The Greatest Oldies Music

Country Oldies Musics

Marie Osmond – There’s No Stoppin’ Your Heart

Marie Osmond - There's No Stopping Your Heart - Amazon.com Music

About the Song

“There’s No Stoppin’ Your Heart” by Marie Osmond is a powerful ballad that showcases her impressive vocal range and emotional delivery. Released in 1985, this song marked a shift towards a more mature sound for Osmond, moving away from the more overtly pop and country styles she had explored earlier in her career. It’s a song about the unstoppable force of love, the kind of love that takes over and leaves you completely breathless.

This track arrived during a period where Osmond was solidifying her solo career, distinguishing herself from her earlier work with her brother Donny. “There’s No Stoppin’ Your Heart” is a prime example of this evolution, demonstrating her ability to handle more adult contemporary material with grace and conviction.

The song’s strength lies in its soaring melody and heartfelt lyrics. It speaks to the overwhelming feeling of falling in love, that sense of inevitability when your heart is completely consumed by another person. The lyrics paint a picture of a love that is both powerful and tender, a force that cannot be denied. This theme resonated with audiences, particularly those who had experienced the intensity of new love.

Musically, “There’s No Stoppin’ Your Heart” is a classic 80s power ballad. It features a lush arrangement with prominent use of synthesizers, a driving rhythm section, and of course, Osmond’s powerful vocals. The song builds gradually, starting with a more restrained verse and then exploding into a soaring chorus that showcases her impressive vocal range. This dynamic arrangement effectively conveys the emotional arc of the lyrics, taking the listener on a journey from quiet anticipation to full-blown emotional release.

Osmond’s vocal performance is the true highlight of the song. She delivers the lyrics with passion and conviction, conveying the raw emotion of the song with every note. Her voice is both powerful and vulnerable, capturing the delicate balance between strength and tenderness that is at the heart of the song’s message.

“There’s No Stoppin’ Your Heart” also benefited from the production style of the mid-80s, which emphasized big vocals, layered instrumentation, and a polished sound. This production style perfectly complements Osmond’s vocal style and the song’s emotional intensity, creating a listening experience that is both powerful and memorable.

In conclusion, “There’s No Stoppin’ Your Heart” is a standout track in Marie Osmond’s solo career. It’s a powerful ballad that showcases her vocal prowess and her ability to connect with listeners on an emotional level. It’s a song about the unstoppable force of love, delivered with passion and conviction. It remains a fan favorite and a testament to Osmond’s enduring talent as a vocalist and performer. This song truly solidified her place as a solo artist, distinct from her previous work, and showcased her ability to deliver powerful and emotional performances.Marie Osmond's life in pictures | Gallery | Wonderwall.com

Video 

Lyrics: There’s No Stoppin’ Your Heart

Woke up this mornin’ with you by my side
Thought I was dreamin’ with my eyes wide open
I had to touch you and feel you near, are you really here?

I plan to be the one who sticks around
Ooh, your love can lift me up above the clouds
I get so high when I’m with you, I may never come down

When forever starts
There’s no stoppin’, no stoppin’
No stoppin’ your heart

Like a river it just keeps on rolling
‘Til it fills you up to overflow
And there’s no stoppin’, no stoppin’
No stoppin’ your heart

When you touch me it’s like paradise
Tropical islands and soft moonlight all night
It’s almost like fallin’ in love for the very first time

When forever starts
There’s no stoppin’, no stoppin’
No stoppin’ your heart

Like a river it just keeps on rollin’
‘Til it fills you up to overflow
And there’s no stoppin’, no stoppin’
No stoppin’ your heart

When you really found it
There’s no doubt about it
There’s no stoppin’, no stoppin’
No stoppin’ your heart

Like a river it just keeps on rollin’
‘Til it fills you up to overflow
And there’s no stoppin’, no stoppin’
No stoppin’ your heart

Whoa, like a river it just keeps on rollin’
‘Til it fills you up to overflow
And there’s no stoppin’, no stoppin’
No stoppin’ your heart

Related Post

A cot waited in a rehearsal hall at RCA Victor’s New York studio while Jimmie Rodgers made his final recordings. Between songs, he lay down to recover enough strength for another take. It was May 1933. Rodgers was 35 and had battled tuberculosis since 1924. As his health deteriorated, his earnings had dwindled. Victor was paying $250 per recorded side, and he wanted to provide for his wife, Carrie, and their daughter, Anita. The sessions started on May 17. Within days, standing to sing became impossible. He worked from an easy chair, supported by pillows that brought him close enough to the microphone, then returned to the cot. On May 24, two musicians accompanied him through three songs. After they left, Rodgers recorded one more with only his guitar: “Years Ago.” He had completed twelve songs in eight days. The following night at the Taft Hotel, severe coughing gave way to hemorrhaging in his lungs. The hotel doctor could not be located. Rodgers fell into a coma and died on May 26, roughly 36 hours after his last recording. Before music made him famous, he had worked as a railroad brakeman. A Southern Railway train carried his body home to Meridian, Mississippi, in a baggage car. According to accounts of the journey, the engineer kept sounding the whistle along the way.

Randy Owen sometimes stopped his tour bus at truck stops to call radio DJs from pay phones. Alabama had already made him a country star. These calls were about persuading stations to help children at St. Jude. He knew what it meant to grow up with little. On his family’s sharecropper farm near Fort Payne, Alabama, he picked cotton and corn to help put food on the table. At school, other children mocked his scarred hands and the cotton dust on his clothes. Years later, after millions of record sales, Owen met St. Jude founder Danny Thomas in Atlanta. Thomas asked him to bring the country music community into the hospital’s fundraising work. When illness prevented Thomas from speaking at Nashville’s Country Radio Seminar, Owen took his place and proposed a nationwide radio effort. Winning support required persistence. He later described himself as “begging, pleading” with DJs. Some stations remained unconvinced. The first Country Cares radiothon aired on November 19, 1989: twelve hours, 45 artists and more than 800 stations. It raised approximately $1 million. By its 35th year in 2024, the initiative had brought in more than $1 billion. Owen has said helping St. Jude may be his most important work beyond being a husband and father. That enormous total began with individual requests, including calls made beside the highway between shows. Owen kept asking stations to participate. Across the country, their listeners kept answering.

Lorrie Morgan saved the card Keith Whitley gave her at the Nashville airport for her flight home. When she finally opened it, her husband was dead. It was early May 1989. Lorrie was heading to Alaska to promote her first RCA album, while Keith was enjoying the strongest run of his career. Just weeks earlier, “I’m No Stranger to the Rain” had become his third consecutive No. 1. At home, success had brought little reassurance. Keith had struggled with alcohol for years. A period of sobriety beginning in 1987 lasted about six months. Lorrie later described the fear surrounding his drinking as living with a ticking time bomb. In her 1997 memoir, she recalled tying her leg to his while they slept so she would know if he got up to drink. During her trip, he began drinking again that weekend. On Tuesday morning, May 9, his brother-in-law, Lane Palmer, visited the house in Goodlettsville. They drank coffee and discussed golf and lunch. Palmer left around 8:30 a.m. When he returned roughly an hour later, Keith was lying on the bed, fully dressed and unconscious. The medical examiner determined that he died from acute alcohol poisoning. Traveling back to Nashville, Lorrie read the card she had set aside. She later said its words left her feeling that Keith had been trying to tell her something—a feeling she was left to carry without the chance to ask him.

You Missed

Country

A cot waited in a rehearsal hall at RCA Victor’s New York studio while Jimmie Rodgers made his final recordings. Between songs, he lay down to recover enough strength for another take. It was May 1933. Rodgers was 35 and had battled tuberculosis since 1924. As his health deteriorated, his earnings had dwindled. Victor was paying $250 per recorded side, and he wanted to provide for his wife, Carrie, and their daughter, Anita. The sessions started on May 17. Within days, standing to sing became impossible. He worked from an easy chair, supported by pillows that brought him close enough to the microphone, then returned to the cot. On May 24, two musicians accompanied him through three songs. After they left, Rodgers recorded one more with only his guitar: “Years Ago.” He had completed twelve songs in eight days. The following night at the Taft Hotel, severe coughing gave way to hemorrhaging in his lungs. The hotel doctor could not be located. Rodgers fell into a coma and died on May 26, roughly 36 hours after his last recording. Before music made him famous, he had worked as a railroad brakeman. A Southern Railway train carried his body home to Meridian, Mississippi, in a baggage car. According to accounts of the journey, the engineer kept sounding the whistle along the way.

Country

Randy Owen sometimes stopped his tour bus at truck stops to call radio DJs from pay phones. Alabama had already made him a country star. These calls were about persuading stations to help children at St. Jude. He knew what it meant to grow up with little. On his family’s sharecropper farm near Fort Payne, Alabama, he picked cotton and corn to help put food on the table. At school, other children mocked his scarred hands and the cotton dust on his clothes. Years later, after millions of record sales, Owen met St. Jude founder Danny Thomas in Atlanta. Thomas asked him to bring the country music community into the hospital’s fundraising work. When illness prevented Thomas from speaking at Nashville’s Country Radio Seminar, Owen took his place and proposed a nationwide radio effort. Winning support required persistence. He later described himself as “begging, pleading” with DJs. Some stations remained unconvinced. The first Country Cares radiothon aired on November 19, 1989: twelve hours, 45 artists and more than 800 stations. It raised approximately $1 million. By its 35th year in 2024, the initiative had brought in more than $1 billion. Owen has said helping St. Jude may be his most important work beyond being a husband and father. That enormous total began with individual requests, including calls made beside the highway between shows. Owen kept asking stations to participate. Across the country, their listeners kept answering.

Country

Lorrie Morgan saved the card Keith Whitley gave her at the Nashville airport for her flight home. When she finally opened it, her husband was dead. It was early May 1989. Lorrie was heading to Alaska to promote her first RCA album, while Keith was enjoying the strongest run of his career. Just weeks earlier, “I’m No Stranger to the Rain” had become his third consecutive No. 1. At home, success had brought little reassurance. Keith had struggled with alcohol for years. A period of sobriety beginning in 1987 lasted about six months. Lorrie later described the fear surrounding his drinking as living with a ticking time bomb. In her 1997 memoir, she recalled tying her leg to his while they slept so she would know if he got up to drink. During her trip, he began drinking again that weekend. On Tuesday morning, May 9, his brother-in-law, Lane Palmer, visited the house in Goodlettsville. They drank coffee and discussed golf and lunch. Palmer left around 8:30 a.m. When he returned roughly an hour later, Keith was lying on the bed, fully dressed and unconscious. The medical examiner determined that he died from acute alcohol poisoning. Traveling back to Nashville, Lorrie read the card she had set aside. She later said its words left her feeling that Keith had been trying to tell her something—a feeling she was left to carry without the chance to ask him.

Country

For Vince Gill, the memory of singing with Dolly Parton came down to their final note together at the 1995 CMA Awards. Thirty-one years later, on the day she died, he shared that performance again. “We are all crushed here at our house,” he wrote. He called the closing note of their duet one of the most beautiful sounds he had ever heard. Their recording of “I Will Always Love You” began with Dolly’s album *Something Special*. That summer, she revisited three of her classics, including the farewell she had written for Porter Wagoner in 1973. It had already topped the country chart twice in her own voice, and Whitney Houston’s 1992 recording had brought it to listeners worldwide. For this version, Dolly invited Vince to join her. They performed it on the Grand Ole Opry on August 26, 1995, during a TNN broadcast. Radio programmers began playing the duet before Columbia officially issued it as a single. That unsolicited airplay carried it onto Billboard’s country chart at No. 53. On October 4, they sang it again at the CMA Awards. Vince, then 38, was hosting the broadcast at the Grand Ole Opry House. He stepped away from those duties to sing beside the woman who had written the song when he was sixteen. As the performance ended, their voices met on one sustained note. Decades later, that was the moment he singled out. Released as a single that November, the duet reached No. 15, received a Grammy nomination and won the 1996 CMA award for Vocal Event of the Year. But Vince’s remembrance centered on what he had heard standing beside her. Dolly died in Nashville on August 25, 2026, at 80, after a brief battle with cancer. Two days later, Vince appeared at the Midland Theatre in Kansas City. He told the audience how deeply his family was hurting, then began “I Will Always Love You.” This time, he sang it alone. Fan footage captured him struggling with his emotions throughout the performance. When he stepped back to compose himself, people in the audience carried the words. Musicians behind him wiped their eyes. He reached the closing note without Dolly’s voice beside his. After finishing, he moved away from the microphone, placed a hand over his chest and lowered his head.