One thing fans of cinematic icon James Bond can count on is the theme song. Usually, the song carries the exact title of the film. I wanted to highlight the title song from the sixteenth Bond film, License To Kill, for this week’s Slow Jam Saturday.
Gladys Knight, the legendary singer, flawlessly performed the song composed by Narada Michael Walden, Jeffrey Cohen, and Walter Afanasieff. The song was skillfully produced by Walden, with additional production by Afanasieff. It is a powerful and passionate song that explores the theme of unconditional love and determination to protect a relationship at all costs. Through its lyrics, the song portrays Knight as a woman willing to do whatever it takes, even resorting to extreme measures, if necessary, to preserve their love.
Walden production begins the song with an ethereal and haunting intro, setting a melancholy tone that resonates throughout the track. Mrs. Knight’s plea for love is evident as she passionately expresses her need to hold on to her partner’s affection, emphasizing the intensity of her emotions.
The song’s opening verse reveals that Mrs. Knight’s romantic partner had attempted to leave, hinting at a tumultuous history or external complications that impacted their relationship. Nonetheless, she takes credit for persuading him to remain, implying that she played a pivotal role in preserving their love. The tone is intense as she cautions against underestimating her determination by emphatically declaring, “Don’t ever think you can elude me once I set my sights on you.”
The song’s chorus represents the narrator’s determination and caution in preserving their love, conveying the song’s main idea. Gladys declares that she will do anything to defend their relationship, even if it involves striking at her partner’s heart. The phrase “got a license to kill” is repeated to emphasize her resolve and preparedness to overcome any obstacles that may arise. The song’s message is one of unyielding loyalty and dedication.
“License To Kill” was a hit in the UK but didn’t do well in Canada or the US. It was Knight’s last solo single to chart in the UK, reaching the top spot in Sweden for eight weeks. It also made the top five in seven other European countries. Stateside, the film’s closing ballad, “If You Asked Me To” by Patti Labelle, was more successful.
Like the same-titled film, “Licence to Kill” is a vastly underappreciated song. I’ve always felt It is one of the best Bond themes and one of Gladys’ best songs from her eighties catalog.
Final Grade: B+
“License To Kill” is available on all streaming platforms.
There are some albums you revisit because of nostalgia, and then there are albums you return to because they remind you just how high the standard used to be. Anita Baker’s Rapture falls into that second category. Released in 1986, the album did more than make Baker a star. It helped define what sophisticated, grown R&B could sound like without losing any soul, sensuality, or personality.
Gwen Stefani had already established herself as a significant force with No Doubt when she released her debut solo album, *Love. Angel. Music. Baby* in 2004. This week, while my iPod was on shuffle, one of my favorite songs from that project, “The Real Thing,” came on. Although the original version has an upbeat new-wave feel, the Slow Jam Mix takes it to another level and is the perfect choice for this week’s Slow Jam Saturday.
Unless you’re a music purist, mentioning Randy Jackson from the famous family is likely to elicit a joke. However, any serious Jackson fan knows that Randy had musical achievements long before the punchlines. Before he was old enough to buy a drink, he had already co-written “Shake Your Body (Down to the Ground)” and “Lovely One” with Michael Jackson.