Introduction

Sade, a name that resonates with elegance and timeless music, brought forth a gem in the world of smooth jazz and soul with her enchanting track, “Your Love Is King.” Released in 1984, this song continues to captivate listeners with its dulcet melodies and evocative lyrics.Sade Celebrates Another Trip Around The Sun | Essence

Did You Know?

  • Artist Spotlight: Sade, born Helen Folasade Adu in Ibadan, Nigeria, is not only the voice behind this melodious masterpiece but also the eponymous leader of the band, Sade. She has achieved remarkable success, enchanting audiences worldwide with her soulful voice and distinct style. Sade’s career is a testament to her unmatched talent and the ability to create music that transcends time.
  • Debut Album: “Your Love Is King” is featured on Sade’s debut album, “Diamond Life”, which marked the beginning of her remarkable career. The album, released in 1984, became an instant classic and earned her a Grammy Award for Best New Artist.
  • Musical Fusion: Sade’s music is a fusion of various genres, combining elements of soul, jazz, and R&B. “Your Love Is King” showcases her ability to blend these genres seamlessly, resulting in a soothing and melodious experience for the listeners.
  • Enduring Legacy: Decades after its initial release, “Your Love Is King” continues to be a timeless anthem for love and romance. Its popularity has been immortalized through its inclusion in various films, television series, and soundtracks.

Sade -- the name of the band and its most famous member -- hits Portland  with John Legend - oregonlive.com

Video

Lyrics: Your Love Is King

Your love is king, crown you in my heart
Your love is king, never need to part
Your kisses ring, ’round and ’round and ’round my head
Touching the very part of me, it’s making my soul sing
Tearing the very heart of me, I’m crying out for more

Your love is king, crown you in my heart
Your love is king, you’re the ruler of my heart
Your kisses ring, ’round and ’round and ’round my head
Touching the very part of me, it’s making my soul sing
I’m crying out for more, your love is king

I’m coming on
I’m coming
You’re making me dance
Inside

Your love is king, crown you in my heart
Your love is king, never need to part
Your kisses ring, ’round and ’round and ’round my head
Touching the very part of me, it’s making my soul sing
Tearing the very heart of me, I’m crying out for more

Touching the very part of me, it’s making my soul sing
I’m crying out for more, your love is king

This is no blind faith
This is no sad and sorry dream
This is no blind faith
Your love, your love is real

Gotta crown me with your heart
(Your love is king)
Never, never need to part
(Your love is king)
Touch me
(Your love is king)
I’m coming
(Your love is king)
It’s making me dance
(Your love is king)
Never letting go
(Your love is king)
Never letting go of your love
(Your love is king)
Never gonna give it up
(Your love is king)

I’m coming
(Your love is king)
It’s making me dance

 

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SHE HAD BEEN SINGING MOUNTAIN MUSIC SINCE BEFORE BLUEGRASS EVEN HAD A NAME. THEN, AT 80, WILMA LEE COOPER COLLAPSED ON THE OPRY STAGE WITH THE SONG STILL IN HER THROAT. Wilma Lee Cooper came out of Valley Head, West Virginia, where music was not something you studied in a conservatory. It was family. Church. Radio. Coal-country evenings. Her father worked in the mines. Her mother played pump organ. Wilma started singing when she was five, then sang with her family gospel group before she ever became part of country music history. She met Stoney Cooper in the early 1940s. He played fiddle. She sang and played guitar. Together they built a sound that sat between mountain gospel, old-time string band music, and the country music that had not yet decided how polished it wanted to become. They did not wait for genre labels. They drove. They broadcast. They played wherever people would listen. The roads were part of the act. Their daughter Carol Lee sometimes slept in the car under the upright bass while Wilma and Stoney went from show to show. They raised a family while keeping a band alive. They recorded songs like “Big Midnight Special,” “There’s a Big Wheel,” and “Wreck on the Highway.” By 1957, they had joined the Grand Ole Opry. The Smithsonian later called Wilma Lee the “First Lady of Bluegrass.” But that title came after decades of work. It came after she and Stoney had already spent years carrying the mountain sound through a country business that was moving toward smoother voices and cleaner suits. Then Stoney died in 1977. Wilma Lee did not leave with him. She stayed with the Opry. She kept leading the Clinch Mountain Clan. The old mountain voice remained onstage, older now but still carrying the same hard edge. She had already sung for more than sixty years by the time she walked onto the Ryman Auditorium stage on February 24, 2001. She was eighty. During that performance, Wilma Lee suffered a stroke. The career ended there. Not in a retirement announcement. Not in a farewell special. Onstage, in the place where she had kept the old sound alive for generations. The illness affected her speech and voice, and doctors doubted she would walk again. But Wilma Lee did return once more. In 2010, at the reopening of the Opry House after the Nashville flood, she came back for a group sing-along. Not to reclaim the old career. Not to prove anything. Just to stand in the room one more time and thank the people who had carried her. For most of her life, Wilma Lee Cooper sang as if the mountain had come down from West Virginia and entered the microphone. Her last great silence came on the same stage where she had spent decades refusing to let that mountain disappear.