re-released a year charting at 112, it has since become one of Tina Turner's signature songs, in 1999 was inducted into the Grammy Hall of Fame. Written by Spector, Jeff Barry, Ellie Greenwich, "River Deep – Mountain High" was the first recording that Tina Turner did for Phil Spector's Philles Records. Spector had seen the Ike & Tina Turner Revue perform on The Big T. N. T Show, wanted to use Tina's voice with the Wrecking Crew, his "Wall of Sound" production technique.
He went to the Turner's house, struck a deal with Ike Turner to use Tina on the River Deep – Mountain High album and single. Spector offered Ike $20,000 for creative control over the sessions. At the time they were signed to Kent Records. After Mike Maitland gave them their release, they signed with Philles; the track cost a then-unheard-of $22,000, required 21 session musicians and 21 background vocalists. After several rehearsals, which frustrated Tina because Spector wouldn't allow her to improvise the lines, two sessions for the musicians to lay down a backing track, Spector got Tina in to the studio on March 7th; the following week she returned to the studio with Ike Turner. Due to Spector's perfectionism in the studio, he made Tina Turner sing the song over and over for several hours until he felt he had the perfect vocal take for the song, she recalled, "I must have sung that 500,000 times. I was drenched with sweat. I had to take my shirt off and stand there in my bra to sing."The recording of the song was dramatized for Tina Turner's biographical film, What's Love Got to Do with It.
The single stopped at number 88 on the pop charts. Though it had better fortune in the United Kingdom, peaking at number 3 in the singles charts on first release, Spector was so disillusioned that he ceased involvement in the recording industry for two years, only intermittently returned to the studio after that. Ike Turner remarked that he felt the record did not do well in America because the sound was "pop or white", while Tina Turner's voice was R&B, so that "America mixes race in it" – though the writer Michael Billig speculated that although earlier records which had mixed black singers with a white pop sound had sold well, by 1966 the black political movement was encouraging African Americans to take a pride in their own culture, "River Deep – Mountain High" was out of step with that movement. Rolling Stone was to put it at number 33 on its list of the 500 Greatest Songs of All Time. George Harrison praised the record. You couldn't improve on it." "River Deep – Mountain High" compared a woman's love and loyalty to that which a child feels for a doll, a puppy has for his master.
Lead vocals by Tina Turner Written by Phil Spector, Jeff Barry, Ellie Greenwich Produced by Phil Spector Arranged by Jack Nitzsche Musicians: Leon Russell, Michel Rubini, Jim Horn, Barney Kessel, Glen Campbell, Hal Blaine, Earl Palmer, Carol Kaye, Frank Capp. The original Ike & Tina Turner version of the song was re-released the same year to a more receptive public, since has gained the recognition Spector wanted for the record. Numerous versions have been recorded since, including two different recordings without Spector's "Wall of Sound" production style: one on 1973's Nutbush City Limits LP and another from an undetermined year that appeared on 1991's Proud Mary: The Best of Ike & Tina Turner, as well as some by Tina herself without Ike, recorded in 1986, 1991 and 1993 respectively. Tina included live performances on Tina Live in Europe and Tina Live. A ten-minute version was recorded by Deep Purple for The Book of Taliesyn. An edited version was released as a single in the United States and reached number 53 in early 1969 and number 42 on the Canadian RPM charts.
It had a progressive rock sound to it, as Deep Purple had not yet adopted the hard rock sound for which they are most famous. In 1970, their post-Diana Ross era, The Supremes and the Four Tops released a version. Produced by Nickolas Ashford and Valerie Simpson, the single was one of several recordings that paired the two Motown groups; the Supremes/Four Tops cover, included on the 1970 LP The Magnificent 7, with its soaring vocals and string section, peaked at number 7 on the soul chart and number 14 on the Billboard Hot 100 in 1971, making it the highest-charting version of the song in the United States. Their version peaked number 11 on the UK Singles Chart and number 25 on Netherlands' MegaCharts. Céline Dion covered the song on her 1996 album Falling Into You. At first, Phil Spector showed interest in producing the album track, but left the project so Jim Steinman took over as producer. Spector was unimpressed by Steinman's efforts. Céline Dion had performed the
Library and Archives Canada
Library and Archives Canada is a federal institution tasked with acquiring and making Canada's documentary heritage accessible. It is the fourth biggest library in the world. LAC reports to Parliament through Pablo Rodríguez, the Minister of Canadian Heritage since August 28, 2018; the Dominion Archives was founded in 1872 as a division within the Department of Agriculture and was transformed into the autonomous Public Archives of Canada in 1912 and renamed the National Archives of Canada in 1987. The National Library of Canada was founded in 1953. Freda Farrell Waldon contributed to the writing of the brief which led to the founding of the National Library of Canada. In 2004, Library and Archives Canada combined the functions of the National Archives of Canada and the National Library of Canada, it was established by the Library and Archives of Canada Act, proclaimed on April 22, 2004. A subsequent Order in Council dated May 21, 2004 united the collections and personnel of the National Archives of Canada and the National Library of Canada.
Since inception LAC has reported to Parliament through the Minister of Canadian Heritage. LAC's stated mandate is: to preserve the documentary heritage of Canada for the benefit of present and future generations. LAC is expected to maintain "effective recordkeeping practices that ensure transparency and accountability". LAC's holdings include the archival records of the Government of Canada, representative private archives, 20 million books acquired through legal deposit, 24 million photographs, more than a petabyte of digital content; some of this content the book collection, university theses and census material, is available online. Many items are only available in physical form; as of May 2013 only about 1% of the collection had been digitized, representing "about 25 million of the more popular and most fragile items". The collection includes: the proclamation of the Canadian Constitution Act, which bears marks left by raindrops during a ceremony on Parliament Hill in April 1982 when Queen Elizabeth II signed it.
Genealogists account for 70% of LAC's clients. The building at 395 Wellington Street in downtown Ottawa is the main physical location where the public may access the collection in person; the building was opened on June 20, 1967. With the de-emphasis on physical visits, in-person services have been curtailed, for example since April 2012 reference services are by appointment only, the role of this building is decreasing. There are administrative offices in Gatineau and preservation and storage facilities throughout Canada for federal government records; the Preservation Centre in the city centre of Gatineau, about 10 kilometres away from the Ottawa headquarters, was designed to provide a safe environment for the long-term storage and preservation of Canada's valuable collections. It was built at a cost of CDN$107 million, the official opening took place on June 4, 1997, it is a unique building containing 48 climate-controlled preservation vaults and state-of-the-art preservation laboratories.
In 2000, the Royal Architectural Institute of Canada named it one of the top 500 buildings constructed in Canada during the last millennium. A Nitrate Film Preservation Facility on the Communications Research Centre campus in Shirleys Bay, on the outskirts of Ottawa, houses Canada's cellulose nitrate film collection; the collection contains 5,575 film reels dating back to 1912, including some of the first Canadian motion pictures and photographic negatives. The film material is sensitive and requires precise temperatures for its preservation; the state-of-the-art facility, opened on June 21, 2011, is an eco-designed building featuring an environmentally friendly roof that provides better insulation and minimizes energy expenditures. A planned key activity for 2013–14 was to rehouse analogue information resources in a new state-of-the-art high-density storage facility in Gatineau, where the national newspaper collection and records of Second World War veterans will be stored; the facility will feature a high bay metal shelving system with a suitable environment to better protect Canada's published heritage.
In January 2019, Library and Archives Canada announced that negotiations for a new facility to be built next to the existing one in Gatineau were starting, with an opening date in 2022. LAC's online collection is accessible via its website and LAC provides ongoing information online via its blog, the Twitter and Facebook social networking services, the Flickr image-sharing site, the YouTube video-sharing site. RSS feeds provide links to news about LAC services and resources. A new modernized website is being developed and is scheduled for completion in 2013, with both new and old websites accessible during the transition period. In June 2004 LAC issued a discussion paper Creating a New Kind of Knowledge Institution, after consultation in
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Don't Let Me Down (Beatles song)
"Don't Let Me Down" is a song by the English rock band the Beatles, recorded in 1969 during the Let It Be sessions. It was credited to Lennon -- McCartney; the band recorded the song with Billy Preston. Written by John Lennon as an anguished love song to Yoko Ono, it was interpreted by Paul McCartney as a "genuine plea", with Lennon saying to Ono, "I'm stepping out of line on this one. I'm just letting my vulnerability be seen, so you must not let me down."The song is in the key of E major and is in 44 time during the verse and bridge, but changes to 54 in the pick-up to the verse. It grew from the F♯m7–E changes from Fleetwood Mac's "Albatross" with McCartney arranging instrumental and vocal parts and Harrison adding a descending two-part lead guitar accompaniment to the verse and a countermelody in the bridge. Alan W. Pollack states that "the counterpoint melody played in octaves during the Alternate Verse by the bass and lead guitars is one of the more novel, unusual instrumental touches you'll find anywhere in the Beatles catalogue."
Multiple versions of "Don't Let Me Down" were recorded by the Beatles during the tumultuous Get Back recording sessions. The version recorded on 28 January 1969 was released as a B-side to the single "Get Back", recorded the same day. "Get Back" reached number one and "Don't Let Me Down" reached number 35 on the US Billboard Hot 100. When the "Get Back" project was revisited, Phil Spector dropped "Don't Let Me Down" from the Let It Be album; the Beatles performed "Don't Let Me Down" twice during their rooftop concert of 30 January 1969, the first performance was included in the Let It Be film, directed by Michael Lindsay-Hogg. In November 2003, a composite edit of the two rooftop versions was released on Let It Be... Naked; the B-side version of the song was included on the Beatles' compilations Hey Jude, 1967-1970 and Past Masters Volume 2 and Mono Masters. The same recording appears on the soundtrack to the 1988 documentary, Imagine: John Lennon. Richie Unterberger of AllMusic called it "one of the Beatles' most powerful love songs", Stephen Thomas Erlewine of AllMusic described the song as "heart-wrenching soul" and Roy Carr and Tony Tyler called it "a superb sobber from misery-expert J. W. O. Lennon, MBE.
And still one of the most underrated Beatle underbellies." Author Ian MacDonald praised "Don't Let Me Down" and declared that "this track vies with Come Together for consideration as the best of Lennon's late-style Beatles records". In 1969, Dillard & Clark covered the song on their album Through the Night. In 1969, Marcia Griffiths did a reggae version. In 1969, Harry J Allstars covered the song on their album Liquidator In 1970, Ben E. King covered the song on his Rough Edges album. In 1971, Charlotte Dada recorded an afro-rhythm version in Ghana. On her 1977 album It Looks. In 1992, Annie Lennox recorded the song and it was included as the B-side to "Walking on Broken Glass". A live version is available on the "Cold" single. In 1992, Danish band The Sandmen covered the song on their Sleepyhead album. In 1993, Italian pop singer Ryan Paris recorded a high-energy version of the song. In 1996, U. S. rock band The Black Crowes covered the song live a few times and again in 2005. In 1999, Garbage performed a live cover at the opening of the Scottish Parliament.
Gene covered the song on their 1999 rarities / B-sides compilation To See The Lights. In 2001, Stereophonics covered this song on the I Am Sam soundtrack. Paul Weller covered the song on his album Fly on the Wall - B Rarities. Matchbox Twenty turned the song into a duet, with lead singer Rob Thomas on piano and vocals and with guitarist Kyle Cook singing. In 2004, Greg Brown covered the song on his album In the Hills of California. Dana Fuchs and Martin Luther McCoy performed the song in the 2007 film Across the Universe. In 2008, Maroon 5 covered the song for ReAct Now: Relief; the Aggrolites, a California ska-punk/reggae band have played a ska-punk version of the song at their live shows. It has proven to be a hit with their fans despite never being on one of their albums. Munro Chambers has covered this song live as a duet John Mayer and Keith Urban did a cover version at the Crossroads festival as well as during the TV special, The Night That Changed America: A Grammy Salute to The Beatles.
Tackhead recorded a dub and R&B version which appeared on the digital release of their 2014 album For the Love of Money. Paolo Nutini covered this song in 2014 while promoting his album Caustic Love. John Lennon – lead vocal, rhythm guitars Paul McCartney – bass guitar, harmony vocal George Harrison – lead guitar, backing vocal Ringo Starr – drums Billy Preston – electric pianoPersonnel per Ian MacDonaldNo official producer's credit was included for the single release owing to "the confused roles of George Martin and Glyn Johns"; however the 1967-1970 compilation liner notes credited Martin as the song's producer. Alan W. Pollack's Notes on "Don't Let Me Down"
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became differentiated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
Precious (Annie Lennox song)
"Precious" is a song by Annie Lennox. It was released as the second single from her debut solo album, Diva, in 1992 and peaked at number 23 in the UK; the B-side, Step by Step, was covered by Whitney Houston for the soundtrack of her 1996 film, The Preacher's Wife, became a top 10 hit. This track is unrelated to the B-Side track by Eurythmics of the same name. Precious was featured in the pilot episode of ER, it was featured in the end of "Jack & Sarah" movie The song was featured during "Melrose Place" and is included in the 1995 soundtrack of the show. YouTube - "Precious" video Lyrics of this song at MetroLyrics