In the late 1980s, if you wanted a hit record there was one producer you went to. Whitney Houston, Lionel Richie, Mariah Carey, Aretha Franklin, Jermaine Stewart and Starship all had huge hits across the world thanks to the production skills of Narada Michael Walden.
Indeed, in 1987 he joined a very elite list of producers who managed to knock one of their own productions off the top of the charts when Aretha Franklin and George Michael's terrific I Knew You Were Waiting (For Me) climbed to the top spot ahead of Starship's Nothing's Gonna Stop Us Now.
Narada - also famous in the UK for his 1988 hit Divine Emotions - was approached in early 1989 about writing and producing the theme for Licence To Kill. Last week I chatted with the man himself who shared stories about writing a Bond theme, working with the legendary Gladys Knight and how he was a 'little bit naive' in paying tribute to the great John Barry sound when he wrote his theme.
More stories about this underrated song will be revealed in The Complete Bond Themes and you can pledge now at unbound.co.uk/books/james-bond
This week I'm meeting two very, very special people in the Bond music world. One is a two-time Oscar and Golden Globe winner whose contribution to the 007 films often flies under the rider and the other is the composer of one of the greatest pieces of music of all time.
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